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

Arts & Crafts

Wednesday 20th June 2018

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Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 446955

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Marta Olszewska

424506 424506 424591

CHINESE PAINTINGS Freya Yuan-Richards

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

424509 424598

MARKETING Ilona Pichler Tamzin Corbett

446960 424590

ACCOUNTS Janice Clift (Office Manager)

424500

424589 GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Fleur Field

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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

411854 339161 446974

SALEROOM MANAGER David Jordan

JAPANESE ART Alex Aguilar Doméracki

424583

CASTLE GATE MANAGER Matt Hill

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Jo Butler Hollie Grubb

424503 424592 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

424500

CASTLE GATE RECEPTION Madeleine White BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

COMPANY SECRETARY Natalie Milsted FCCA

424599

ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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ARTS & CRAFTS

Wednesday 20th June 2018 at 10.30am VIEWING TIMES Saturday 16th June Monday 18th June Tuesday 19th June Wednesday 20th June

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

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

COLLECTION OF LOTS Please note that all lots will be cleared from the saleroom back to Castle Gate on Friday 22nd June. If you are collecting items on or after this date please contact the department to arrange in advance. Thereafter, collection will be from our new DESIGN DEPARTMENT OFFICES Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX. Our Castle Gate address details and map are at the back of this catalogue. All accounts to be settled prior to collection. Payment is still made at Castle Street. 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 129 for full details. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 19th June. LIVE BIDDING

ILLUSTRATIONS Front cover: Lots 73,76 & 85 Inside cover: Lot 205 Back cover: Lots 299 & 300 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 19th June. Please note there is a 3% +VAT surcharge for using this service.

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GLASS 1. A Philippe-Joseph Brocard enamelled glass mosque lamp, tapering tear-drop form with three applied clear loop handles to shoulder, decorated with a broad band of naskh inscription, flanked with borders of gilt foliage with enamelled roundels, with silk hanging cords, signed Brocard beside one handle, 17.5cm. long £1,500-2,000 Catalogue notes Philippe-Joseph Brocard was initially a glass restorer, creating his own pieces for the Paris exhibition of 1867. He is credited with rediscovering the techniques of glass enamelling which would be inspirational to the young Art Nouveau designers Emile Galle and Daum. Brocard’s mosque lamps were shown at the International Exhibition in London in 1871 and published in the Art Journal Illustrated Catalogue.

2. A set of five Viennese liqueur glasses in the manner of Otto Prutscher, tall, slender clear glass stems supporting yellow, green, pink and purple bowls, unsigned, 13.8cm. high, (5) £120-180

3. A Loetz glass vase with brass mount, the tapering cylindrical speckled blue glass with flaring rim, set with brass collar with pierced Secessionist decoration, unsigned, 22.5cm. high £300-500

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

4. An Aesthetic Movement brass and coloured glass firescreen, the central rectangular panel with moulded amber glass vase with leaf design, inside a border of painted glass and geometric coloured glass panels, unsigned, 88cm. high, 57cm wide. £120-180 5. A large amber glass vase probably Loetz after a design by Dr Christopher Dresser, pear shaped body with double knopped neck with flat everted top rim, amber glass with aventurine inclusions, and another glass vase,unsigned, second glass repaired, 50.5cm. high (2) £200-400 6. A James Powell & Sons wine glass probably designed by Harry Powell, clear glass engraved with motto Omnia Bona Boni (all things good to the good), below berried ivy border, unsigned, 18cm. high £200-300 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 105 plate 34 for comparable glasses illustrated.

7. A James Powell & Sons fluted wine glass probably designed by Harry Powell, clear glass engraved with motto Prodessi Quam Conspici (to accomplish without being conspicuous), below engraved berried foliage border, unsigned, 18.5cm. high £250-300 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 105 plate 34 for comparable glasses illustrated. 8. A pair of large vaseline glass shades, bell form with fluted rim, unsigned, 23cm. high £150-200 9. A large Glasgow School patinated metal and copper ceiling light with vaseline glass shade, the black patinated metal body with sweeping tendrils supporting flaring conical vaseline glass shade with internal decoration, unsigned, £300-500 59cm. high

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10. ‘When I Heere a Master Player’ and ‘Drink up Your Liqor’ two stained glass windows by Karl Parsons, one depicting Evelyn Howard (Parsons’ friend) playing the piano to three medieval women, the other depicting four medieval men drinking at a table, an obedient dog lying in the foreground, unsigned 50cm. diam. (2) £600-800 Literature Shalborne to the Millennium, 1999 page 221 figs 6.7 and 6.8 these windows illustrated.

11. ‘Once in a Blue Moon’ a stained glass panel, rectangular form, decorated with a medieval figure standing below a blue crescent moon, etched inscription, 36 x 13.5cm. £120-180 Catalogue notes This panel came from a set of twelve stained glass panels.

12. Aquarius and Libra two Aesthetic Movement stained glass round window panels, in lead frame, unsigned, 19cm. diam. (2) £150-200

13. A watercolour design of a Man O’ War, circular, possibly designed for a mosaic, framed, unsigned, 44.5cm. diam. (image) £120-180 13

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14. A stained glass panel of a saint in the manner of Harry Clarke, modelled wearing red gown with purple collar and amber mitre, set inside black glass border unsigned, 46.5 x 38cm. £2,000-3,000 14

15. The Three Witches a stained glass window, depicting the three witches from Macbeth by William Shakespeare, 30.5cm. diam. £300-400

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TILES 16. A set of four Copeland Medieval Maidens tiles the design attributed to Henry Stacy Marks, each depicted painting, writing, sewing and studying a globe, in colours impressed Copeland mark to three, wear and frits, 15.5cm. square, (4) £200-300

17. A large Aesthetic Movement tile probably designed by William Stephen Coleman, painted with a young girl seated in a blossoming tree bough, in colours on a matt brown ground unsigned, minor chips to corners, 23cm. square £200-300 Catalogue notes This young girl is similar to the model used by W.S Coleman for his series of eighteen Christmas cards published by Thomas de la Rue circa 1880.

18. The Elements four Copeland pottery Majolica tiles, each modelled in relief and glazed in colours inside a brown border, impressed Copeland, restored, 20.5cm. square, (4) £500-800

19. A set of four T & R Boote Seasons tiles designed by Kate Greenaway, printed in black with a lady gardening, the border printed in blue with geometric mon design, framed stamped regd diamond, 15.5cm. diam. £150-200 Literature Fired Earth 1000 Years of Tiles in Europe Richard Dennis/TACS, page 126 catalogue numbers 379-382 for this design illustrated. The Cult of Beauty: The Aesthetic Movement 1860-1900, V & A Exhibition 2011, page 178 catalogue number 153 and 154 for two comparable titles illustrated

20. An Aesthetic Movement Balfour five tile panel, printed with a vase with tall geometric flower stems, in colours on a cream ground, and two en suite tiles with similar flowers in a roundel, printed regd number and Balfour, chips, 77.5 x 15cm (panel) (7) £200-300

21. A Morris & Co Daisy tile designed by William Morris, painted with panels of daisies in blue and yellow on an off-white ground, framed, unsigned, 14cm. square £120-180

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

22. Music a rare tile plaque designed by Sir George Frampton, modelled in low relief with a male classical portrait, glazed green signed in the cast George Frampton, minor glaze chips, 30.5 x 15.5cm. £250-300

23. Meridies (noon) a Maw & Co tile designed by Walter Crane, printed and enamelled in colours impressed marks, printed artist cipher to design, 21cm. square £100-200

Literature Greg Smith & Sarah Hyde Walter Crane Artist, Designer & Socialist, Lund Humphries, page 17 for Nox (night) from this set of tiles illustrated.

24. A pair of two two-tile panels painted by C D Salt, dated 1882, one painted with a woman walking with a child in arms, in a walled garden setting, the other a woman carrying a large bowl in a medieval interior, framed, painted CD Salt and date to reverse, one tile cracked, 30 x 15cm. (2) £200-400

25. A large Aesthetic Movement tile plaque probably Copeland, painted with two facing owls perched on a tree bough, before a crescent moon, a medieval village in the middle ground, painted in shades of blue, framed 29.5cm square. £300-400

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26. A rare set of four Minton Hollins & Co two-tile panels designed by Daniel Cottier, depicting Amor, Mars, Fama and Fortuna, painted in colours, impressed marks, pencil marks to reverse, damages, 41 x 20.5cm (each panel) ÂŁ6,000-10,000 Provenance Cairndhu House, Helensburgh, dining room fireplace Private tile collection. Literature Cottiers in Context - Daniel Cottier, William Leiper and Dowanhill Church, Glasgow, Historic Scotland, page 55 plate B, for comparable tile panels used to decorate a Cottier & Co cabinet (held in the Museum of Scotland Collection). Cairndhu was built in 1871 to designs by William Leiper with the interior design of stained glass and decorative work designed by Daniel Cottier (1838-1891). these two tile panels depicting the classical figures

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29 27. A set of seven Copeland Frog tiles, each tile depicting the daily events of a comical frog, comprising meeting a snail, walking under a full sun, serenading a frog, catching a fish on a line, walking a snail, and resting with a smoking pipe, each decorated in shades of blue, framed 15cm. square £300-400

Literature The Sheila Hughes Tile Collection Fieldings, 12th January 2008 lot 7 for comparable tiles. 28. Five Minton & Hollins dust pressed tiles after designs by E W Godwin, printed in black and white on a cream ground with birds, inside black geometric border, and two duplicate tiles from the same series, cast marks to reverse, 15.5cm. diam. (7) £300-500 29. Two Aesthetic Movement Minton and Hollins Bird Series tiles the design attributed to R W Edis and E W Godwin, each printed and painted in colours with a bird in a landscape, on a silver and gilt ground, in oak frames, impressed marks, 20cm. square, (2) £150-200 30. A set of four Minton’s Season’s tiles designed by John Moyr Smith, each printed in brown, grey and black with classical figures, comprising Spring- ploughing, Summer Musidora and Damon, Autumn - Comes Jovial On and Winter - Sullen and Sad, set with three divider panels and framed, and three individually framed Minton tiles comprising SummerCeladon & Amelia, Winter - The Snow Storm and Autumn - Lavinia and Palemon, signed in the print, one spacer tile cracked, 15cm. square (4) £150-200 31. A set of eight Minton Hollins and Co dust pressed Aesops Fables tiles designed by Clemont Heaton, printed with animals in terracotta, brown and green on a cream ground, £400-600 inside plain border, cast marks, 15.5cm. square (8) Literature The Sheila Hughes Tile Collection, Fieldings, 12th January 2008 lot 274 for comparable tiles.

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32. Four Minton’s dust pressed tiles designed by Dr Christopher Dresser, each printed and painted with blue tits perched on grasses, flanking a central flower stem, in colours on a brown ground, impressed factory marks, repair to corner of one, 20.5cm. square, (4) £300-400 Literature Michael Whiteway Christopher Dresser 1834-1904, Skira, page 56 plate no.11 this design illustrated on a white ground.

33. Nine Minton Hollins dust pressed tiles designed by Dr Christopher Dresser, each printed with a floral repeat in brown on a buff ground, impressed marks, two tiles repaired, 15.5cm. square, (9) £300-500 Literature Minton Tiles 1835-1935 Stoke on Trent City Museum & Art Gallery, 1984, page 37 plate 241 this design illustrated.

34. A set of Minton Hollins & Co tiles in the manner of John Pollard Seddon, cast in low relief with a central flowerhead and radiating flowers and foliage, glazed blue, green and white on a £200-300 terracotta ground, impressed marks, 15cm. square, (3) Literature Fired Earth 1000 Years of Tiles in Europe, Richard Dennis/TACS, page 104 catalogue number 198 for an example illustrated.

35. A painted pottery panel in the style of C.F.A. Voysey, rectangular, cast in low relief with a bird perched in a fruiting tree, a squirrel perched on its roots and looking upwards, painted yellow, unsigned, 41 x 31cm. £150-200

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WILLIAM DE MORGAN 36. A William De Morgan Merton Abbey tile, painted with fish swimming along a meandering river, with tulip flowers on the banks, painted in shades of blue, turquoise and aubergine on a cream ground, impressed mark, minor glaze frits to edges, 15.5cm. square £150-200 Provenance Private collection.

37. A William De Morgan Late Fulham Period tile, painted with flowers and foliage in shades of green on a white ground, impressed mark to back, glaze chipped to £120-180 corners, 15cm. square 38. A large William De Morgan Late Fulham Period Persian ‘Double Carnation’ tile, painted with two carnation flowers in blue, green and aubergine on a cream ground, and another William De Morgan Persian tile, impressed marks, glaze loss to edges, chip to smaller tile, 20.5cm. (2) £150-250 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 143 catalogue number 650 for the original design illustrated. Provenance Private collection.

39. A William De Morgan Early Fulham Persian tile, painted with a large peony flowerhead, in shades of blue, turquoise and green on a white ground, and another Late Fulham Persian tile by William De Morgan, framed, impressed marks, 15.5cm. square, (2) £150-200 Provenance Private collection. 40. A William De Morgan small pedestal bowl, painted to the exterior with a band of carnations, in ruby lustre on a white ground, the well with radiating sun motif, unsigned, repaired foot, 15.5cm. diam. £150-200

41. A William De Morgan Farini pottery dish, modelled to the rim with inter-linking chain motif, the well with similar modelled decoration, glazed ruby and sand lustre impressed factory tulip mark, loss to rim, £300-400 28cm. diam. Provenance Arts and Crafts, Woolley and Wallis Auctioneers, 22nd June 2016 lot 128. Private collection. Literature William Gaunt & M D E Clayton Stamm William De Morgan Studio Vista, page 125 plate 119 for a comparable piece.

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42 42. A pair of William De Morgan Sands End Pottery Arabia tiles, commissioned for the P & O Liner Arabia, painted with stylised flower stems inside Persian arch foliate panels, in shades of blue, turquoise, yellow, green and aubergine on a white ground, sold with a copy of William De Morgan Arts and Crafts Potter impressed marks, minor chips, 22.5cm. square, (3) £1,500-2,000 Provenance Peter Creffield Collection. Private collection. Literature Rob Higgins & Christopher Stolbert Robinson William De Morgan Arts and Crafts Potter, Shire Publications, page 43 these two actual tiles illustrated.

43. A William De Morgan Sand’s End Pottery Peacock tile, painted in shades of blue on a turquoise ground, impressed seal mark, minor over-painting, 15.5cm. square £1,500-2,000

44. A William De Morgan Persian bottle vase by Joe Juster, ovoid with cylindrical solifleur neck, painted with cranes wading between clumps of grass, the neck with geometric decoration, in shades of blue, aubergine and green on a white ground, painted 3JJ and £800-1,000 impressed tulip mark, 17.5cm. high

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CERAMICS 45. A pair of Aesthetic Movement Minton vases designed by Dr Christopher Dresser, ovoid with tall, tapering neck, printed in blue on a turquoise ground with foliate panels, impressed marks to base, damages, 33cm. high, (2) £300-500

46. A pair of Minton’s porcelain plates, one painted with a thrush perched on a tree bough eyeing a mayfly, the other with a young chick resting on a tree bough, in colours on a turquoise ground, and a Minton’s pate sur pate pot-pourri vase painted with a bird perched on a bough, in white on a turquoise ground, all with gilt highlights, impressed marks, vase cover restored, 24cm. diam. (4) £150-200 47. A pair of Minton’s porcelain Cloisonne bottles in the manner of Dr Christopher Dresser, model no.508, each with open bases, ovoid with slightly waisted cylindrical neck, printed and painted with panels of stylised flowers and foliage, in colours, highlighted in gilt on a turquoise blue ground, impressed marks to base rim, 28cm. high, (2) £150-250 48. A Minton’s pottery water jug designed by Dr Christopher Dresser, the ovoid body cast in low relief with wicker design, printed to the neck with Cranes flying, printed in blue, a Burmantofts Faience twin-handled vase and a Lear Pottery jug impressed £150-200 marks, 26cm. high (3) 49. An Ault Cliff Vasco Ware baluster vase, slender baluster form, covered in a streaked green and sky blue printed marks, 37cm. high £300-500 50. A Minton’s Cloisonne moonflask probably designed by Dr Christopher Dresser, ovoid on four spiked feet painted with a geometric flowerhead design inside a border of abstract Chinese cloud motif, enamelled in colours on a pink ground, unsigned, £300-500 professional restoration to top rim, 14cm. high

51. A Minton’s Art Pottery wall plaque by William S Coleman, dated 1872, painted with a cherub releasing a blue butterfly, before prunus and oriental bamboo, in colours on a cream ground, impressed and printed marks to reverse, painted WSC monogram £700-900 to front, painted signature and date to reverse, 34cm. diam.

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52. A Williamsons Longton Suffrage teapot and matched cover, printed in green and purple with a WSPU roundel for Women’s Social and Political Union, with central piping angel emblem, printed factory marks, 12.5cm. high £120-180 Provenance Richard Dennis Gallery Private collection. 53. A rare pair of Ault Persian pottery ewer and covers designed by Dr Christopher Dresser, the disk body with central aperture, cast with a frieze of formal foliage, glazed green graduating to brown, unmarked, chip to foot rim of one, repaired spout to other, 32cm. high (4) £150-200 Literature Dresser, New Century Exhibition catalogue, 1999, catalogue number C.141 for a comparable ewer illustrated. 54. A large Aesthetic Movement Ault Pottery jardiniere the design attributed to Dr Christopher Dresser, ovoid with pulled handles, cast in low relief with decoration glazed in shades of yellow and green impressed factory marks, 37cm. high £300-400 55. A Linthorpe Pottery bottle vase designed by Dr Christopher Dresser, model no.216, shouldered form with cylindrical neck, decorated with a frieze of stylised flowers and foliage, covered in an olive green glaze, impressed marks, facsimile signature, and HT monogram, 22.5cm. high £200-300

Literature Michael Whiteway Christopher Dresser 1834-1904, Skira, page 116 plate no.114 for a comparable example. 56. A Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.211, shouldered, flaring cylindrical form, incised with bands of geometric foliage, glazed olive green, another Linthorpe Pottery vase designed by Dr Christopher Dresser, an Old Hall jug and three other items, impressed marks, facsimile signature and HT monogram, 16.5cm. high (6) £150-250 57. A Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.152, ovoid with cylindrical neck, incised with bands of geometric decoration covered in a streaked ochre to green glaze, impressed marks, facsimile signature and HT monogram, small chip to the top rim, 15.5cm. high £120-180 Provenance Haslam & Whiteway Private collection. 54

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58A

58. A large Renaissance revival vase in the manner of Minton’s, shouldered cylindrical form swollen to base and shoulder, applied with two winged maiden handles, the body incised with classical figure roundels flanked by winged maidens, above mask and scroll border in shades of sand, green and blue on a terracotta ground, the shoulder applied with a floral swag in colours, apparently unmarked, glaze loss, 57cm. high £300-500 58A. A Minton’s pottery wall charger by William Mussill, painted with a spray of English wild flowers including convolvulus, poppy, daisy and cornflower, in colours on a terracotta ground, signed in the design, impressed factory marks 39cm. diam. £200-300 59. A C.J.C Bailey Fulham Pottery stoneware jardiniere designed by John Pollard Seddon, carved in relief with stylised flower and foliage panels, glazed blue and ochre on a buff ground, unsigned, bruise to top rim, small chip to base 21.5cm. high £300-500 Literature Charlotte Gere & Michael Whiteway 19th Century Design from Pugin to Mackintosh Wiedenfeld & Nicolson, page 118 for a comparable example illustrated. 60. A Winchcombe Pottery tobacco jar and cover by Michael Cardew, cylindrical form, incised Tobacco the cover with radiating lines, in a yellow glaze to the foot, impressed seal marks, 15cm. high £80-120

61. A Charles Vyse stoneware vase, dated 1928, shouldered form, covered to the foot with an ash glaze, splashed with tenmoku, incised CV 1928, 10cm. high £200-400 62. A Mortlake Pottery vase by George J Cox, dated 1912, shouldered form covered in a mottled pink and white glaze, incised marks and monogram to base, £200-400 10cm. high

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64 63

RUSKIN POTTERY 63. A Ruskin Pottery stoneware Souffle vase, dated 1913, pear shaped body covered in a streaked green and blue glaze impressed mark and date to base, 26cm. high £150-250

64. A Ruskin Pottery high-fired stoneware vase by William Howson-Taylor, dated 1909, ovoid with waisted cylindrical neck, covered in a sang de boeuf glaze with splashes of lavender and turquoise, impressed marks, professional restoration to top rim, small firing fault to rim, 25.5cm. high £200-300 Provenance Private collection.

65. A Ruskin Pottery high-fired stoneware vase by William Howson-Taylor, dated 1933, ovoid with cylindrical neck, covered in a mottled sang de boeuf glaze with lavender, turquoise and silver-grey splashes, impressed marks, 1933, professional restoration to neck, 21cm. high £200-300 Provenance Private collection.

66. A Ruskin Pottery high-fired stoneware ginger jar and cover designed by William Howson-Taylor, dated 1925, covered in a sang de boeuf glaze with controlled lavender glaze to the shoulder and cover, stamped marks, Ruskin England 1925, 21cm. high £1,500-2,000

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MARTIN BROTHERS POTTERY 67. Boobies Boojums and Snarks a Martin Brothers exhibition catalogue, held at the Jordan Volpe gallery, 1984, limited edition of 500, a Sotheby’s Belgravia Decorative Arts catalogue 19th April 1978 including Martin Ware and The ABC of English Salt-Glaze Stone-Ware by J F Blacker, (3) £120-180

67 68

68. A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1893, shouldered form, incised with scrolling classical foliage, between geometric borders, in blue and ochre on a buff ground, incised 9-1893, Martin Bros London & Southall, 24.5cm. high £300-500

69. A small Martin Brothers stoneware inkwell by Edwin & Walter Martin, dated 1892, circular with central well supported with pierced buttresses, incised with stylised foliage panels in ochre on a buff ground, above a band of still leaf foliage highlighted in pale blue, incised 1-1892 Martin Bros London & Southall, 11cm. diam. £250-350 69

70. A Martin Brothers stoneware solifleur vase, ovoid body with tall cylindrical neck, incised and painted with scrolling foliage in shades of blue on a buff ground, incised Martin London 13.5cm. high £300-400

71. A Martin Brothers stoneware Dragon bowl by Edwin & Walter Martin, dated 1893, incised to the interior with a ferocious dragon glazed brown on a buff ground, the exterior mottled green, incised 1-93 Martin Bros London & Southall, 9.5cm. diam. £1,000-1,500

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72. A Martin Brothers grotesque cane handle probably by Robert Wallace Martin, modelled as a reptilian creature perched on a cylindrical base, unglazed unsigned, 8.5cm. high £250-350 Provenance The Martin Brothers Potters, Woolley and Wallis Auctioneers, 24th October 2006, lot 60. Private collection This cane handle was found on the floor of the Martin Brother’s Southall Pottery after the site had been damaged by bombing in the second world war.

73. A Martin Brothers stoneware Aquatic jardiniere by Edwin & Walter Martin, 1900, shouldered form, incised with scaly fish swimming amongst jelly fish and a crab, in shades of brown and blue on a buff ground, incised 2-1900 Martin Bros London & Southall, restored, 17cm. high £500-1,000

74. An unusual Martin Brothers stoneware Aquatic bowl by Robert Wallace Martin, dated 1886, incised with a shoal of fish including a ray and an eel, swimming amongst waterweed, in shades of brown on a buff ground, the interior incised with waterweed and a central crab in shades of brown, incised 2-1886 R W Martin & Bros London & Southall, 21cm. diam. £1,000-2,000 Provenance Private collection.

74 74 interior

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75. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1911, modelled standing upright with forward contemplative gaze, broad beak and talon claws, glazed in green and ochre highlighted in blue, on an ebonised wood base, incised marks, R W Martin & Bros London & Southall 22.6.1911, hairline crack to head, minor glaze chips, 21.5cm. high ÂŁ6,000-10,000

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76. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, modelled standing with his chest puffed up, casting a sideways glance and his broad beak slightly open, glazed in shades of green and brown highlighted with white, on ebonised wooden base, signed to neck rim and base Martin Bros London & Southall 25.5cm. high £25,000-30,000 Provenance Decorative Arts and Design from 1870 Sotheby’s Olympia, 29th May 2003, lot 343. Private collection.

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77. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1901, swollen square section with vertical ribs, glazed green, the flaring square rim with incised decoration glazed ochre, incised 9-1901 Martin Bros London & Southall, 14.5cm. high £250-350 Provenance Private collection.

78. A Martin Brothers stoneware Gourd jug by Edwin & Walter Martin, dated 1906, square section incised with vertical grooves, glazed green and ochre on a buff ground, incised 7-1906, Martin Bros London & Southall, 23.5cm. high £250-350 Provenance Private collection.

79. A large Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1900, shouldered with vertical ribs and incised texture, glazed buff and pale brown highlighted in ochre, incised 7-1900 Martin Brothers London & Southall, 28cm. high £800-1,200 77

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reverse

80. A rare Martin Brothers stoneware double sided face jug, dated 1903, modelled in relief with a smiling face to one side, the reverse a grimacing smile, glazed brown with white and black highlights, incised 8-1903 Martin Bros London & Southall, 20cm. high ÂŁ2,500-3,000

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81. A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, dated 1906, modelled playing a clarinet instrument, seated on a book, glazed white incised 3-1906 R W Martin & Bros, London & Southall, 11cm. high £2,200-2,800 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 134 and 135 for examples of the Imp Musicians illustrated.

82. A rare Martin Brothers stoneware model of a fish probably by Edwin Martin, modelled with raised tail, incised scale decoration, glazed ochre and green highlighted with white and black, unsigned, professional restoration to fins, 27cm. long £2,500-3,000 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 91 for a model of a Pike similar and dated to circa 1890. A Large Collection of Martin Brothers Stoneware, The Property of Roy Aitken, Sotheby’s 19th April 1978, lot 65 for an identical fish. 81

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83. A good Martin Brothers stoneware bird vase by Edwin & Walter Martin, dated 1892, baluster form, incised and painted with anthropomorphic herons wading amongst bull rush and giant flag irises, one heron with a frog in its beak, the shoulder and neck decorated with mayfly, butterflies and flying birds, in shades of blue, green and ochre on a buff ground, incised 10-1892 Martin Bros London & Southall, ÂŁ2,000-4,000 25.5cm. high Provenance Private collection.

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detail

84. A rare Martin Brothers stoneware grotesque reptile, dated 1894, modelled looking forward with manes of fur all along its body, glazed in shades of blue and green incised Martin Brothers London 4 -1894, chip to mane, 10.5cm. long ÂŁ4,000-6,000

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85. A Martin Brothers stoneware Toby dog jar and cover by Robert Wallace Martin, modelled seated and wearing a ruff collar, glazed in shades of brown and green, highlighted in white, on wooden base, unsigned, 14cm. high ÂŁ12,000-18,000 Literature Malcolm Haslam, The Martin Brothers Potters, Richard Dennis Publications, page 84 figure 109 for a comparable figure illustrated.

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DOULTON WARE 86. Gethsemane - Luke 12 a terracotta tile plaque by George Tinworth, incised in low relief, framed incised title and GT monogram, 21cm. square £300-400 87. A Doulton Lambeth stoneware grandfather clock, dated 1884, incised decoration, glazed green, ochre and blue, the round dial with Roman numerals, impressed marks, incised LA monogram, 31cm. high £400-600 88. A rare Doulton Lambeth stoneware Koala Bear bibelot, probably made for the Australian market, model no.8920, the bear modelled resting on a eucalyptus tree stem, on circular base, glazed in colours impressed marks, 14.5cm. diam. £150-250 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 260 this model illustrated.

89. A Doulton Lambeth stoneware Pixie bibelot designed by Harry Simeon, model no.8781, the pixie modelled seated on shaped dish, glazed in colours impressed marks to base, 11cm. high £150-200 87

Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 260 for this bibelot design illustrated. 90. A Royal Doulton stoneware vase by Harry Simeon, swollen cylindrical form, the body tubeline decorated with a pair of swans and two cygnet swimming amidst water-lily flowers, in colours, the neck glazed green, impressed mark and incised monogram, 29cm. high £600-800

91. A Royal Doulton stoneware vase by Harry Simeon, slender, swollen cylindrical form, tubeline decorated with exotic flowers and foliage, in colours on a streaked green ground, impressed mark, incised monogram, 30cm. high £400-600 89

92. A Doulton Lambeth stoneware grotesque fish bibelot probably designed by Harry Simeon, painted in colours impressed marks, professional restoration to mouth, 15.5cm. wide £120-180 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 260 this model illustrated in an original advert (1935) priced 2/6.

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93. The Fable of the Cat and Sparrows a Doulton Lambeth stoneware menu holder by George Tinworth, modelled as a cat snaring a sparrow in its mouth whilst another rests on the cats back, glazed in blue, brown and buff impressed mark, incised title and GT monogram, professional restoration to the holder, 9.5cm. high £600-800

94. A Doulton Lambeth stoneware side plate by Hannah Barlow and Frank Butler, dated 1882, fluted rim, incised with a horse galloping with a dog alongside, inside applied beadwork border and incised foliate band, glazed in shades of blue and green on a buff ground, impressed mark, incised HB and FAB marks, minor professional restoration to the rim, 17cm. diam. £180-220

95. A Doulton Lambeth stoneware side plate by Hannah Barlow and Frank Butler, dated 1882 fluted rim, incised and painted with a portrait of a donkey to the well, inside beadwork border and incised foliate band, glazed in shades of blue and green on a buff ground, impressed marks, incised HB and FAB marks, minor professional restoration to the rim,17cm. diam. £180-220

96. A Royal Doulton stoneware grotesque by Frank Butler, modelled as two grotesque creatures, back to back, on three scroll feet, glazed in ochre, green and blue, impressed marks and incised monogram, 31cm. wide £400-600

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97. Blighty a rare Royal Doulton Titanian Ware figure designed by E W Light, covered in a mottled green glaze, printed Doulton Titanian mark, impressed Blighty to base rim, 29cm. high £400-600 Literature Doulton Ware Lambeth Art Pottery Part II, Richard Dennis Gallery, 1975, catalogue number 419 for an identical figure illustrated.

98. Young Coal Tits a Royal Doulton Titanian Ware flask vase by F Henry, painted to one side with two fledgling birds below a bough of prunus blossom, in colours on a graduated blue ground, printed factory mark, painted signature and title, 13.5cm. high £300-500

99. A rare Royal Doulton Titanian Ware flask by F Henry, shouldered form, painted to one side with a swan swimming on a still stretch of water, in colours printed factory mark, painted FH monogram, 9cm. high £300-500

100. Barn Owl a rare Royal Doulton Titanian Ware vase by Harry Allen, cylindrical form, painted with an owl perched on a bough above a string of five caught mice, in colours on a midnight blue ground, printed factory mark, painted title and H Allen signature, small glaze chip to the top rim, 26cm. high £800-1,200 Literature Doulton Ware Lambeth Art Pottery Part II, Richard Dennis Gallery, 1975, catalogue number 422 for a comparable vase decorated by Harry Allen with owls.

100

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101. A Doulton Burslem cabinet vase and cover by G White, the urn shaped vase with applied mask handles, painted with a classical woman in diaphanous robe sitting by a lake, the reverse with a swan swimming on the lake amongst flowering water-lily, in colours, highlighted in gilt, with peppermint green bands, printed factory mark, painted G White signature, 33cm. high £800-1,200 101 both sides

102. Noontide a Royal Doulton cabinet vase by Leslie Johnson, twin-handled pear shaped form with flaring, knopped neck, painted with a classical maiden feeding a swan in colours on a cream ground, highlighted in gilt, printed factory mark, painted title and signature 32cm. high £800-1,200

102 both sides

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103. Low Tide a Doulton Lambeth Faience plate by Esther Lewis, painted with a figure riding a horse across shallow sea water, in colours, framed impressed marks, painted title 318 and EL monogram, 16cm. diam. £150-200 104. Evening a Doulton Lambeth Faience plate by Esther Lewis, painted with a manned barge in a river landscape, in colours, framed, impressed marks, painted title and E £150-200 Lewis signature, 16cm. diam. 105. An unusual Doulton Burslem wall light, modelled as a winged cherub riding a dragon, covered in a vellum glaze, printed factory mark, chips, 24cm. high £150-200 103

104

106. A Doulton Burslem Jester wall pocket designed by Charles Noke, modelled in relief glazed in pastel colours on a vellum ground, highlighted in gilt, printed Burslem mark, professional restoration, 27cm. long £300-500 107. ‘St George’ HN 2067 a large mounted figure designed by Stanley Thorogood, painted in colours, printed factory mark, 41cm. high £600-800 Literature Royal Doulton Exhibition, 1979, Centrepoint, Sydney, St George reproduced on page 105 as the front cover of the Royal Doulton Figures catalogue, published circa 1954. This figure was issued between 1950 and 1976.

105 106

108. A pair of Royal Doulton porcelain cabinet vases by Joseph Hancock, slender, shouldered form on modelled foot, each painted with a panel of figures walking on a wooded river bank landscape, in colours, inside ornate gilt border on pink ground, the rim and foot with similar applied gilt borders, the base with a radiating gilt sun motif, printed factory mark, painted J Hancock signature to scene, 29.5cm. high (2) £800-1,200

107

108

both sides

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109. A Wedgwood Pottery jug by Alfred Powell, octagonal form, painted with a frieze of medieval houses, the shoulder and neck painted with flowers and berried foliage, in colours impressed marks, painted monogram, 15cm. high £150-200

110. A Wedgwood Pottery jar and cover by Alfred Powell, cylindrical form, painted with oriental fishermen before an arched building, in the distance a mountainous lake landscape, painted in colours, the cover with similar frieze of arches and impressed mark, painted artist cipher, two small chips to inside rim of cover, 14.5cm. high £500-700

109

two views

111. A Minton Secessionist ewer designed by John Wadsworth and Leon Solon, model no.8, waisted cylindrical form, tubeline decorated with stylised flowers and foliage in blue, green and cream, printed factory mark, 36.5cm. high £150-200

112. A Wedgwood Chinese Aster charger by Millicent Taplin, pattern C272, painted to the well with a flower and radiating foliage and bud sprays, the rim with stylised flowers and foliage, in shades of blue, green and mushroom, printed factory marks, paper gallery label, 31cm. diam. £250-300

110

110 detail

Provenance Wedgwood Exhibition, Richard Dennis, 1982 catalogue number V73. Maureen Batkin Wedgwood Ceramics 18461959, Richard Dennis, page 163 plate 397 for an example illustrated.

113. A Wedgwood plate by Therese Lessore, painted to the well with a lady selling flowers, in colours inside a foliate linear border, impressed marks, painted monogram, 20.5cm. diam. £300-400

111 112

Literature Maureen Batkin, Wedgwood Ceramics18461959, Richard Dennis Publications, page 151 plate 365 for other examples illustrated.

114. A Wedgwood Pottery jug in the manner of Alfred and Louise Powell, pattern B2319, large, bellied form painted with a band of scrolling flowers and foliage between blue trellis, in green and blue on a white ground, impressed mark, painted pattern mark, small chip to spout, 24cm. high £120-180

113

114

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115

116

DELLA ROBBIA POTTERY

117

115. A Della Robbia Pottery wall plaque by Marian de Caluwe, rectangular, modelled in low relief with a young boy riding a turtle with four others running alongside, glazed in shades of green, blue and yellow on a cream ground incised marks, painted marks and artist mark MdeC, minor glaze loss, 25.5cm. wide £200-300 Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971.

118

116. A Della Robbia Pottery plaque by Emily Margaret Wood, rectangular, cast in low relief with two naked boys sitting beside a campfire, glazed blue and turquoise, incised numbers and EMW monogram, minor glaze chips, 23.5 x 13cm. £120-200 Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971. 117. A Della Robbia Pottery plaque, rectangular cast in low relief with a naked young boy playing two pipes whilst two boys listen and relax, in blue, green and turquoise on a white ground, painted DR, Birkenhead incised number, minor chips, 29.5 x 12.8cm. £200-300 Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971.

119

118. Dancing Panel a Della Robbia Pottery plaque by Liz Wilkins, after a design by Ellen Mary Rope, dated 1898, rectangular, cast in low relief with young children dancing around a tree, in shades of yellow, green and turquoise on a white ground, incised factory marks, date and various artist monograms including EMN and painted LW, 24.5 x 20.5cm. £300-500 Literature Peter Hyland The Della Robbia Pottery Birkenhead 1894-1906, Antique Collectors Club, page 207 figure 222 for another example illustrated. Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971. 119. A Della Robbia Pottery wall plaque by Ellen Mary Rope, modelled in low relief with a young artist holding a paint brush and palette, glazed in shades of blue, yellow and green on a white ground, signed EMRope lower left, unmarked to back, chips, 21 x 12cm. £150-200 Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971.

120

120. A Della Robbia Pottery plaque possibly by Ellen Mary Rope, rectangular, cast in low relief with two naked young boys beside a campfire, glazed blue, turquoise and yellow on a white ground, framed, indistinct signature lower left, incised M 944 to back, paper price label, 24 x 13cm. £200-300 Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971. 121. A rare Della Robbia Pottery wall plaque, rectangular, modelled in low relief with a grasshopper below a garland of buttercups, in shades of blue, green and yellow on a white ground, unsigned, minor glaze chips, 20.5 x 15.5cm. £300-400 Literature Peter Hyland The Della Robbia Pottery Birkenhead 1894-1906, Antique Collector’s Club, page 135 figure 145 for another example illustrated. It is stated that two examples of this plaque were included in the Della Robbia closing sale in 1906. Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971.

121

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122

123

122. A Della Robbia Pottery jug by Arthur E Bells, slender, shouldered form, incised and painted with scrolling foliage, the spout with an Egyptian, mask and a winged scarab to the base of the handle, glazed in shades of green, blue, cream and aubergine on a terracotta ground, incised and painted marks, incised AEB monogram, handle missing, 28cm. high £120-180

123. A Della Robbia Pottery vase by John Fogo, pear shaped with knopped neck, incised and painted with vertical columns of foliage in shades of green, turquoise and yellow, incised mark and artist cipher, painted PJ monogram, minor glaze frits to top rim, 21.5cm. high £150-250 Provenance Private collection.

124. A rare Della Robbia Pottery three-branch candlestick by Marian de Caluwe, modelled as four bare-breasted classical maidens supporting urn sconces on their heads, wearing green and yellow costume, on stepped circular base, glazed in shades of yellow, green and cream, painted DR, MdeC, and 5, incised 241 and X cipher, 37.5cm. high £2,000-3,000 Peter Hyland The Della Robbia Pottery Birkenhead 1894-1906, Antique Collector’s Club, page 165 figure 175 for a comparable three-branch candlestick also by Caluwe. Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971.

124

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125. A Della Robbia Pottery charger, incised and painted with radiating leaves and tulip flowers from the well, the rim decorated with a frieze of berried foliage and vine in green, blue, yellow and red, incised marks and ELL monogram, factory repaired rim, 37.5cm. diam. £250-350 Catalogue notes An example of this design made by Cassandia Annie Walker was sold by Mellors & Kirk auctioneers. Provenance Private collection.

125

126. A Della Robbia Pottery charger by Charles Collis, incised and painted to the well with a heraldic griffin on scrolling foliate ground, the rim with a band of radiating leaf and flower head motif, in shades of turquoise, green, yellow and ochre incised marks, incised C cipher and painted TH monogram for Tom Hall, glaze frits 38cm. diam. £250-350 Provenance Private collection.

126

127. A Della Robbia Pottery medallion plaque, circular cast in low relief with an angel cradling a young child, with an owl flying in the distance, glazed turquoise and green on a white ground, incised Della Robbia Pottery Birkenhead - M 250, 31.5cm. diam. £200-300 Peter Hyland The Della Robbia Pottery Birkenhead 1894-1906, Antique Collector’s Club, page 97 figure 102 for a comparable small religious medallion. Provenance Hannah Jones (Della Robbia artist), thence by descent when purchased by the present collector in 1971.

127

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BURMANTOFTS FAIENCE POTTERY 128. A Leeds Fireclay Lefco Ware bird bath, swollen cylindrical column supporting flaring bowl cast in low relief with flower stems glazed oatmeal, unsigned, damages, 77cm. high £200-300 Provenance A private collection of Burmantofts Faience Pottery.

129. A pair of Leeds Fireclay Lefco Ware jardiniere and stands, the tapering square section stands cast with foliate panels, the bowls with a similar band of foliate decoration, glazed oatmeal, stamped marks, damages, 93cm. high (4) £400-600 Provenance A private collection of Burmantofts Faience Pottery.

130. A pair of Leeds Fireclay Lefco Ware planters, square base supporting swollen fluted column, the bowl with cast entrelac motif, glazed oatmeal, stamped FW to bowl, damages, 81cm. high (2) £500-600

128

131. A pair of Leeds Fireclay Lefco Ware low jardiniere and stands, flaring gadrooned body with simple flower head panels, glazed oatmeal, impressed marks, damages, 50cm.diam. 51cm. high (4) £300-500

132. A pair of Leeds Fireclay Lefco Ware jardiniere on stands, the square plinths cast with flower motif, glazed oatmeal, impressed marks, no.3 on plinths, damages, 93cm. high (4) £300-500 Provenance A private collection of Burmantofts Faience Pottery.

129

130

131

132

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133. A Burmantofts Faience stickstand, model no.1868, cylindrical form on flaring griffin tripod foot, cast in low relief with floral garlands and bands, covered in an olive green glaze impressed marks, 83cm. high £200-400 Provenance A private collection of Burmantofts Faience Pottery.

134. A Pair of Burmantofts Faience PartieColour vases by Joseph Walmsley, model no.2059, shouldered slender, baluster form modelled in low relief with panels of flowers and scroll foliage, glazed blue, impressed marks, 41cm. high, (2) £120-180

134

133

Provenance A private collection of Burmantofts Faience Pottery.

135. A Burmantofts Faience centrepiece, model no.791, modelled as a young boy pushing a wheelbarrow carrying a large basket, glaze turquoise, a Partie-Colour jardiniere glaze turquoise and eight vases glazed blue impressed marks, minor damages, 15cm. high (centre-piece), (10) £150-250 Provenance A private collection of Burmantofts Faience Pottery.

135 part

136 part

136. A Burmantofts Faience Partie-Colour vase, shouldered form modelled in low relief with panels of flag iris, glazed yellow, another smaller and a collection of Burmantofts Faience pottery impressed marks, 34cm. high (a lot). £120-180 Provenance A private collection of Burmantofts Faience Pottery.

137. A large Burmantofts Faience Dragon vase, model no.676, the double gourd form applied with a scaly oriental dragon stalking a grotesque fish, in glazed in colours impressed marks, minor professional restoration, 60cm. high £1,000-1,500 Provenance A private collection of Burmantofts Faience Pottery.

137

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138. A Burmantofts Faience Anglo-Persian vase by Leonard King, shouldered form with knopped neck, painted with a leaping fish roundel, inside a border of Japoniste prunus and bamboo, the reverse with a shoal of fish roundel, in shades of blue, turquoise, aubergine and green on a cream ground, impressed marks, painted LK monogram and 983, small chip to top rim, 27cm. hig £400-600 Provenance A private collection of Burmantofts Faience Pottery.

138

139. A Burmantofts Faience Anglo-Persian vase by Leonard King, design number 113, shouldered form, painted with flowers and foliage in shades of blue, turquoise, green and aubergine on a white ground, impressed marks, painted monogram and model numbers, 23.5cm. high £300-400

both sides

Provenance A private collection of Burmantofts Faience Pottery.

140. A Burmantofts Faience Anglo-Persian Pillar vase by Leonard King, pattern D.652, painted with a frieze of eagle and serpents in blue, turquoise, green and aubergine on a white ground, the neck with carnation flowers, impressed marks, painted LK monogram, 35cm. high £200-300

139

Provenance A private collection of Burmantofts Faience Pottery.

141. A Burmantofts Faience Anglo-Persian Pillar vase by Leonard King, D.647, painted with winged and crowned heraldic lions, in blue, turquoise, green and aubergine on a white ground, the neck with stylised flowers, impressed marks, painted monogram, minor glaze loss to top rim, 35.5cm. high £200-400 Provenance A private collection of Burmantofts Faience Pottery.

140

141

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142. A Burmantofts Faience Anglo-Persian vase designed by Leonard King, pattern no.2537, shouldered cylindrical form, painted with panels of stylised tulip flowers in blue, turquoise, green and aubergine on a white ground, impressed and painted marks to base, 15.5cm. high £150-250 143. A small Burmantofts Faience Anglo-Persian vase by Leonard King, shouldered form with knopped neck, painted with overlapping scale design in blue and turquoise on a white ground, impressed and painted £120-180 marks to base, 12.5cm. high Provenance A private collection of Burmantofts Faience Pottery.

142

144. A Burmantofts Faience Anglo-Persian vase by Leonard King, D.172, shouldered form, painted with panels of stylised flowers and foliage in blue, turquoise, green and aubergine on a white ground, and another smaller vase, impressed and painted marks, professional restoration, 21cm. high, (2) £150-250

143

145. A Burmantofts Faience Partie-Colour vase by Joseph Walmsley, compressed form with cylindrical neck, decorated in low relief with a pair of peacocks in a landscape, in colours on a cream ground impressed marks, 23.5cm. high £150-250 Provenance A private collection of Burmantofts Faience Pottery. 146. A Burmantofts Faience Partie-Colour jardiniere by Joseph Walmsley, model no.2218, modelled in low relief with a sailing vessel on a calm sea, the sun rising on the horizon, painted in Anglo-Persian colours impressed and £200-400 painted marks, chip to top rim, 21.5cm. high Provenance A private collection of Burmantofts Faience Pottery. 147. A Burmantofts Faience lustre wall plate by Joseph Walmsley, painted with butterflies in golden lustre on a red lustre ground, inside chevron border, impressed marks, painted JW monogram, 26cm. diam. £400-500 144

146

145

147

148. A Burmantofts Faience lustre vase by Joseph Walmsley, painted with scroll design, the rim with a border of painted links, in copper on a ruby lustre ground, impressed marks, remains of painted JW monogram, 26cm. diam. £300-400

148

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149. A Burmantoft’s Faience lustre vase by Joseph Walmsley, tapering cylindrical form, painted with scaly fish swimming, in golden lustre on a ruby lustre ground, impressed marks, painted JW monogram, restoration to inside of top rim, 13.5cm. high £300-500

150. A Burmantofts Faience lustre vase by Joseph Walmsley, compressed ovoid form with swollen cylindrical neck, painted with a band of scroll decoration, the neck with broad border of scales in golden lustre on a ruby lustre ground, impressed factory marks, painted JW and TL monograms, 18cm. high £400-600

151. A Burmantofts Faience vase by Joseph Walmsley, ovoid with swollen cylindrical neck, painted with scaly fish swimming, in golden lustre on a ruby lustre ground, impressed marks, painted feint JW monogram, 17.5cm. high £400-600

149

150

151

Literature Malcolm Haslam, English Art Pottery 18651915, Antique Collector’s Club, page 164 figure 123 this actual vase illustrated.

152. A Burmantofts Faience lustre vase by Joseph Walmsley, tapering cylindrical form, painted with scrolling foliate design between chevron borders, in golden lustre on a red lustre ground indistinct impressed marks, painted TWL mark, 12.5cm. high £150-250 Provenance A private collection of Burmantofts Faience Pottery.

152

153

153. A Burmantofts Faience lustre vase by Joseph Walmsley, swollen cylindrical form, painted with stems of Art Nouveau flowers in ruby lustre on a golden lustre ground, impressed marks and painted WA1, hairline and old restoration to top rim, 10.5cm. high £250-350

154. A good Burmantofts Faience lustre vase by Joseph Walmsley, waisted, tapering cylindrical form, painted with scaly fish swimming below a band of geometric foliage, in copper lustre on a rich ruby lustre ground, impressed marks, painted JW monogram, 17cm. high £500-800 Literature Malcolm Haslam, English Art Pottery 18651915, Antique Collector’s Club, page 163 figure 122 this actual vase illustrated.

154

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MOORCROFT POTTERY 155. A pair of James Macintyre & Sons Aurelian Ware vases designed by William Moorcroft, baluster form, printed with Art Nouveau panels of poppy stems and foliage in blue and red highlighted in gilt on a white ground, printed factory mark, 21cm. high (2) £250-300

156. ‘Pomegranate’ a Moorcroft Pottery inkwell with electroplated cover designed by William Moorcroft, painted in colours on a blue ground, and a Moorcroft Pottery ‘Pomegranate’ ashtray, painted green mark, £120-180 12cm. diam. (2) 155 157. ‘Iris’ a James Macintyre & Sons salad bowl and servers designed by William Moorcroft, tubeline decorated in shades of blue, yellow and green, with electroplated rim, printed Gesso mark, 24cm. diam. (3) £400-600

156

158. ‘Wisteria’ a Moorcroft Pottery bowl designed by William Moorcroft, painted in shades of purple, green and yellow on a mottled blue ground, with electroplated metal rim, impressed marks, painted £150-200 green signature, 20cm. diam.

159. ‘Eventide’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered tapering, cylindrical form, tubeline decorated with tall trees in green and blue, highlighted in yellow on a pale green ground, painted green signature, minor glaze loss to top and foot £200-400 rim, 16.5cm. high

157

158

159

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160

161

160. ‘Chrysanthemum’ or ‘Revived Cornflower’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid body with swollen neck and everted rim, painted with panels of flowers in shades of green, blue, red and ochre on a mottled green ground, painted green signature, impressed marks, fine stress line to top rim, 27.5cm. high £1,000-2,000

161. ‘Dawn’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form with waisted neck and flaring rim, tubeline decorated with a band of trees and hills, below fish scale and chevron borders to the neck, in shades of blue and cream highlighted in pink flambe on a pale blue ground, impressed marks, painted blue signature, 25cm. high £800-1,200

162. ‘Dawn’ a Moorcroft Pottery vase designed by William Moorcroft, pear shaped, tubeline decorated with a band of trees and hills between chevron borders, glazed blue, highlighted in pink flambe on a pale blue ground, impressed marks, painted blue signature, original paper label, 15.5cm. high £400-600

162

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PILKINGTONâ&#x20AC;&#x2122;S LANCASTRIAN POTTERY

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163 163. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1909, slender, shouldered form with cylindrical neck, moulded in low relief with ribs, painted with columns of carnations in red and copper lustre on a pale green ground, painted artist cipher and date code, hairline to top rim, 18cm. high £300-500

164

164. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1914, ovoid body with modelled ribs, tall cylindrical neck, painted with columns of English rose in ruby and copper lustre on a mottled orange lustre ground, impressed marks, painted artist cipher and date mark, 19cm. high £1,000-1,500 165. A Pilkington’s Lancastrian vase by William S Mycock, dated 1908, ovoid with tapering cylindrical neck, painted with a band of fine foliage with small ruby red flowers, four stems rising up the neck to form a similar band of foliage and flowers to the neck rim, in copper and ruby lustre on a cream ground, impressed marks, painted artist cipher and laurel leaf motif, impressed date mark, 17cm. high £1,000-1,500 166. A Pilkington’s Lancastrian Pottery model of a monkey probably designed by Richard Joyce or John Spencer, modelled seated on rectangular base covered in a matt grey glaze, impressed Pilkington mark, paper label to base, £150-200 9.5cm. high Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 55 plate 74 for a group of comparable animals illustrated.

165

166

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167. A Pilkington’s Royal Lancastrian vase designed by Walter Crane and painted by William S Mycock, dated 1932, flaring form, painted with a frieze of heraldic lion passant guardant above Tudor rose and hearts, in gold and ruby lustre on a deep blue ground, the interior a golden lustre impressed marks, painted artists ciphers and date code, 12.5cm. high, 19cm. diam. £2,500-3,000 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 9 plate 3 for an example illustrated.

167

168. A Pilkington’s Lancastrian vase by William S Mycock, dated 1907, shouldered form, painted with a frieze of heraldic lion passant, wearing crowns, flanking a Tudor rose, between borders of Tudor rose and heart columns, in golden lustre on a red lustre ground, impressed mark, painted artist cipher and impressed VII date, 20.5cm. high £1,000-1,500

168

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169

170

169. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1910, shouldered cylindrical form, painted with a broad band of vine with bunches of grapes, glazed gold and ruby lustre on a lime green ground, impressed marks, painted artist cipher and date mark, stress hairline to body, 20cm. high £400-600

170. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1912, ovoid with collar neck, painted with exotic birds flying past flowers and foliage, in ruby and golden lustre impressed marks, painted artist cipher and date code, bruise to foot rim, 21.5cm. high £150-250

171. A Pilkington’s Lancastrian solifleur vase by Richard Joyce, dated 1919, painted with birds flying between boughs of berried laurel, in golden and ruby lustre on a mottled blue and green lustre ground, impressed factory mark, painted artist cipher and date mark, hairline to body, 19cm. high £400-600

171

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172

173

172. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1908, shouldered form, painted with hummingbirds flying past blossom fronds, in black on a vivid red ground, impressed marks, painted artist cipher and datecode, 15cm. high £600-800

173. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1912, shouldered cylindrical form, painted with a frieze of rearing antelopes and tall pencil cypress trees on a ground of flowers in gold and ruby lustre on a yellow-orange lustre ground, impressed factory marks, painted artist cipher and date mark, 20cm. high £1,000-1,500

174. A large Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1911, shouldered form with everted top rim, painted with a band of parading peacocks, between geometric borders, in golden lustre on a ruby lustre ground, impressed factory mark and date 1907, painted artist cipher and date mark for 1911, 27cm. high £1,000-2,000

174

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175

CONTINENTAL CERAMICS 175. A set of twelve Sarreguemines Mon Regiment plates after designs by Albert Guillaume, printed and coloured with scenes of French soldiers, each titled, printed factory mark, facsimile signature in the print, 22cm. diam. (12) £300-500 176. An Art Nouveau Denbac Gres Flamme pottery box and cover, twisted gourd form, covered in a pale violet lustre glaze, the rim a running bronze, impressed marks to base, 15cm. diam. £150-200 177. A large Gouda Pottery lantern, pierced cylindrical top with conical top and loop, painted with flowers and foliage in shades of red, blue ochre and yellow on a white ground, indistinct painted mark to base, repair to two vents, 47cm. high £120-180 178. An Art Nouveau pottery vase the design attributed to Zsolnay Pecs, waisted cylindrical body with swollen bowl and four fluted buttresses with claw terminals, modelled in low relief with textured honeycomb glazed in colours and petrol blue lustre, highlighted in gilt, the swollen neck applied with ruby glass roundels, unmarked, 21.5cm. high £150-250

176

177

Literature British & Continental Decorative Arts, Christie’s London, page 50 lot 297 for a comparable vase. 179. An Art Nouveau Pierrefonds stoneware vase, model no.425, the compressed body cast with foliate motif, the tall slender solifleur neck with square section foliate neck, covered in a blue and yellow crystalline glaze, impressed marks, 30.5cm. high. £120-180 179A. A Delaherche miniature vase, covered to the shoulder with a mottled brown and blue glaze, four other Delaherche miniature vases and a bowl, painted marks, 3cm. high (tallest), (6) £80-120

178

179

179A

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180

180. A pair of Sevres vases by Optat Milet, shouldered form, painted with sprays of blossom in red on an orange ground, the neck with a band of tubelined geometric decoration in shades of turquoise, aubergine and orange painted marks, 493 and 494, minor chips, 25cm. high £200-300

181. An Aesthetic Movement Sevres charger, painted with white cranes wading, impasto painted in colours impressed factory mark, applied Clement Massier paper label, 40cm. diam. £400-600

182

182. A Vallauris Sevres pottery charger, painted with two storks resting before grasses, glazed in colours impressed mark, signed Vallauris Sevres, indistinct artist signature Bepel, 40cm. diam. £400-600

183. A large continental pottery Iznik charger, painted with carnation flowers in a Persian palette of blue, turquoise and aubergine on a white ground unmarked, 51cm. diam. £250-350

183

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LITERATURE, WORKS ON PAPER & TEXTILES 184. ‘The Studio Yearbooks’ 1906-1923 and 1925 nineteen volumes, various bindings (19) £300-500 184 185. ‘The Studio’ twenty-six volumes, including 6 (two copies), 9 (two copies), 14 (two copies),15 (two copies) 16-18, 22,23,27,29,30, various bindings (26) £300-500

185

186

186. The Studio five special volumes, comprising ‘Art in 1898’, ‘The New Book Illustration in France’, ‘British Book Illustration’, ‘The Art Revival in Austria’ and ‘Arts and Crafts A Review of the Work executed by Students in the Leading Art Schools of Great Britain and Ireland’, (5) £200-300

187. The Studio General Index volumes 142, published by Sims & Reed, 1979, green boards embossed in gilt, and The Studio A Bibliography the first fifty years, 29cm. high, (2) £200-300

188. A collection of ceramics and design reference books, including books on Ruskin Pottery, The Martin Brothers, William De Morgan, Worcester Porcelain, New Hall, tiles, Wedgwood and Ceramic Design, (a lot) £150-200 187

188 189. Science in Modern Life volumes 1-6 with covers designed by Talwin Morris, published by Gresham Publishing Company, 1909, and Roxborough Series fourteen volumes with covers designed by Talwin Morris, (20) £120-150

190. Art and the Beauty of the Earth a lecture by William Morris printed at the Chiswick Press, 1898, in Golden Type, Morris as I Knew Him by Bernard Shaw and eighteen other books on or relating to William Morris, (20) £200-300 189

190

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191

192 detail

191. Ford Madox Brown (1821-1893), David and Goliath, 1866 a lithographic print on paper for a stained glass window by Morris & Co, framed monogram and date lower right, copyright inscription to lower margin 49.5 x 39.5cm. (image) £150-250 Literature Charles Sewter, The Stained Glass of William Morris & His Circle, Paul Mellon Centre/Yale University, 1974 catalogue number 266.

192. Four lengths of a Morris & Co runner, probably manufactured by Royal Wilton, 68cm. wide, 393cm, 376cm, 198cm, 202cm long £600-800

193. A rare Morris Marshall Faulkner & Co embroidered velvet bell pull probably designed by William Morris or Ford Madox Brown, embroidered in silk with flowers and foliage in green, white, brown and white on an olive green ground, 260 x 10.5cm. £2,500-3,000 Provenance Decorative Arts Phillips Glasgow, Friday 6th October 1995, page 20 lot 103. Part of a collection by or associated with Morris & Company, formed between the wars and purchased from Morris & Co. in Hanover Square, London. Private collection. Literature Linda Parry (editor) William Morris Philip Wilson/Victoria & Albert Museum, 1996, page 239 catalogue number M.13 for an identical bell-pull dated to circa 1865. This example is believed to be one of the examples mentioned in his household account book as ‘ two sets of worsted bell ropes’. 193

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194. Syrinx and Flora a pair of silk embroidered panels in the manner of Lewis F Day, rectangular, embroidered in red silk and titled, inside floral border, framed, unsigned, 66 x 23cm (panels), (2) £150-200 195. An ebonised wood firescreen in the manner of John Pollard Seddon, arched form with pegged joints, set with embroidered silk and painted panel of flowers and foliage unsigned, 96cm. high, 68cm. wide £150-200

194

196. ‘The Empire Quilt’ a rare and large Barlow & Jones satin applique made for Queen Victoria’s Golden Jubilee designed by Dr Christopher Dresser, 1887, unbleached cotton, decorated with heraldic devices from the British colonies around a central royal arms, bordered with wreaths and seaweed, the corners with the Star of India and Prince of Wales plumes, 272 x 246cm. £2,000-3,000

195

Literature Widar Halen Christopher Dresser, Phaidon page 114 figure 113 for an example illustrated. 197. Louis Strahl Peacock in a pine tree, with lilac and wisteria blossom woodblock on paper wall paper section, first printed 1908, framed 152 x 52cm. £150-200 Catalogue notes this design illustrated in The Pattern of a Great Organisation, 1899-1949, Wall Paper Manufacturers. 198. Sir William Nicholson (1872-1949) Rudyard Kipling, woodblock on paper, ‘Cecil Rhodes’ and ‘Archbishop of Canterbury’ two other woodblocks by Sir William Nicholson, framed signed in the print 28 x 21cm. (3) £150-250

196

197

198

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199 200 199. A watercolour of Ceres, modelled resting in pink robe, amidst corn, before a child holding a sheaf of corn, vellum, with inlaid mother of pearl and abalone sky, in tooled rectangular frame, signed EF to sickle 25.5 x 14cm (image) £300-500 Provenance Phillips Auctioneers, 28th March 1985.

200. Maurice Greiffenhagen RA (1862-1931) A Fairy Visit, pencil with white heightener on paper, framed signed lower left 36 x 29.5cm. (image)

£400-600

201. Bernie Shaw Going to the Play, 1914 print on paper, laid on board, signed and titled in pen lower margin, 27.5 x 22.5cm.

£500-800

202. Vernon Beauvoir Ward (1905-1985) The New Kimono, 1926 watercolour, heightened with body colour on paper, framed signed and dated lower right 38 x 28cm.

£400-600

201

202

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FURNITURE

203. A Herter Brothers ebonised cherry wood cabinet, with glazed central doors, flanked with open shelves and carved Chinese brackets, below a glazed central cabinet with carved pillars, inlaid with abalone shell frieze of stylised flowers, on claw feet stamped Herter Bros to back, 168cm wide, 136cm. high, 38cm. deep. ÂŁ500-800 Literature Charlotte Gere & Michael Whiteway 19th Century Design from Pugin to Mackintosh Wiedenfeld & Nicolson, page 181 plate 226 for an ebonised cabinet similar. In Pursuit of Beauty Americans and the Aesthetic Movement Metropolitan Museum of Art, page 168 figure 5.27 for a comparable wardrobe. Robert Judson Clark The Arts and Crafts Movement in America 1876-1916, Princeton 21st October-17th December 1972, page 16 catalogue number 3 for a comparable table.

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204. An Aesthetic Movement cast iron hanging cabinet attributed to Coalbrookdale, the pediment supported by curved and fluted brackets, the back plate cast in low relief with bands of fruiting foliage, below a pierced cabinet with hinged door, with pierced Japoniste rails, stamped registration mark 376762 for 1882, 102cm. high, 56cm wide £1,500-2,000 Provenance British Decorative Arts from 1860 to the Present Day, Christie’s King Street 9th October 1992 lot 215. Private collection.

205 detail 204

205. A Coalbrookdale Nasturtium cast iron bench, cast and pierced with central finial of a mask head, panels of foliage, painted in silver and black, with wooden seat slats, cast C.B.Dale & Co to back, and registration diamond for 1866, 178cm. wide, 88cm. high £1,000-1,500 Provenance British Decorative Arts from 1860 to the Present Day, Christie’s King Street 9th October 1992 lot 216. Private collection.

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206. A mahogany card table probably German, the circular quartered top with four pull-out counter drawers, on square stem with swollen clustered pillars, on flaring octagonal patinated copper base, 79.5cm. diam. £300-500

207. An Art Nouveau inlaid mahogany occasional table, the square section top supported on slender shaped legs and frame, with inlaid foliate panel to each side, 72cm. high, 52 x 51cm square top. £150-200

206

207

208. A Jeypore School of Art brass tray topped occasional table, possibly retailed by Liberty & Co, the wooden base with six articulated legs with radiating stretchers with mushrabeyeh panels, the slightly shaped tray top, cast in relief with a broad band of scrolling foliage and central flower-head well, incised marks, 77cm. diam, 52cm. diam. (2) £150-250

209. An Aesthetic Movement ebonised wood three fold-screen, with canvas panels, stencilled and painted with Glasgow rose to interior, the exterior with rose scroll panels, unsigned, 168 x 56cm (each panel) £120-180

210. A large carved and painted wall mirror probably continental, the frame carved with yellow roses climbing a trellis, in colours, unsigned, 111 x 100cm. £300-500

208

210

209

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211. An Arts and Crafts oak hall settle probably by J S Henry, with hinged plank seat shoe cupboard, the back splats with pierced Art Nouveau flower stems and set with circular mirror, with applied patinated metal coat hooks and umbrella rails, unsigned, 155cm. wide, 43cm. deep, 183cm. high £300-400 Literature The Furnisher, March 1900 for an article on J S Henry illustrating a comparable Hall Stand by J S Henry listed as being designed by C.F.A Voysey. 211

212. An Art Nouveau inlaid display cabinet probably by Shapland & Petter, two lower glazed doors with stained glass Art Nouveau flower stems, below central cabinet and mirrored overmantel, inlaid with softwood and pewter foliate borders, locks stamped H S & S, 224cm. high, 130cm. wide, 47cm. deep. £500-1,000 Literature Daryl Bennett Shapland & Petter of Barnstaple, Museum of Barnstaple, page 33 plate 3.18 for a comparable display cabinet illustrated.

212

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213. An Aesthetic Movement ebonised wood tile-topped plant stand in the manner of Bruce Talbert, square section with turned, tapering legs and bobbin undercarriage, set with large Minton’s Pottery tile decorated with prunus spray and geometric border in coral red, unsigned, 74cm. high £150-250 214. A mahogany three fold fire screen, the central panel decorated with a classical harp player in a woodland setting, the flanking panels with birds perched in forest trees, signed indistinctly to the left panel, 95cm. high, 96cm. wide £300-500 215. A freestanding rosewood notice board, with glazed door, the frame with carved scroll brackets and rose flower head roundels, 212 x 105cm. £500-1,000 Provenance The Indian High Commission, London, by repute.

213

213 top

214

215

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216. A continental Secessionist limed and ebonised oak sideboard, rectangular form with enclosing mantle, mirror back with two hinged door compartment under drawers, with silvered metal furniture, 166cm. high, 125cm. wide £400-600

217. An oak “Holland” display cabinet after a design by George Walton, on slender, tapering square section legs, the glazed twin doors with gilt metal fittings, glazed side panels and overhanging mantel, shaped internal shelf, 122cm. high, 91cm wide, 39cm deep. £400-600 Literature The Studio Yearbook, 1907 for an illustration of the original Holland cabinet. Karen Moon George Walton Designer & Architect, White Cockade, page 138 plate 181 for the Holland cabinet illustrated with two of Walton’s candlesticks, flanked by a pair of Brussels chairs in the Walton’s drawing room at 26 Emperor’s Gate, London. Lyon & Turnbull Scottish Design from 1860, 15th June 2011, lot 28 for a comparable, larger example.

218. A Glasgow School hall stand possibly designed by E A Taylor, inlaid with a marquetry panel of an Art Nouveau maiden, applied with six metal coat hooks with Glasgow School foliate terminals, hinged glove box and two umbrella compartments with tin drip pans, 208cm. high. £400-600

217

216

218

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219. A Scottish pine bench in the manner of Wylie & Lochhead, the back with cut-out Art Nouveau tulip flowerheads and Glasgow School roundel, weathered, 111cm. high, 126cm. wide £150-200

220. A Liberty & Co Secessionist mahogany overmantel mirror, with flanking shelves, 163cm. wide, 119cm. high £400-600

219

221. An Anglo-Persian occasional table probably retailed by Liberty & Co, decagonal section on ten arched legs, set with marquetry geometric borders and mother of pearl, unsigned, losses to top, 65cm. high, 61cm. diam. £150-200

222. A mahogany wall cabinet in the manner of Collinson & Locke, shaped rectangular section, set with two angled, glazed cabinets, the backplate with simple carved scroll decoration, unsigned, 92cm. high, 81cm. wide £200-300

220

221

222

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223. A Liberty & Co oak corner cupboard, architectural form, the panelled door below glazed door upper compartment, with patinated metal furniture, applied ivorine label, 197cm. high, 83cm. wide. £500-1,000 Literature Daryl Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 272 figure 7.63 for a comparable corner cabinet glazed to both compartments.

224. An ebonised wood Thebes stool probably retailed by Liberty & Co, the square seat on turned legs, 43cm. square, 35cm. high £250-300

225. A Liberty & Co oak bureau and bookshelf, with patinated metal furniture, applied ivorine label to the drawer, 92cm. wide, 132cm high, 38cm. deep. £100-200 223

224

225

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226

227 226. A pair of mahogany planters possibly retailed by Liberty & Co, tapering square section, panelled sides, with flaring feet, with galvanised tin liners, unsigned, 85cm. high, (2) £350-450 227. An Aesthetic Movement ebonised wood Shakespeare chair in the manner of E W Godwin, probably retailed by Liberty & Co, angled section seat, with curved arms, the high-back with a panel of £400-600 rod and ball decoration 130cm. high 228. A small Liberty & Co oak wall cabinet, rectangular with shaped and pierced back, the hinged door carved with a dragon, paper label to back, 39cm. wide £150-200 229. A copper mirror possibly retailed by Liberty & Co, long, slender rectangular form, stamped in relief with floral panels, and inscription Look at Me I Don’t Flatter, 177cm. wide, 59cm. high £600-1,000

228

229

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231 230

230. An ebonised wood Sussex armchair probably Morris & Co, with turned bobbin back and rush seat, and a similar side chair, 83cm. high, (2) £200-400 Literature Linda Parry William Morris, Victoria & Albert Museum, exhibition 9th May -1st September 1996, page 160 figure 74 for the original Morris & Co advertisement illustrated. 231. A pair of ash Clissett high-back chairs, turned ash supports with five graduated back splats and rush seat unsigned 106cm. high, (2) £300-500 Literature Annette Carruthers & Mary Greensted Good Citizens Furniture, Cheltenham Museum & Art Gallery, page 81 catalogue number 17 for a comparable chair.

232

232. A pair of ash Clissett high-back chairs, turned ash supports with five graduated back splats and rush seat unsigned 106cm. high, (2) £200-400 Literature Annette Carruthers & Mary Greensted Good Citizens Furniture, Cheltenham Museum & Art Gallery, page 81 catalogue number 17 for a comparable chair. 233. An ebonised ash rocking chair designed by Ernest Gimson, with turned bobbin back and rails, and rush seat, 122cm. high £800-1,200 Provenance purchased from Sotheby’s London in the 1980s by the vendor. Literature Ernest Gimson His Life & Work, plate 38 for a settee, chair and armchair from this range illustrated.

233

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234. A large Barnsley Workshops glazed walnut bookcase designed by Edward Barnsley, double panelled door compartment, flanked by single cupboards, below leaded glass cabinets, glass shelves, stamped Barnsley, 249cm. wide, 209cm. high, 43cm. deep. ÂŁ800-1,200 Literature Edward Barnsley Sixty Years of Furniture Design and Cabinet Making, The Fine Art Society, London 1982, page 25 catalogue number 2 for a comparable two door example made in oak for Basil Gimsonâ&#x20AC;&#x2122;s house, 1919 for comparison.

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235. A walnut and ebony inlaid mirror designed by Edward Barnsley, the rectangular wall mirror with carved and inlaid ebony string band to the border and fine double border of fruit wood chevrons, with panelled back, bevelled mirror glass, unsigned 80 x 64.5cm. £500-1,000 Provenance The Estate of Cyril Franklin, British and Continental Decorative Arts from 1850 to the Present day Christie’s King Street, 30th October 1997, lot 222. which quotes Ref no.1925/59. Made by Charley Bray (56 hours). the original price was £12.12s. Private collection.

235

236. A Gothic Revival slender oak refectory table, the rectangular top with raised dowels, set on Gothic arch under-carriage with ebonised wood dowels, 184cm x 59cm (top) £800-1,200

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237. A painted satinwood triptych depicting A Proper Sonnet, the exterior doors decorated with two cavaliers standing beside a cherub holding comedy and tragedy masks, the domed mantel panel with cavaliers before a lady, with ivory handles, the interior with illuminated text I smile to see how you devise..., the doors with scenes of a medieval banquet, inside Glasgow rose borders, unsigned, 56cm. high £700-1,000

237 open

237

238. A Gothic walnut and bronze jewellery casket, in the manner of A.W.N. Pugin, the domed hinged cover with articulated handle, pierced strapwork decoration, on four feet unsigned 25cm. wide. £400-600

239. A pair of Gothic Revival brass candlesticks, on three claw feet, the tapering base with sunburst motif, the central column with elliptical mirrored glass panel with cast foliate border, castellated drip pan, unsigned, 60cm. high (2) £500-600

240. A repousse brass wall basin, the shaped back-plate hammered in low relief with two classical dolphins, unsigned, 41cm. high £150-200 238

240

239

239 back

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241. A pair of massive floor standing Aesthetic Movement brass candlesticks, tapering conical strap base, cast in low relief with zig-zag columns, alternately spaced with pierced columns of stylised, scrolling foliage in the manner of Dr Christopher Dresser, with scrolling foliate terminals, the waisted octagonal column with flaring cylindrical sconce, all on claw feet unsigned, 106cm. high, (2) ÂŁ1,500-2,000

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242 242 detail

242. An Aesthetic Movement patinated copper coal bin, footed, angled rectangular section, stamped in low relief with panels of stylised flowers and foliage, the hinged door with an owl perched on a tree bough, with en suite shovel, over-slung turned ebonised wood handle, 49cm. wide, 42cm. high £200-300

243

243. A Benham & Froud copper and wrought iron coal scuttle probably designed by Dr Christopher Dresser, flaring rectangular form on scroll feet and central bar carry handle, stamped mark to base, £200-300 50cm. wide.

244. A patinated metal Gothic Revival tantalus, the rod frame set with fleur de lys terminals and seated lion to the corners, the arched handle with Egyptian Sphinx, Kite registration mark, 31cm. wide £300-400

244

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245. A large Cotswold School patinated iron hall lantern, octagonal section with tapering dome top, with clear glass panels, unsigned, 42cm. high £600-800

246. A patinated copper wall mirror possibly retailed by Liberty & Co, rectangular section, cast in low relief with panels of Art Nouveau foliage, set with turquoise ceramic panels, unsigned, 68 x 44.5cm. £300-500

247. A brass wall sconce probably Keswick School of Industrial Arts, shaped rectangular back stamped in low relief with a central foliate roundel, inside flower head mon, with two candle sconce tray unsigned 31cm. high £250-300 246 245 248. A wrought iron toasting fork designed by Ernest Gimson, probably made by Alfred Bucknell, with wrought heart motif to stem, the octagonal guard stamped with geometric panels, the pierced handle with sun motif hanging hole, unsigned, 49cm. long £300-500 Literature Annette Carruthers and Mary Greensted, Simplicity or Splendour, Cheltenham Museum & Art Gallery, page 113 catalogue no. 71, figure 61 for a comparable example illustrated.

247

248

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250

249. A pair of Gothic Revival brass candlesticks in the manner of A.W.N Pugin, the tapering trilobed base supporting hexagonal knopped stem cast in low relief with tracery panels, the central knop flanked with hanging pilaster, flaring to support six scrolling arms with foliate panels, and drip pans, central crown with further sconce, unsigned 65cm. high £800-1,200

249

250. A Gorham & Co electroplated metal and ivory tea set, cast with foliate bands, comprising teapot and cover with ivory insulators, milk-jug and hinged cover, sugar basin and cover, and an additional jug, sugar and slop basin, stamped marks, 20cm. high, (6) £150-200 251

251. A wrought copper set of fire tools, comprising shovel, tongs and poker, unmarked, 62cm. long (shovel), (3) £250-300

252

252. A large copper jug probably Home Arts and Industry, bellied form hammered with bands of mythical beast and scrolling foliage, with heraldic lion, riveted iron handle, unsigned, 43cm. high £120-180 253. A patinated copper wall charger, stamped to the well with three fish swimming in turbulent water, unsigned, 58cm. diam. £200-300 254. A Hugh Wallis patinated copper charger on three scroll feet, hammered finish, the well applied with silvered metal heraldic shield with a lion rampant with oak leaf and acorn border, stamped mark to base, 47cm. diam. £200-300

253

254

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255

256

257

255. A Hart and Huyshe Campden copper four piece coffee set, comprising coffee pot with hinged cover, hot-water jug and cover, milk-jug and sugar basin, the pots with wooden finials, on matched copper tray, cast mark to coffee pot, 21cm. high (5) £200-300 256. A Birmingham Guild of Handicrafts patinated copper jardiniere designed by Arthur Stansfield Dixon, the swollen, hammered bowl set with two scrolling brass handles, stamped BGH to base, 28cm. wide £200-300 257. A Birmingham Guild of Handicrafts copper jug and cover designed by Arthur Stansfield Dixon, tapering cylindrical form, with domed cover, with riveted brass handle and ball finial, stamped B.G.H to base 30.5cm. high £200-300 258 258. A pair of Bath Cabinet Makers oak picture frames, rectangular with flaring capitals and base, inlaid with fruitwood, ebony and mother of pearl stylised flowers, one framing a watercolour, pen and ink greeting by H D Richter, the other with a printed Christmas wishes from H D Richter, 40 x 26cm. (2) £150-250 259. A John Pearson repousse copper casket, rectangular section, with hinged cover, the cover decorated with two dragonlike creatures their tails forming a scroll of foliage, the box decorated to the front with simple flower stems, wooden lining, signed JP monogram to back, 27cm. wide £300-500 259

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260. A W.A.S Benson silvered metal jug, flaring conical form with collar neck, hinged cover with heart-shaped press, and an ebonised wood handle, stamped mark to base, 19.5cm. high £120-180 261. A Keswick School of Industrial Arts brass charger, stamped in low relief to the well with stylised Persian flowers and foliage, the rim with alternate bands of scroll, a copper chamberstick decorated with poppy seedheads and two other chargers stamped KSIA mark to charger, 37.5cm. diam. (4) £150-250 Literature Iain Bruce The Loving Eye and Skilful Hand, Bookcase, page 21 figure 14 for a comparable example illustrated.

261 260

262. A rare Newlyn Industrial Class copper pipe rack by Phillip Hodder, shaped rectangular form, hammered in low relief with a phoenix rising above a shield, with two rivetapplied panels forming pipe holders, etched PH monogram, 43cm. wide £300-500 263. A Newlyn Industrial Class copper plate, hammered in relief with a galleon at full sail, a dolphin swimming in the foreground, impressed Newlyn, 29cm. diam. £150-250 262 264. A Newlyn Industrial Class patinated copper tray designed by J D Mackenzie, and worked by J P Hodder, rectangular, repousse hammered with a frieze of fruit and foliage, and another smaller, scratched to the reverse by J D Mackenzie worked by J P Hodder, Newlyn Industrial Class, Newlyn Penzance 59 x 42cm. (2) £250-350 265. A Newlyn Industrial Class copper rose bowl, with flower brick, hammered in relief and chased with scaly fish, unmarked, 17.5cm. diam. £150-250 266. A repousse hammered copper tray, rounded, rectangular form, hammered with four heart motif set in a border of pomegranate fruit and vine, unsigned, 66 x 41cm. £120-150 263

264

265

266

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267. A Cotswold School oak pipe stand, rectangular, with carved dividers and band of chipped decoration to base rim, unsigned, 28cm. wide. £200-300

267

268

268. A modern Alessi electroplated toast rack originally designed by Dr Christopher Dresser, rectangular base plate with ten rod dividers and central T bar handle, stamped Alessi mark, 11cm. wide £50-100

269

270

269. A Hukin & Heath silver inkwell, model no.18068, tapering, rectangular section, with pen rest, the tapering well with hinged cover and glass liner, stamped marks, London 1905, 18068, 11.5cm. wide. £150-200

270. A Moss Morris silver twin-handled sugar basin, the flaring conical bowl with applied branch handles, hammered finish, stamped marks, London 1903, 14cm. wide. £150-200

271. A patinated copper wall mirror, tapering rectangular form, with cast decoration and riveted corner panels, on wooden frame, with bevelled mirror glass, unsigned, 56 x 40cm. £120-180

271

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272

272. A silvered metal box and cover with enamel panel by N Spooner, rectangular form with rope-twist borders, the cover set with Cupid and fairy enamel panel in colours on a green ground, the interior with felt lining, signed to the enamel N Spooner 15 x 6.5cm. £200-300

273

273 top

273. A Ferdinand Barbedienne cloisonne enamel box and cover, dated 1878, the gilt metal box on four pierced and cast feet with claw pads, the cover with foliate knop, enamelled with a frieze of flowers and foliage in colours on a blue ground, signed to the base F Barbedienne, B Souvenir affectueux 26 Fevrier 1878, 13cm. high £800-1,200

274. An Elkington & Co cloisonne enamelled copper dish, dated 1875, probably by Albert Auguste Adolphe Wilms, oval section, enamelled with a butterfly and a bird flying past a bough of prunus, in colours on a pale green ground, signed and dated E & Co 1875 in the design, 24cm. wide £200-300

274

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H.G. MURPHY “FALCON STUDIO” METAL WARE & EFFECTS FROM THE ESTATE OF H.G. MURPHY

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H.G. MURPHY H.G. Murphy was born in Birchington-on-Sea in Kent on 27th October, 1884. His father, a groom, died when Harry was only six and the family was obliged to seek lodgings in London, where they settled in premises located just off Kensington Church Street. A shy and introspective boy, Harry was largely self-taught and spent much of his spare time in the local library where, according to family tradition, he devoured Encyclopedia Britannica from cover to cover firing a lifelong passion for many of the subjects which were to influence his designs including botany, astronomy, astrology and zoology. At the age of 14, a chance meeting at a local Arts and Crafts exhibition was to have a radical bearing on Harry's life and career. While admiring the silverware on display he fell into conversation with Henry Wilson, the celebrated designer and craftsman who, clearly impressed by the boy's enthusiasm, offered Harry a six-year apprenticeship at his studio in Kensington. Wilson was probably England's greatest teacher and mentor of young talent in the Arts and Crafts tradition and by the end of his apprenticeship Harry had mastered many of the skills necessary to be a highly competent goldsmith and silversmith, such as hammering, engraving, gem polishing, gem setting, niello work and enamelling. Unsurprisingly, much of his output before and after the First World War was strongly influenced by nature and naturalism and it was not until the 1920s that he started to experiment with a range of different ideas and concepts. In 1928, Harry Murphy established retail premises in Marylebone called the Falcon Studio. By the early 1930s, his output was prodigious encompassing silver commissions from City institutions, churches, schools and sporting associations as well as small-scale jewellery in silver and gold, such as a splendid topaz, sapphire, diamond and polychrome enamel tiara designed and made for the Princess Royal. The Falcon Studio prospered through the late 1930s but Murphy's health had begun to deteriorate. In 1938 he received the award of Royal Designer for Industry (RDI) from The Duke of Gloucester and Harry was appointed the Faculty's First Master. He died on 10th July, 1939, at the tragically young age of 54.

275. A pair of H.G. Murphy Falcon Studio silver tablespoons, London 1934, plain form, stamped marks, length 22.5cm, approx. weight 4.9oz. (2) £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

276. An H.G. Murphy Falcon Studio silver child’s fork, London 1937, three-pronged tines, the terminal with a stylised pierced polar bear, stamped marks, length 15cm, approx. weight 1oz. £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

277. An H.G. Murphy Falcon Studio silver grapefruit spoon, London 1935, plain tapering form, stamped marks, length 15.8cm, approx. weight 1.9oz. £150-200 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

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278. An H.G. Murphy Falcon Studio silver fruit knife and fork, London 1933 and 1935, plain tapering handles, stainless blade and tine, plus an H. G. Murphy spoon and ladle, stamped marks, approx. weight 1.4oz. (4) £150-200 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 279. A small collection of silver flatware, comprising: a pickle fork and jam spoon, by Joyce Rosemary Himsworth, Sheffield 1936 and 1940, another spoon, by Joyce and John Himsworth, Sheffield 1934, and a jam spoon by Heath and Middleton, Birmingham 1906, stamped marks, approx. total weight 2.8oz. (4) £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 280. An H.G. Murphy Falcon Studio Art Deco silver butter knife, London 1934, plain tapering form, stamped marks, length 16.8cm, approx. weight 1.6oz. £100-150

279

278

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 281. An H.G. Murphy Falcon Studio silver butter knife, London 1937, plain tapering form with a tapering handle, stamped marks, length 13.8cm, approx. weight 1.1oz. £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

280

282. A silver Tree of Life caddy spoon by Jesse Murphy, London 1973, fig-shaped bowl, spot-hammered decoration, the terminal pierced with a tree of life, plus a napkin ring of hexagonal form by Jesse Murphy, stamped marks, London 1973 and London 1959, 10.5cm. long, approx. weight 1.8oz. (2) £250-300

281

Provenance Jesse Murphy, and thence by descent to the present owner. 283. An H.G. Murphy Falcon Studio silver vinaigrette, London 1929, oblong form, the hinged cover with niello decoration, the interior with a pierced grille, plus a similar silver box, plain oblong form, by H.G. Murphy, London 1932, stamped marks, lengths 4cm and 3.8cm, approx. weight 1.1oz. (2) £300-400

282 part

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin, The Jewellery and Silver of H.G. Murphy, Antique Collectors’ Club, 2005, page 168 this vinaigrette illustrated. 284. A pair of H.G. Murphy silver napkin rings, London 1936, hexagonal form, plus a single Murphy napkin ring, London 1935, with the Falcon Studio mark, wire-work decoration, stamped marks, approx. weight 2oz. (3) £200-300 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

283 284

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285 285. An H.G. Murphy Falcon Studio silver paten, London 1935, circular form, spot-hammered decoration, stamped marks, diameter 13.5cm, approx. weight 4.4oz. ÂŁ150-200 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

286. An H.G. Murphy Falcon Studio silver waiter, London 1938, circular form, with a stylised border, stamped marks, diameter 17.8cm, approx. weight 8.5oz. ÂŁ300-500 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 286

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287

287. An early H.G. Murphy silver and ivory thermometer, rounded rectangular form, rope-work border and loop terminal, with niello decoration of a sun within foliate and scroll borders, ivory back panel, the glass thermometer broken, stamped H.G.M. monogram, 22.5cm long. £300-400 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Paul Atterbury and John Benjamin, The Jewellery and Silver of H.G. Murphy, Antique Collectors’ Club, 2005, page 78 this example illustrated.

288. A set of four H.G. Murphy Falcon Studio silver napkin rings, London 1935, circular form, various wirework decoration, in the original fitted case, stamped marks, diameter 4.5cm, approx. weight 1.5oz. £400-600 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

288

Literature Paul Atterbury and John Benjamin, The Jewellery and Silver of H.G. Murphy, Antique Collectors’ Club, 2005, page 106 for similar illustrated.

289. An H.G. Murphy Falcon Studio Art Deco silver five-bar toast rack, London 1938, circular bars, central tapering fluted handle, on a rectangular base on four square pad feet, stamped marks, length 9.5cm, approx. weight 6.5oz. £400-600 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy, Antique Collectors’ Club, 2005, page 105 this design illustrated 289

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290. An H.G. Murphy Falcon Studio silver pepper pot, London 1938, tapering circular form, rope-work borders, pull-off cover, on a raised spread circular foot, stamped marks, London 1938, height 9.3cm, approx. weight 2.5oz. £300-400 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin, The Jewellery and Silver of H.G. Murphy, Antique Collectors’ Club, 2005, page 101.

290

291

291. An R.E. Stone silver pepper pot, London 1929, tapering circular form, spothammered decoration, on a hexagonal foot, stamped marks, height 5.8cm, approx. weight 1.7oz. . £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

292. An H.G. Murphy electroplated trophy cup, tapering circular bowl, spot-hammered decoration, on a raised circular knopped stem, inscribed ‘B.G.W.M.C Challenge Cup Presented By H.G. Murphy June 1912’, £100-150 unmarked, height 14.3cm. Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

293. An H.G. Murphy Falcon Studio silver vase, London 1934, tapering circular form, on a raised circular foot, height 16.3cm, stamped marks, London 1934, approx. weight 3.7oz. £150-200 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

292

293

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294. An H.G. Murphy Falcon Studio matched three-piece silver cafe au lait set, London 1931 and 1937, comprising a coffee pot and two hot milk pots, tapering slender baluster form, spot hammered decoration, Kingwood scroll handles and fluted finials, on raised circular bases, stamped marks, heights 31cm and 26.5cm, approx. weight 79oz. (3) £3,000-4,000 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin, The Jewellery and Silver of H.G. Murphy, Antique Collectors’ Club, 2005, page 85 for part of this set illustrated.

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295 part

295. Thirty-two H.G. Murphy Falcon Studio enamelled metal bookend plates, comprising, five polar bear, two penguin, one ibex, two ring-tailed lemur, two parrot, six flamingo, seven stork, five giraffe and two hornbill, and two oak book ends, with eleven original coloured drawings on paper for the bookends, stamped marks, 14cm. long (45) £300-500 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

296

Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 120 for four pairs of these book ends illustrated. 296. A pair of H.G. Murphy cloisonne enamelled patinated bronze book ends, cast in low relief with stylised flowers and foliage enamelled in colours unsigned, 13cm. high, (2) £100-200 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 121 for this example illustrated

297

297. A pair of H.G. Murphy Falcon Studio enamelled metal Penguin book ends, mounted on triangular wood stamped marks to enamelled metal panel, 15.5cm. high (total height), (2) £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 121 for this example illustrated 298. An H.G. Murphy Falcon Studio enamelled metal Ringtailed Lemur book-end panel, with original colour drawing and tracing paper drawing by H.G. Murphy, stamped mark to enamelled metal panel, 13.5cm. long (3) £150-200 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 122 for this example and the original drawing illustrated.

298

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299. A large collection of enamel plaques, test panels and glazed ceramic roundels by H.G. Murphy and his workshop, including a raised, Limoges enamel panel of two scaly fish, five Limoges enamel star signs a cloisonne enamel butterfly handle and a small blue enamelled vase unsigned, some annotated, 17cm. wide (butterfly), (a lot) £500-1,000 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 29 for examples illustrated. 300. A large collection of enamel plaques, test panels and glazed ceramic roundels by H.G. Murphy and his workshop, including two Limoges enamel tulip panels, a raised enamel galleon plaque, a raised castle landscape panel and a raised crown panel, unsigned, some annotated, 12.5cm. long, (a lot) £500-1,000 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

299 part

Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 29 for examples illustrated. 301. An H.G. Murphy silver and enamel plaque from the centre of an alms dish, circular form, enamelled with the arms of The Worshipful Company of Weavers in an Asprey case, with a printed card inscribed ‘The Original of this Piece was purchased by The Worshipful Company on the recommendation of their Judges, under the Company’s schemes for the improvement of design in modern silverwork’, also with the original drawings for this plaque, part marked, diameter 9.6cm, £400-600 approx. weight 3.2oz. (3) Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin, The Jewellery and Silver of H.G. Murphy, Antique Collectors’ Club, 2005, page 131.

300 part

301

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304

302

303

302. H. G. Murphy (1884-1939) George and the Dragon a small silver sculpture, St George modelled victorious standing over the Dragon, unsigned, 6.5cm. long £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 303. H. G. Murphy (1884-1939) Fair Damsel and a Knight patinated bronze unsigned 6.5cm. high

£200-300

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 304. Two H.G. Murphy silver castings of lambs, modelled in recumbent positions, on rectangular base, unmarked length 3cm, approx. weight 3.3oz. (2) £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 305. A patinated bronze Corpus Christi by H.G. Murphy, and five other patinated bronze Corpus Christi, a patinated bronze bust of a boy smiling, a bronze plaque and six cast bronze cats unsigned, £100-150 15.5cm. long (14) 305

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

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306. A full size copper St Paul’s Cathedral communion chalice maquette by H.G. Murphy, designed by Sir Edwin Lutyens, 1934, stepped domed base with knopped stem and flaring bowl, stamped and cast in low relief with panels of geometric banding, and an H.G. Murphy gilt metal Gothic Revival chalice, unmarked, 31.5cm. high, (2) £200-300 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin, The Jewellery and Silver of H.G. Murphy, Antique Collectors’ Club, 2005, Page 162 for this example illustrated below an illustration of the silver set designed by Lutyens and made by H.G. Murphy in 1934 for St Paul’s Cathedral.

307. A fine H.G. Murphy Falcon Studio copper tea caddy and cover, shouldered, hammered form with waisted domed cover, the body set with silver chased triangle motif, silver rims to caddy and cover, the finial with cut bands, stamped marks to base 17.5cm. high, (2) £400-600 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

306

Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 123 for this example illustrated

308. A pair of H.G. Murphy Falcon Studio patinated copper lotus bowls, each hammered bowl modelled as a stylised flower, a repousse hammered copper vase by H.G. Murphy, another rounded vase and a cylindrical vase, stamped marks, 18cm. diam. (5) £200-300 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 123 for this example illustrated

307

308

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309. A collection of six enamelled metal Masonic badges belonging to H.G. Murphy, from Panmure Lodge, four black silk badges, a Year of Office silver on blue silk commemorative medal (1925-1925), with tooled leather Masonic purse and three silver mounted glass bottle lids and a dish from Panmure Lodge various marks, (16) £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

310. An octagonal chalcedony bowl, cut and polished sides, and two other cut-sided chalcedony bowls smaller, unsigned, 12.8cm. wide (largest) (3) £200-300

309

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Two of these bowls appear to be illustrated, being used by Louis Galvin in the preparation of enamels for the Falcon Works animal book ends. Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 121. 310 311. A folding pocket sun-dial by David Beringer, Aufsburg, wooden diptych form with vertical paper dial with Arabic numerals, with coloured paper compass dial, applied paper label to back, 8.5cm. long £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

312. Lion of Empire - Wembley 1924 a patinated bronze plaque designed by Frederick Charles Herrick, unsigned, 10cm. wide £80-120

311

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

313

313. A Bergman cold painted bronze model of a kingfisher, on veined marble circular dish, impressed marks in the cast, broken at ankles, 12cm. long £100-150 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

312

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314. A rare Wedgwood King Edward VIII 1937 coronation mug designed by Eric Ravilious, model no CL.6203 printed with coat of arms ER and date below a border of fireworks, in yellow, blue and black, on a white ground printed and painted factory marks, 10.5cm. high £600-800 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Andrew Casey 20th Century Ceramic Designers in Britain, Antique Collector’s Club, page 213 figure 238 for a comparable example illustrated.

314 both sides

315. A rare Wedgwood King George VI and Queen Elizabeth 1937 coronation mug designed by Eric Ravilious, model no CL.6203 printed with coat of arms GR and date below a border of fireworks, in yellow, blue and black, on a white ground printed and painted factory marks, 10.5cm. high £600-800 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. Literature Andrew Casey 20th Century Ceramic Designers in Britain, Antique Collector’s Club, page 214 figure 239 for the original artwork illustrated.

315 both sides

316. A pair of W.A.S Benson copper and brass mantelpiece candlesticks, with brass seedpod counterweight, scroll foot, the scroll stem supporting cylindrical copper sconce unsigned, 31cm. wide (2) £600-800 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

316

Literature Ian Hamerton Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 121 plate 98 for a comparable pair of candlestick illustrated.

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WOODCUT PRINTS BY ARTHUR GASKIN FROM THE COLLECTION OF H.G. MURPHY

317

317. Arthur Gaskin RBSA (1862-1928) The Silversmith, (H.G. Murphy) woodcut print on paper, unsigned 11 x 7.5cm. (image) £200-300

319. Arthur Gaskin RBSA (1862-1928) The Sisters six woodcut prints on paper signed and titled in pencil 7.5 x 4.5cm, (6) £800-1,200

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

Literature Paul Atterbury and John Benjamin The Jewellery and Silver of H.G. Murphy Antique Collector’s Club, page 181 this print illustrated. 318. Arthur Gaskin RBSA (1862-1928) An Upland Farm, 1926 woodcut print on paper, and ‘An Upland Farm - Willessey Hill’ and ‘An Irish Farm, 1926’ signed and titled in pencil 15.5 x 8cm (largest - Irish Farm), (3) £600-1,000 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

320. Arthur Gaskin RBSA (1862-1928) Pam 1925 five woodcut prints on paper signed, titled and dated in pencil 12 x 6cm. (image), (5) £800-1,200 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 321. Arthur Gaskin RBSA (1862-1928) The Lost Treasure, 1925 two woodcut prints on paper signed, titled and dated in pencil, 12 x 6.5cm. (2) £300-500 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

318

319

320

321

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322. Arthur Gaskin RBSA (1862-1928) A Cup of Milk, 1927 woodcut print on paper, and four other woodcuts by Arthur Gaskin comprising; The Wild Swans, The Lamb, and two untitled prints signed, titled and dated in pencil 12.5 x 10cm. (5) £500-1,000 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

323. Arthur Gaskin RBSA (1862-1928) The Farm Yard, 1926 three woodcut prints on paper, signed, titled and dated in pencil, 13.5 x 9cm (image), (3) £600-1,000

322

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

324. Arthur Gaskin RBSA (1862-1928) A Welsh Farm, 1926 seven woodcut prints on paper, signed, titled and dated in pencil 14.5 x 8cm. £800-1,200 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

323

324

325. Arthur Gaskin RBSA (1862-1928) Chipping Campden, 1926 woodcut on paper signed, titled and dated in pencil 10 x 9.5cm. £200-300 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

326. Arthur Gaskin RBSA (1862-1928), attributed Sailing boat moored by a Jetty, engraving on paper, 17.5 x 12.5cm. £150-200

325

326

Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner.

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327. Richard Garbe (1876-1957) Spring, 1920 a carved ivory panel, in white metal frame, incised RG monogram and date 13.5cm. long ÂŁ200-300 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 327

328. Richard Garbe (1876-1957) St Christopher, 1935 a carved ivory figure, on polished slate base incised signature Richard Garbe 1935 to ivory 24.5cm. high ÂŁ300-500 Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. 328

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329

330

SCULPTURE & METAL WARE

329. Otto Strandman (1871-1970) The Kiss, 1918 patinated bronze inkwell and cover, signed and dated, Herman Bergman foundry 38.5cm wide, 16cm. high

£300-500

330. A large patinated bronze inkwell cast from a model by Gustav Gurschner, modelled as a bare-breasted maiden kneeling and holding a large wicker basket, forming the ink well and lid, on shaped, polished red and black marble base, signed in the cast to the base of the basket depose Gurschner, 20.5cm. high £400-600

331. Charles d’Orville Pilkington-Jackson (1887-1973) Dancer with Cymbals, 1922 patinated bronze on polished black slate signed and dated in the cast 80cm. high £4,000-6,000

331

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332

332. Joseph (Gustave) Cheret (1838-1894) Idylle three patinated bronze panels, in common wooden frame, signed in the cast 68 x 51cm. £1,000-1,500 333. An Art Nouveau Osiris pewter jug, tapering cylindrical form, cast in low relief with hops on sinuous Art Nouveau vine stems, the hinged cover with hop vine finial, stamped marks, 30cm. high £120-150 334. A pair of German Secessionist brass chambersticks in the manner of Richard Riemerschmid, weighted domed body supporting wirework handle and stem, circular drip tray and sconce, unsigned 24cm. wide. (2) £150-250

333

334

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335. A Christofle & Cie electroplated metal teapot designed by Emile Reiber, dated 1878, modelled as a zoomorphic creature with long ears, the hinged handle with ivory insulators, stamped marks to base, 23cm. wide £2,000-2,500 Catalogue notes This design is based on an antique Japanese bronze in the Henry Cernuschi collection and is listed by the Musee d’Orsay as being prepared for the 1878 Exposition Universelle.

336

336. A W.M.F. Secessionist electroplated metal table mirror, shaped rectangular tray with two small glass scent bottles and stoppers and central pot and cover, cast in low relief with flowers and foliage, with articulated waisted mirror surmounted with cast and pierced floral crown, stamped marks to underside of one foot, 39cm. high £400-600

337. A pair of Art Nouveau W.M.F polished pewter photograph frames, easel back, cast in low relief and pierced with berried Art Nouveau foliage on sinuous stems, stamped marks to base, 23cm. high (2) £2,000-3,000

337

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338 339

338. A pair of John Millward Banks silver photograph frames, each stamped in low relief with an Edwardian golfer playing a shot whilst his caddy watches on, a bag of clubs resting top right, on wooden frame with easel back, stamped marks, JMB Birmingham 1904 and 1905, (2) £1,600-1,800

340

339. A Charles S Green & Co silver photograph frame, mounted on wood with easel back, stamped in low relief with a young girl feeding three geese, with Art Nouveau flower stems, stamped marks, Birmingham 1904, 20.5cm. high £180-220

340. A large Samuel M Levi Art Nouveau silver photograph frame, mounted on wooden base with easel back, stamped in low relief with scroll design, stamped marks, Birmingham 1906, 31cm. high £700-1,000

341. A pair of silver plated copper photograph frames, on wooden mount with easel back, stamped in low relief with a fairy riding across the water in an egg boat, being pulled by two swans, stamped redg marks, 25cm. high (2) £1,000-1,500

341

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343

342. A pair of Hilliard & Thomason silver Valkyrie photograph frames, on wooden mount with easel back, stamped in relief with a warrior figure standing in a landscape, a longboat sailing in the distance, balanced with a cluster of axes, arrows and war clubs, stamped marks, H & T Birmingham 1904, 23cm. high, (2) £1,000-2,000

343. An Albert Jackson silver and wood photograph frame, stamped in low relief with stylised flowers and foliage on sinuous stems, on wooden frame with easel back, stamped marks, AJ Birmingham 1903, 22.5cm. high £400-600

344

344. A large Art Nouveau W.M.F electroplated table mirror designed by Albert Mayer, model no.131, rectangular on easel back, cast in relief with an Art Nouveau maiden amongst flowers and foliage, gazing into the mirror, bevelled glass, cast mark to back, stamped marks to foot, 37cm. high £800-1,200

345. A large pair of Art Nouveau polished pewter photograph frames, possibly W.M.F, shaped rectangular form, cast in high relief with an Art Nouveau maiden reaching up to pick a large flag iris, with pierced whiplash panels, one stamped 49 to base, 49cm. high (2) £2,000-3,000

345

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A PRIVATE COLLECTION OF ARTS & CRAFTS JEWELLERY 346. A George Hunt silver brooch, silver V shape frame set with moonstone, with wirework foliate panel enamelled in blue stamped shield mark, 6cm. long £500-800 Provenance Van Den Bosch Private collection of Arts and Crafts Jewellery. Exhibited Art & Fashion, Cheltenham Art Gallery & Museum. 347. A George Hunt silver brooch, the off-set angular rectangular frame set with chrysoprase and chalcedony squares and two moonstones, with silver wirework panels of foliage, enamelled green and blue, unsigned, 7.5cm. wide £800-1,200 Provenance Van Den Bosch Private collection of Arts and Crafts jewellery. 346

Literature George Edward Hunt The Silent World of an Arts and Crafts Jeweller, Touring exhibition November-December 2006, Bonhams, page 30-31 catalogue number 54 for a comparable brooch illustrated. Exhibited Art & Fashion, Cheltenham Art Gallery & Museum. 348. A large silver and enamel ring in the manner of George Hunt, cast with flower stems, enamelled in blue and green, set with a pearl, moonstone and large Lapis Lazuli stone, unsigned, size P. £150-200 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art & Fashion, Cheltenham Art Gallery & Museum. 349. A cloisonne enamel pendant necklace by Harold Stabler, circular form with simple rope-twist border and link chain, the panel decorated with an exotic peacock bird, the reverse enamelled green unsigned, 4.5cm. diam. £700-1,000 Provenance Didier Antiques. Private collection of Arts and Crafts jewellery.

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349

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350. An Artificers Guild silver necklace probably designed by Edward Spencer, central elliptical mother of pearl panel below cast silver foliage and jade green cabochon, with cast foliate drop set with turquoise, the chain with celtic knot motif set with pearls and turquoise drops unsigned, 6.5cm. long £300-500 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art & Fashion, Cheltenham Art Gallery & Museum. 351. An Artificers Guild silver and turquoise necklace by John Bonnor, the link chain with wirework panels set with five irregular turquoise stones, unsigned, 42cm. long £200-300 Provenance Private collection of Arts and Crafts jewellery. This necklace has been authenticated by John Bonnor’s grand-daughter. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 352. An Artificers Guild pendant necklace designed by Edward Spencer and John Bonnor, the silver and gold chased longboat set with small opal and emeralds, between a crescent of abalone and opals and small bar of three small opal and abalone cabochon, above a large opal cabochon and emerald drop, all set below an amethyst heart, unsigned 7cm. long £3,000-5,000 Exhibited Art and Fashion, Cheltenham Art Gallery & Museum, where it featured as the cover of the exhibition booklet

350

351

Provenance Private collection of Arts and Crafts jewellery. Literature Elyse Zorn Karlin Jewellery and Metalwork in the Arts and Crafts Tradition Schiffer Publishers, page 32.

Cover of Art & Fashion

352

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353

354 353. A Birmingham school silver and carnelian necklace, cast flowerhead design set with a carnelian cabochon, and three similar panels, unsigned. £100-150 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art & Fashion, Cheltenham Art Gallery & Museum. 354. A set of six Birmingham Guild of Handicraft silver buttons, each circular cast in low relief with stylised flowerhead design, on original card stamped hallmarks to reverse, original paper label to reverse of card mount, 1.5cm. diam. £100-150 Provenance Private collection of Arts and Crafts jewellery. 355. Arthur Joseph Gaskin (1862-1928) Portrait of a Young Man, (probably Charlie Gaskin) dated 1888 red and black conte pencil with white highlights, on paper, framed.

£1,000-1,500

Provenance Margaret Dennery. Private collection of Arts and Crafts jewellery. 355

Exhibited Arthur & Georgie Gaskin, City Museum & Art Gallery, Birmingham 11 February-21st March 1982, then The Fine Art Society 29th March-30th April 1982, page 16-17, illustration no.22, catalogue number A13 356. Arthur Joseph Gaskin (1862-1928) Harriet Gaskin, (the artist’s mother), 1893 pen and ink with Chinese white, framed signed in the inscription, 12 x 7.5cm (image)

£300-400

Provenance Margaret Dennery. Private collection of Arts and Crafts jewellery. Exhibited Gaskin Memorial Exhibition, Birmingham Art Gallery, 1929 (B12A). Arthur & Georgie Gaskin, City Museum & Art Gallery, Birmingham 11 February-21st March 1982, then The Fine Art Society 29th March-30th April 1982, page 36-37, catalogue number B12A. This design was reproduced in The Yellow Book, volume IX April 1896.

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357. A silver brooch by Arthur and Georgina Gaskin, the small bar brooch pierced and chased with two birds flying towards each other, with berried foliage and a central flowerhead with green stone petals, unsigned, 2.5cm. wide. £300-400 Provenance Didier Antiques. Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 357

358. A fine silver brooch by Arthur and Georgina Gaskin, circular pierced and chased form, decorated with birds flying amongst scrolling flowers and foliage, set with blister pearls, blue, and pink tourmaline and smaller green stone leaves, unsigned 3cm. long £1,500-2,000 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum Literature Arthur & Georgie Gaskin, City Museum & Art Gallery, Birmingham 1982, page 87 catalogue number G.44 for a comparable, more elaborate pendant with chased bird motif illustrated. 358

359. A silver heart-shaped pendant by Arthur and Georgina Gaskin, wire work heart-shaped frame cast and chased with leaves, set with central heart shaped opal, smaller opal cabochon and paste stones, with two paste drops and a central moonstone drop, unsigned, 5cm. long £1,000-1,500 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum Literature Elyse Zorn Karlin Jewellery and Metalwork in the Arts and Crafts Tradition Schiffer Publishers, page 65 for two brooches of similar form and design illustrated.

359

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360. A Murrle Bennett silver and turquoise brooch, circular form, cast with simple wavy line and dot border, inside pierced scroll border, set with central turquoise stone, unmarked, etched P/L, 3cm. diam. £120-180 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

360

361

361. A silver and enamel brooch, circular with pierced panels, cast in low relief with blue enamel flowers, set with central turquoise stone, unsigned, 2.5cm. diam. £100-150 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 362. An Art Nouveau Murrle Bennett silver and enamel pendant, shield shape with cast honesty foliate panels, enamelled blue and green, with central mother of pearl roundel and pearl drop, stamped marks MB Co mark and 950, 3.5cm. long £150-200 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

362

363

363. A James Fenton silver and enamel pendant, cast in low relief with Art Nouveau stylised foliate design, enamelled green and blue, with a blue enamel drop and another Art Nouveau silver and enamel pendant stamped marks, Birmingham 1910, 5cm. long (2) £150-250 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 364. A William Thomas Blackband Medieval Revival silver brooch, circular with cast geometric bands and a band of black and white enamel, set with five carnelian stones, unmarked 4cm. diam. £100-150 Provenance Private collection of Arts and Crafts jewellery. Catalogue Notes William Thomas Blackband was an assistant to the Gaskins and succeeded Arthur Gaskin as headmaster at Vittoria Street in 1924. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

364

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365

365. An enamel Ship brooch in the manner of Fleetwood Charles Varley, square section, enamelled with a ship at full sail on a calm sea, with metal mount and pin, unsigned, 3.5cm. square £150-200 Provenance Private collection of Arts and Crafts jewellery.

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367

366. A silver and citrine brooch, wirework, cast and chased with scrolling foliage, set with elliptical polished citrine stone, unmarked, 5.5cm. wide £120-180 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

367. A silver brooch by Edgar Simpson, cast and chased with two scaly fish amongst scrolling waterweed, set with four pale green chalcedony cabochon, stamped ES hallmarks, 6cm. long £1,200-1,800 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 368 368. A silver and enamel pendant necklace and chain, the wirework frame cast with seven flower panels, and blister pearl drop, the central enamel panel painted with a central red rose stem and radiating leaves, enamel indistinctly signed E C, 9cm. high £400-600 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

369. A silver and chrysoprase pendant necklace the design attributed to Omar Ramsden, wirework body with pierced and chased silver leaves, set with nine chrysoprase cabochon, the waterfall drop set with three further chrysoprase, unmarked, 7cm. long £800-1,200 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

369

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370. A Liberty & Co silver pendant by William H Haseler, the pierced and chased circular pendant with scrolling berried foliage, central polished abalone roundel and pearl drop, on link chain, stamped WHH marks, 4.5cm. long £150-250 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 371. A Liberty & Co gold, turquoise and mother of pearl necklace, the link chain set with alternate turquoise stones and carved mother of pearl bell flowers, and another smaller chain, unmarked, 36cm. long (longest chain), (2) £150-250 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

370

Literature Victor Arwas Liberty Style Parcos, pagfe 64-65, catalogue number J.5 for a comparable necklace illustrated. 372. A Liberty & Co silver pendant necklace, the pierced silver oval pendant decorated with sprays of berried foliage, central pear-shaped polished abalone cabochon, the heart-shaped clasp and Liberty silver link chain, etched marks to back plate, 4cm. long £150-200 Provenance Private collection of Arts and Crafts jewellery. 373. A Liberty & Co silver necklace, set with irregular Lapis Lazuli or sodalite stones, on Liberty link chain unsigned, 76cm. long chain. £300-500 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum.

371

374. A silver and amethyst glass necklace probably retailed by Liberty & Co, the long link chain set with six cluster panels of wirework silver Oriental balls flanked by cut amethyst glass balls and smaller pierced silver balls, unsigned, 118cm. long £150-250 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 375. A Liberty & Co gold link turquoise and pearl bracelet, the chain set with alternate turquoise and mother of pearl stones, unsigned, 19cm. long £120-150 Provenance Private collection of Arts and Crafts jewellery. 372

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378

376. A Liberty & Co silver pendant necklace and chain, the wirework frame cast with foliate panels, set with a central abalone panel, with three green chrysoprase drops, the link chain set with two chrysoprase beads unsigned, 6cm. long £300-500 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 377. A silver and moonstone pendant necklace probably Liberty & Co, the wirework frame supporting three radiating moonstones, above single small moonstone and larger moonstone drop, unsigned, 6.5cm. long £200-400 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 378. A Liberty & Co gold, sapphire and moonstone pendant necklace, the square section pierced wirework frame with panels of scroll set with four sapphires, and central clear moonstone cabochon, on link chain, unsigned, 4.5cm. long £400-600 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 379. A Liberty & Co silver and turquoise pendant necklace, cast with dicentra (bleeding heart) flowers above turquoise stone, the drop with tiny pearl, single dicentra flower and turquoise, unmarked, 5.5cm. long £400-600 Provenance Private collection of Arts and Crafts jewellery.

379

Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 380. A Liberty & Co silver and enamel bar brooch in the manner of Archibald Knox, cast as a frieze of stylised foliage, enamelled yellow, red, green and blue, stamped L & Co silver, 4.5cm. wide. £200-400 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 380

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381. An Art Nouveau silver and enamel pendant, the floriform body enamelled in shades of blue and green, flanked with wirework knots and set with central mother of pearl cabochon, unsigned, 4.5cm. long £100-200 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 382. A Secessionist gold bar brooch, elliptical wirework frame set with central abalone shell and four amethyst stones, stamped mark to side of pin, 3.5cm. wide £100-150 Provenance Private collection of Arts and Crafts jewellery. 383. A Theodore Fahrner silver and enamel pendant necklace, silver entwined heart-shaped entrelac with two foliate terminals, enamelled green and blue, with tear-shaped drop, stamped marks, 4cm. long £120-180 381

Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 384. A silver and amethyst pendant necklace, the Art Nouveau wirework frame with heart shaped leaf panels and amethyst stone, with pearl drop, unsigned, 4.5cm. long £120-180 Provenance Private collection of Arts and Crafts jewellery.

382

385. An Art Nouveau silver brooch, circular, cast in low relief with foliage, set with a mother of pearl roundel, unmarked, 3cm. diam. £120-180 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 386. A Celtic silver and mother of pearl brooch, circular, pierced and cast with an entrelac border, around central circular mother of pearl roundel, unsigned, 5.5cm. diam. £120-180 Provenance Private collection of Arts and Crafts jewellery. 387. A silver pendant necklace probably by G H Penny, cast and pierced with berried foliage, set with central claret coloured stone above pearl and pearl bead drop, stamped GHP mark, 3.5cm. long £120-150 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

383

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389

388. A silver and citrine ring in the manner of Kate Eadie, the shoulder cast and pierced with flowerhead motif, unsigned, size L £120-180 Provenance Private collection of Arts and Crafts jewellery. 389. A silver and Amazonite ring, wide, slender amazonite on cast, off-set foliate mount, the shank of squared section with cast foliate motif, unsigned 2.5cm. wide, size U £150-200 Provenance Didier Antiques Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 390. A silver ring the design attributed to Kate Eadie, with cast gold flowers to the shoulder and set with a citrine, and another ring pierced and cast foliate design set with an elliptical rutilated quartz stone, unsigned, both size M½ (2) £120-180 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 391. An Art Nouveau Theodore Fahrner gold ring, set with small diamond, and another yellow metal castle top ring with cast foliate shoulders set with a peridot stamped TF 18ct to first ring, both size N, (2)£300-400

390

391

393. An Art Nouveau gold ring by E.F. Braham, simple scrolling design set with a small turquoise stone, stamped EFB 18ct., size Q½, £120-180 Provenance Private collection of Arts and Crafts jewellery. 394. A Celtic Revival silver bar brooch, cast with simple geometric panels and set with three Carnelian stones, unsigned, 6cm. wide £120-180 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

392

395. A Celtic Revival silver brooch, circular, with wirework knots, set with central chrysoprase, and another bar brooch of elliptical form with similar wirework decoration, unsigned, 3.5cm. diam. (2) £120-180 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

393

396. A silver and chrysoprase kilt-pin brooch, cast with geometric wirework decoration, another Celtic Revival flower brooch and another brooch unsigned, 4.5cm. wide, (3) £100-150 Provenance Private collection of Arts and Crafts jewellery.

394

Provenance Didier Antiques (castle top ring). Private collection of Arts and Crafts jewellery. 392. A silver ring, the pierced frame with foliate motif, set with modelled ruby glass panel, and a silver and citrine scarf ring, £120-180 unsigned, size N½, (2) Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

395

396

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397. A silver and chrysoprase ring in the manner of Bernard Instone, cast foliate design, a Gothic Revival silver ring and another ring set with a citrine, unmarked, size K½ (main) (3) £150-200 Provenance Private collection of Arts and Crafts jewellery. 398. A silver pendant necklace, the heart-shaped wirework body with scrolls and set with a central turquoise, and a silver brooch cast with flower stems and set with central mother of pearl panel, unmarked, 3.5cm. long (2). £150-200 Provenance Private collection of Arts and Crafts jewellery.

397

399. A large silver and jadeite pendant the design attributed to Amy Sandheim, cast sprays of foliage set with jade body, the large drop with similar silver mount set with moonstone cabochon, unsigned, 8.5cm. long £150-200 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 400. A silver and turquoise pendant, cast in low relief with foliate border, set with abalone shell, two citrines and turquoise stones, and turquoise drop, unsigned, 6cm. long £120-180 Provenance Private collection of Arts and Crafts jewellery. 398

399

400

Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 401. A silver and turquoise Celtic cross pendant, cast in low relief with wirework borders and decoration, set with four turquoise stones to the terminals and a central abalone shell, and a silver St Cecilia amulet attributed to Sarah Madeleine Martineau unsigned, 7cm. long (cross), (2) £120-180 Provenance Shapiro (cross pendant) John Jesse (Sarah Madeleine Martineau) Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum (cross pendant) 402. A silver and amethyst link necklace, set with amethyst and clear paste stones and double line chain, and a silver and pearl necklace possibly retailed by Liberty & Co, unsigned, 36cm. long, (2) £100-200

401

402

Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 403. A Deakin and Francis gold pendant necklace, cast and pierced with an abstract butterfly design, set with green tourmaline and a pink tourmaline drop, stamped marks, 3.5cm. long £100-150 Provenance Private collection of Arts and Crafts jewellery. 404. A Bernard Instone silver and enamel brooch, the circular frame cast with flowers and foliage in pink, blue and green, a Murrle Bennett gold clef brooch set with small turquoise, a silver brooch cast and enamelled with yellow flowers and foliage and set with a citrine, smaller circular brooch, a pair of earrings, and a ring, stamped marks, to Clef, 3cm. square (main brooch), (7) £150-200 Provenance Private collection of Arts and Crafts jewellery.

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404

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405. A Shipton & Co silver brooch, pierced and cast in low relief with a bird inside Celtic entrelac border, stamped marks GP & S, S & Co and import marks 1939, 5cm. wide £120-180 Provenance Private collection of Arts and Crafts jewellery. 406. A silver and turquoise pendant possibly Liberty & Co, cast with berried foliage and set with a turquoise stone, £100-150 unsigned, 4cm. long Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum

405

406

407. A Celtic silver and blister pearl brooch, cast and pierced with entrelac and rope panels, set with two blister pearls, and a link bracelet similar, unmarked, 5cm. wide. (2) £120-180 Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum 408. A silver brooch, elliptical form pierced and cast with foliate border and set with central mother of pearl panel, and a silver stickpin set with a moonstone unsigned, 2cm. wide, (2) £100-200 Provenance Private collection of Arts and Crafts jewellery. 409. A Murrle Bennett silver stick pin, with shield terminal set with an opal, a Child & Child stick pin set enamelled with a maple leaf, an Art Nouveau gold stick pin, five other stick pins and an enamelled tie stud stamped marks, 5.5cm. long (9) £150-200

407

408

409

410

Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum (part). 410. A silver cruet set by Sibyl Dunlop, comprising salt with glass liner, pepper pot and cover and a mustard pot with hinged cover and glass liner, each with cast band of stylised foliage, in original velvet lined presentation case, with two matched spoons, stamped marks, London 1932, 7cm. high (pepper) (5) £250-350 Provenance Private collection of Arts and Crafts jewellery.

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JEWELLERY

411. A Limoges enamel brooch by Jules Sarlandie, enamelled with flowering apple blossom, in pink and green on a pale blue ground, with rope border, signed to reverse, 5cm. diam. £120-180

411

412

412. An Art Nouveau gold ring probably by Murrle Bennett, the pierced floriform design set with small paste stone, unsigned, size R. £150-200

413

413. A turquoise set gold necklace the design attributed to Murrle Bennett, three turquoise stones spaced with freshwater pearls, unsigned. £200-300

414. A silver ring by Amy Sandheim, elliptical form cast in relief with radiating leaves set with garnet stones, stamped marks to loop, size M. £120-180 414

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415. A fine Artificers Guild silver and gold pendant necklace designed by Edward Spencer, probably made by E Minns, the elliptical wirework body modelled with a frieze of flower and foliage, with three flower-heads picked out in gilt, set with sapphire, pearl and chrysoprase stones and large central elliptical opal, with foliate drop set with moonstone, in Artificers Guild Ltd fitted presentation case, £3,000-5,000 6.5cm. long Provenance Tadema Gallery Private collection Literature Nancy Schiffer Silver Jewellery Design, page 63 this pendant illustrated. 415

416. A fine Artificers Guild gold pendant necklace by Edward Spencer, the diamond-shaped wirework body cast and chased with stems of foliage, flower buds and ropework, set with elliptical opal, with pin to reverse, in Van Den Bosch presentation case, unsigned, 3.8cm. long £3,000-5,000 Provenance Private collection

416

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417. A rare gold brooch by Arthur and Georgina Gaskin, the wirework frame decorated with flowers and foliage, worked band and central turquoise stone, unsigned, 3.5cm. wide £1,000-1,500 Provenance Private collection Exhibited Arts and Crafts Jewellery,- Arthur & Georgie Gaskin Exhibition, Court Barn, Guild of Handicraft Trust Museum, 10th October to 24th November 2013.

417

418. A John Paul Cooper gold plaque with pierced rim, circular cast in low relief with a nereid admiring herself in a hand mirror, the mirror and bubbles set with opal fragments, stamped JPC monogram and 18 to reverse, later hanging loop, 3cm. diam. £1,000-1,500 Provenance Private collection 419. A Bernard Instone silver ring, the shoulder cast with flowers and foliage, set with amethyst stone, in Tadema Gallery presentation box, £150-200 unmarked, size N. Provenance Private collection

418

420. A continental yellow metal opal and abalone shell pendant, cast in low relief with a Madonna & Child roundel on abalone shell ground, hanging inside a foliate wreath border set with four opals, with pearl drop, in Tadema Gallery presentation box, unmarked, 7.5cm. long £1,000-1,500 Provenance Tadema Gallery. Private collection 421. A HMS silver and lapis stone bracelet, each link with wirework berried foliage border set with elliptical lapis stone, stamped mark and silver to one panel, 20cm. long £400-450 Provenance Private collection

419

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421

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Bertha Goff 422. An interesting collection of jewellery, studio materials and ephemera relating to Miss Bertha Lillian L Goff, including; a silver and blue enamel cloak clasp, six silver and abalone shell buttons, four copper panels, two silver belt buckles with wirework decoration, three silver hat pins, a volume of original jewellery design in pencil, enamelling tools, enamels, a copy of the 1900 and 1905 National Competition books, Enamelling a book by Lewis F Day, three other books on ornament and enamelling, twenty plaster moulds an interesting group of photos in a photo album entitled The Irish Series by Betha Goff, and a collection of photographs and ephemera, (a lot) £300-500

422

423

Provenance Bertha Lillian Goff, thence by descent to her great niece. 20th Century Jewellery, Christie’s South Kensington 19th June 2001, lot 18. Private collection. Catalogue Notes Bertha Goff (1877-1971) studied at both the Holloway School of Art and the Slade. Her archive first came to public notice at the B.B.C. Antiques Roadshow in Derby where it was shown to Geoffrey Munn. 423. A Bertha Goff silver Putti belt, each link of triptych form, cast in low relief with a putti at work and play, flanked with Celtic knot motif, with small knot links, the buckle with two facing putti and knot panels set with chrysoprase unsigned 70.5cm. wide £500-800 Provenance Private collection 424. A silver and enamel Aphrodite pendant necklace by Bertha Goff, cast in low relief with a winged maiden, with enamelled blue panel, three opal drops, on a link chain, unsigned 6.5cm. long £400-600 Provenance Private collection

424

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425. A Guild of Handicrafts silver plated muffin dish and cover designed by Charles Robert Ashbee, the domed cover set with cast flower-head finial with central abalone shell panel, unmarked, 23cm. diam. £600-800 425

426. A Guild of Handicrafts electroplated muffin dish and cover designed by Charles Robert Ashbee, hammered finish unsigned, finial missing, 22.5cm. diam. £150-250

426

427. A Ramsden and Carr silver goblet by Alwyn Carr, simple form with knopped stem decorated with heart motif, the top of the foot inscribed I was wrought for John Menzies Kay in 1920, hammered finish to bowl, stamped marks London 1917 and inscribed to base Alwyn Carr me fecit, 11.5cm. high £300-400

427

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428. An Omar Ramsden silver mounted mazer bowl, waisted silver foot with rope border, supporting walnut bowl, the hammered silver rim cast with a band of stylised foliage, stamped marks, London 1925 and Omar Ramsden Me Fecit, 21.5cm. diam. £2,500-3,000

428

429. An Omar Ramsden silver presentation charger for the Britannic House Rifle Club, Rifle and Revolver Section, the well with chased inscription, and etched teams from 1928-1935, the rim with radiating gadroons and further inscription I was wrought as a challenge trophy for the Annual interDepartmental Team competition of the Britannic House Club Rifle and Revolver Section by command of the Vice Presidents of the Section, 1928, stamped marks, London 1927, Omar Ramsden Me Fecit, 37.5cm. diam. 37.8oz (weight) £3,000-5,000 Literature Omar Ramsden Silver from the David and Vivian Campbell Collection, Christie’s King Street, 20th April 2005, lot 62 for a comparable form. Ramsden referred to the shape as a Catherine Wheel fruit dish or bowl and the form is based on Renaissance rosewater or sideboard dishes of the 14th and 15th centuries. Ramsden probably would have seen the early examples at the Victoria & Albert Museum in London on his visits. The 1934 Britannic House Rifle Club team - which consisted of R E Allen, S L Burgin, E A Day, H J White, K Clark and A Guthrie, set a perfect record of 600 out of 600 in the London Small Bore Rifle Competition. 429

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430. A continental polished slate and gilt metal mantel clock probably Austrian, in the manner of Otto Prutscher, tapering base on ball feet, set with a frieze of flowers and foliage, the square section clock set on a frieze of putti holding floral garlands, the circular dial with circular Arabic numerals, French movement, unsigned, 31cm. high ÂŁ300-500

431. A Gordon Russell Russell Workshops brass inkwell, octagonal with octagonal flaring base, hinged cover with wirework finial, and ÂŁ150-250 cable edges, stamped RW Ltd.

430 432. A Benham & Froud mixed metal inlaid copper tray, oval inset and decorated with panels of stylised flowers and circles, indistinct stamped mark, 48cm. wide ÂŁ80-120

431

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433. A rare Elkington & Co electroplated four piece tea and coffee set probably designed by Dr Christopher Dresser, dated 1873, model no. 16681, design registered 1885, comprising teapot with hinged cover, coffee pot and hinged cover, milk-jug and sugar basin, all on angled feet, the scroll handles and teapot spout cast with a bird motif of beaked head and claw, ivory insulators and finial knops, £8,000-12,000 stamped marks, date mark M for 1873, 22cm. high. Literature Michael Whiteway Christopher Dresser A Design Revolution, Victoria & Albert Museum exhibition catalogue, 2004, page 207 catalogue number 277 for the original design illustrated from Elkington’s silver pattern book. Harry Lyons, Christopher Dresser The Peoples Designer, 1834-1904, Antique Collector’s Club, page 193 plate 364 for the original design illustrated. model no.16681 sits comfortably within the range of Dresser’s recognised designs for Elkington (including model numbers 16678 and 17912). The concealed hinge for the covers and the use of angled ‘Modernist’ feet show Dresser’s design influence. Woolley and Wallis would like to thank Widar Halen for his help in cataloguing this set.

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434. A small Art Nouveau silver photograph frame, on oak back with easel support, tapering rectangular form with flaring mantel, cast in low relief with heartshaped foliage on sinuous stems, set with ten small turquoise cabochon, unmarked, 13.5cm. high £200-300

435. A Liberty & Co Cymric silver teapot and cover, model no.5208, the low compressed body with over-slung wicker bound handle, the circular cover with ball finial, stamped hallmarks, Birmingham 1904, 20cm. wide, 13cm. high £400-600

436. An Art Nouveau Liberty & Co Cymric silver butter dish designed by Archibald Knox, model no.2165, shaped rectangular section, cast in low relief stamped marks, enamel missing, Birmingham 1904, 14.5cm. long £150-200

434

437. A Liberty & Co Tudric Pewter chamberstick designed by Archibald Knox, model no.0523, cast in low relief with sprays of Art Nouveau berried foliage, etched M to handle, with sconce, stamped marks, 19cm. wide £120-180

435

438. A Liberty & Co Tudric Pewter and enamel inkwell, model no. 0141, square section pen tray, the cylindrical inkwell cast in low relief with Art Nouveau entrelac panels, the tray with four blue-green enamel roundels, the cover set with a rectangular blue-green enamel panel stamped marks, 15.5cm. square £150-200

436

438 437

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439. A Liberty & Co Tudric pewter and enamel mantel clock, model no.0750, swollen square section on bun feet, the circular copper dial enamelled in green and blue, with Roman numerals, stamped marks, 10cm. high £300-500

439

440. A Liberty & Co pewter and enamel mantel clock, model no. 0526, the rectangular bowl with flaring front, cast in low relief with fish leaping above turbulent water, set with two blue enamel roundels, the circular dial with Arabic numerals stamped numerals, 19cm. high £1,000-2,000

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441. A Liberty & Co Cymric silver and enamel Coronation spoon designed by Archibald Knox, the streamlined stem pierced and cast with entrelac, the bowl cast with entrelac and AC ER VII, enamelled in blue and green, stamped marks, Birmingham 1901, 12.5cm. long £300-400 Literature Stephen A Martin Archibald Knox, Artmedia, page 212 this spoon design illustrated. 441

442. A Liberty & Co Cymric silver and enamel Coronation spoon designed by Archibald Knox, cast with pierced entrelac knot to stem, the bowl with entrelac and Anno Coron ER VII, enamelled in green and blue stamped marks, Birmingham 1902, 15.5cm. long £400-600 Literature Stephen A Martin Archibald Knox, Artmedia, page 212 this spoon design illustrated. 442

443. A large Liberty & Co Cymric silver and enamel Coronation spoon designed by Archibald Knox, the stem cast with panels of entrelac repeat, the bowl with large entrelacs, enamelled to stem and bowl with green and blue panels, over shallow cast inscription Anno Coron ERVII, stamped marks, Birmingham 1901, repaired, 20.5cm. long £600-1,000 Literature Stephen A Martin Archibald Knox, Artmedia, page 212 this spoon design illustrated. 443

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DESIGN

Wednesday 17th October 2018 Closing date for entries 31st August

A rare Clarice Cliff Age of Jazz centre piece Estimate: £6,000 - £10,000

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

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 4th July 2018

A pair of large oval wall mirrors, each with sectional mirrored outer frames, 138.2 x 126cm. Estimate: £1,000 - £1,500

ENQUIRIES Mark Yuan-Richards | Tel: +44 (0)1722 411854 | myr@woolleyandwallis.co.uk

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SILVER & VERTU

Tuesday 17th & Wednesday 18th July 2018

By Sebastian Garrard, a commemorative silver inkwell, London 1935. Provenance: H.G. Murphy (1884-1939), and thence by descent to the present owner. Estimate: £300 - £400

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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JEWELLERY

Thursday 19th July 2018

An enamel and gem-set yellow gold pendant by H. G. Murphy. Provenance: H.G. Murphy (1884-1939), and thence by descent to the present owner. Illustrated in Atterbury, P., and Benjamin, J., The Jewellery and Silver of H.G. Murphy, Antique Collectors' Club, 2005, front cover, p.49 Estimate: £5,000 - £7,000

ENQUIRIES Charlotte Glyde | Tel:+44 (0)1722 424586 | cg@woolleyandwallis.co.uk

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TRIBAL ART & ANTIQUITIES

Wednesday 19th September 2018

To include the Ian West Native American Collection A Sioux breastplate, North American plains. Provenance: The Ian West Collection. Estimate: £2,000 - £3,000

ENQUIRIES Will Hobbs | Tel: +44 (0)1722 339752 | wh@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

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.

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.

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.

PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us.

The colours printed in the catalogue are not necessarily true.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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

Kimdan Ltd.

07973 389436 andy@kimdan.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

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

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. 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 Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. 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. CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 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 omega symbol ( ) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is

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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 5 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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . 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.

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 10,000. 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 10,000

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below. From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us. THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents. In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

In this respect we will provide your data to the following:

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the-saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

• if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention);

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

• if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers);

YOUR LEGAL RIGHTS

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons:

We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. ONCE GDPR TAKES EFFECT ON 25 MAY 2018, YOU WILL ALSO HAVE THE FOLLOWING ADDITIONAL RIGHTS: • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available

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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.

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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.

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

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

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Contact Amanda Lawrence 01722 424509

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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.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

Old Sarum Park

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.

Westover Garage

Sarum Business Park

WOOLLEY & WALLIS Castle Gate MARLBOROUGH & SWINDON

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A345 Castle Rd

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU Registered in England No. 2998482 VAT No: 631 9832 29

SALISBURY A36

AMESBURY

Old Sarum

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

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

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Arts & Crafts

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 20th June 2018 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. 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 20TH CENTURY DESIGN 20th June 2018 – Arts & Crafts 17th October 2018 – Design 12th December 2018 – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk PAINTINGS 6th June 2018 – Modern British & 20th Century Art 11th September 2018 – Old Masters, British & European Paintings 4th December 2018 – 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 FURNITURE, WORKS OF ART & CLOCKS 4th July 2018 3rd October 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk SILVER 17th & 18th July 2018 – Silver & Objects of Vertu 30th & 31st October 2018 – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 19th July 2018 – Jewellery & Watches 1st November 2018 – Fine Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 19th September 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 13th & 14th November 2018 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0)1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 16th October 2018 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 21st November 2018 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk