Woolley & Wallis Auctioneers

BRITISH ART POTTERY & DESIGN WEDNESDAY 20TH OCTOBER 2021

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SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below

20TH CENTURY DESIGN

VALUATIONS FOR INSURANCE & PROBATE

Michael Jeffery Zoe Smith

424505 446955

AFRICAN & OCEANIC ART ANTIQUITIES

424598 424509 424509

GENERAL OFFICE

Will Hobbs Molly O’Reilly

339752 446980

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Alana Ker Mercer Michelle Yu

Jeremy Lamond MRICS ASFAV FRSA Paul Viney ASFAV (Consultant) Amanda Lawrence

424506 +44 (0)7812 601098 424571 424591

Ruth Pike (Office Manager) Sarah Bennie Megan Corbett Leyanne Hind Debbie Mason­Smith Nicola Young

424500

CASTLE GATE RECEPTION Sally Litherland

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards

424589

Sally Trench Chloe Davie

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Sarah Stone

424507 446964

411854 339161 446974

JAPANESE ART Alexandra Aguilar

ACCOUNTS Sharon Ringwood Anna Gentleman

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

MARKETING

BOARD OF DIRECTORS John Axford MRICS ASFAV Chairman

424583

Natalie Milsted FCCA Managing Director

424595 424504 424586

ASSOCIATE DIRECTORS

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde FGA Emily O’Donnell

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Molly O’Reilly

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

424501 424594

Alexandra Aguilar Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby Marielle Whiting FGA Freya Yuan­Richards Mark Yuan­Richards

446959 446951

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BRITISH ART POTTERY & DESIGN WEDNESDAY 20TH OCTOBER 2021 | 10.00AM at our Castle Street Salerooms, SP1 3SU

VIEWING Saturday 16th October Monday 18th October Tuesday 19th October Wednesday 20th October

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

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

SEE OUR WEBSITE FOR UPDATED COVID-19 GUIDANCE

BUYER’S PREMIUM

LIVE ONLINE BIDDING – FREE OF CHARGE

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

LIVE

TELEPHONE BIDDING Requests for telephone bids cannot be accepted after 5pm on Tuesday 19th October

bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 19th October

CONDITION OF LOTS The condition of lots is not stated in the catalogue descriptions.

Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults

Instagram: @woolleyandwallisdesign @woolleyandwallissalerooms

COLLECTION OF LOTS BY APPOINTMENT

Facebook: @woolleyandwallis

Collection by appointment from Monday 25th October from our Old Sarum Warehouse, Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX

Twitter: @woolleywallis

Please call 01722 446950

Pinterest: Woolley and Wallis

All accounts to be settled prior to collection ARTIST’S RESALE RIGHT / DROIT DE SUITE

ILLUSTRATIONS

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 149 for full details.

Front cover: Lot 189 Back cover: Lot 281 detail Inside cover: Lot 317 detail Catalogue £10.00 (£15.00 by post)

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MARTIN BROTHERS POTTERY 1 An early Martin Brothers stoneware jug by Robert Wallace Martin, dated 1874, shouldered form with flaring neck and angular handle, the handle modelled with a mouse climbing to the top, the body incised with panels of foliage on a textured ground with applied florets, in shades of blue, brown and green incised E15 R W Martin 1874, 25cm. high

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£400­600 2 A Martin Brothers stoneware salt, with electroplated mount, incised with bands of geometric repeat in green and blue on a buff ground, and a Martin Brothers hexagonal vase, incised Martin Bros London & Southall, 6.5cm. high, (2) £120­180 3 A Martin Brothers stoneware vase by Robert Wallace Martin, swollen form, incised and painted with flower stems in ochre, green and brown on a buff ground, incised Martin London & Southall, cracked to the base, 24.5cm. high £200­300 4 A Martin Brothers stoneware gourd vase by Edwin and Walter Martin , dated 1912, shouldered form with collar rim, modelled in low relief with vertical veins, covered in a black glaze incised 1­1912 Martin Bros London & Southall, 26cm. high

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£400­600 5 A pair of Martin Brothers stoneware gourd vases by Edwin & Walter Martin, dated 1909, shouldered, swollen form, the top rim pierced for flowers, covered in a metallic bronze glaze, incised 3­1909 Martin Bros London & Southall, 10.5cm. high (2) £700­1,000

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6 A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1910, shouldered form, with incised vertical ribs, glazed green and pale blue incised 1910, Martin Bros London & Southall, restored side, 6cm. high £200­300

7 A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, ovoid ribbed form, painted with star­shaped wart motif, in brown on a buff ground, incised 7­1907, Martin Bros London & Southall, 8cm. high £500­800 8 8 A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, shouldered form, modelled with vertical ribs, glazed green and blue on a buff ground, incised 9­1900 Martin Bros London & Southall, 8.5cm. high £400­600

9 A Martin Brothers stoneware Dragon gourd vase by Edwin and Walter Martin, shouldered form, the shoulder modelled with vaults, the body incised with two ferocious dragons, glazed metallic brown on a buff ground incised 4­1907 Martin Bros London & Southall, 11cm. high £800­1,200

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10 A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, dated 1910, modelled seated, playing a banjo, glazed off white incised 7­1910 R W Martin sc, 9cm. high £800­1,200

11 A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, modelled seated playing castanets, glazed off white, apparently unsigned, arms museum restored, 12cm. high £600­1,000

12 A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, dated 1910, modelled seated holding a tambourine, glazed off white, incised 28.5.1910 R W Martin & Bros, London & Southall, two toes chipped off, 9.5cm. high

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£700­1,000

13 A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, dated 1906, modelled seated, playing a cornet, glazed off white, painted R W Martin & Bros London & Southall, 4­1906, museum restored, 12.5cm. high £500­1,000

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14 A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, modelled seated singing from a hymn book, glazed brown, on an ebonised wood base marks concealed, 9cm. high £800­1,200

15 A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1891, ovoid with flaring neck, incised and painted with scaly fish, in shades of green and brown on a buff ground, incised 9­1891, Martin Brothers London & Southall, restored, 16cm. high £500­1,000 14

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16 A Martin Brothers stoneware Bat inkwell, modelled with gaping mouth, glazed brown on a buff ground with white highlights, incised Martin Bros London & Southall, 6.5cm. high £1,000­1,500

17 A Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1912, modelled with a smiling face to both sides, glazed brown with black and white highlights, incised R W Martin London & Southall, 1912, 11.5cm. high £1,000­1,500

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18 A Doulton Lambeth stoneware jug probably

by George Tinworth, swollen form, incised with scrolling foliage and applied florets, in blue and brown on a brown ground, impressed marks, minor chips to top rim, 29cm. high Provenance Private collection. £120­180 19 A Doulton Lambeth stoneware jug probably

by George Tinworth, tapering cylindrical form, incised with spiralling scrolling foliage design with applied florets, in brown, blue and buff impressed factory marks, 24cm. high

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Provenance Private collection. £120­180

20 A salt­glaze stoneware vase probably Fulham Pottery, swollen form with cylindrical neck, incised with a band of birds amongst scrolling foliage, the neck with a band of scrolling foliage, in blue and brown on a buff ground, with metal rim and base, two graduated Doulton Lambeth salt­glazed jugs and a Royal Doulton ‘Old Balloon Seller’ figure, H.N.1315, marks concealed, neck re­stuck, 26.5cm. high, (4) Catalogue notes The vase is reminiscent of Edgar Kettle’s designs for C.I.C Bailey. £150­200 21 Langur Monkey HN2657 a Royal Doulton figure designed by Joseph Ledger, painted in colours, with a patinated metal base with lamp, printed factory mark, 15.5cm. high £400­600 22 ‘Stalking Tiger’ HN2646 a Royal Doulton figure, painted in colours, with wooden stand, printed and painted marks, 33cm. wide. £200­300 23 An Aesthetic Movement jug in the manner of Dr Christopher Dresser, ovoid, printed with flying cranes in blue, and a cast iron panel in the manner of Dr Christopher Dresser, cast with geometric panels, gilded cast marks to iron panel, 18.5cm. high (2)

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£150­200 24 A pair of Aesthetic Movement Minton’s moonflasks, the disc body painted with a roundel of cupid with his bowl, the reverse a tazza of fruit and foliage, in colours, the neck and foot with a band of laurel on a turquoise blue ground, impressed marks, repaired foot to one, 26cm. high, (2) £150­250

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25 25 A Bernard Moore bottle vase, ovoid with tall, swollen solifleur neck, covered in a red flambe glaze, a smaller Salopian Ware bottle vase and another vase similar, incised BM, 16cm. high, (3) £120­180 27 26 A tall twin­handled vase probably Maw & Co, slender, footed form, painted with a floral repeat in ruby red on a white ground, unmarked, restored foot, 45cm. high

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£250­350

27 A William De Morgan Early Fulham Period Double Carnation large tile, painted in shades of yellow, ochre and green on a white ground impressed factory mark, minor glaze loss to edge, 20.5cm square Provenance Private collection of William De Morgan tiles. £500­800

28 A William De Morgan Late Fulham Period Double Carnation large tile, painted with two large flowerheads in blue, aubergine and green on a white ground, impressed factory mark, 20.5cm. square

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Provenance Private collection of William De Morgan tiles. £500­800

29 A William De Morgan Sand’s End Pottery Four Inch Rose (variant) tile, painted with a rose in green on a white ground, impressed factory marks, 15.3cm. square Provenance Private collection of William De Morgan tiles. £150­200

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32 30 A Carlo Manzoni carafe vase, tapering conical form and knopped flaring neck, incised with panels of single flower stems and geometric panels in yellow, blue and green on a white ground incised factory marks to base, hairline crack to neck, 24cm. high

34 A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1935, shape no.197, compressed form, cast in low relief with a frieze of fish, covered in a matt grey glaze, impressed and incised factory marks and artist cipher, 15.5cm. high

Provenance Private collection.

£150­200

£120­180

35 A Foley Wileman Later Shelley Intarsio pottery urn shaped vase designed by Frederick Rhead, model no.3570, painted with stylised flowers and foliage in colours printed factory marks, cover missing, 24cm. wide.

31 An unusual Sunflower Pottery wall plaque by Sir Edmund Elton, circular, modelled in low relief with a scaly fish roundel, in silver and golden lustre on a crackled white ground, painted Elton signature, 33.5cm. diam.

32 A C H Brannam twin­handled vase, dated 1890, ovoid with cylindrical neck, painted with foliage in blue on a graduated brown glaze, a Brannam spill vase incised with fish, and three other vases, incised marks, 17cm. high, (5)

36 A pair of Hancock & Sons Morrisware vases designed by George Cartlidge, model no.C10­ 12, swollen form with tapering cylindrical neck, decorated with cornflowers in shades of purple and green on a mottled blue ground, printed factory marks, painted facsimile signature and number, 22cm. high (2)

£150­200

£350­450

33 A Pilkington’s Royal Lancastrian vase, shouldered form, cast in low relief with a frieze of prowling lioness’ covered in a matt cream­ white glaze, impressed factory marks, 24cm. high

37 A Hancock & Sons Morrisware vase designed

by George Cartlidge, model no.C9­9, cylindrical form with knopped neck, decorated with thistle flowers in purple and dark green on a streaked yellow/green ground, printed factory marks, painted number, 15.5cm. high

£500­600 33

£150­200

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£120­180

£200­300

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MOORCROFT POTTERY 38 ‘Tudor Rose’ a Moorcroft Pottery vase designed by William Moorcroft, retailed by Liberty & Co, shouldered ovoid form, tubeline decorated in blue and green on a mint green ground, printed Liberty mark, painted signature, 20.5cm. high £300­400

39 ‘Eventide’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in colours with flambe, painted blue signature, 15.5cm. high £500­800

40 ‘Eventide’ a Moorcroft Pottery vase designed by William Moorcroft, slender, shouldered form, painted in colours with a flambe glaze, painted blue signature, 19cm. high £500­800

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41 ‘Lilac’ a James Macintye & Co coupe and cover designed by William Moorcroft, painted with panels of flowers in yellow, blue and green highlighted in gilt on a white ground, printed factory mark, painted green signature, 21.5cm. high £500­800 42 A James Macintyre & Co Florian Ware dish designed by William Moorcroft, footed, circular form with pinched top rim, tubeline decorated with poppy flowers and foliage in blue, green and yellow on a celadon green ground, painted green signature, 26cm. diam.

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£500­600

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43 ‘Flambe Hibiscus’ a pair of Moorcroft Pottery vases designed by Walter Moorcroft, swollen, shouldered form, painted in colours under a flambe glaze, and a Moorcroft Pottery ‘Anemone’ pattern vase, applied paper labels, 9.5cm. high, (3)

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£150­250 44 A James Macintyre & Co tobacco jar and cover designed by William Moorcroft, tubeline decorated with panels of anemone flowers in blue on a pale blue ground printed factory mark, painted green signature, professional restoration to pot threads, 15cm. wide. (2) £250­350

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45 ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid form with everted top rim, tubeline decorated with pansy flowers in yellow, purple and green on a white ground, impressed factory marks, painted green signature, professionally restored, 16cm. high £200­300 46 ‘Flambe Leaf and Berries’ a Moorcroft Pottery vase, ovoid with cylindrical neck, painted in colours under a flambe glaze, impressed marks, painted blue signature, remains of paper label, 24cm. high £400­500 47 ‘Iris’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with cylindrical neck and everted top rim, tubeline decorated in shades of purple, blue, yellow and green on a celadon green ground, impressed factory marks, painted blue signature, 30.5cm. high £400­600

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48 ‘Flambe Leaf and Blackberry’ a Moorcroft Pottery plate designed by William Moorcroft, tubeline decorated and painted in colours under a flambe glaze, and a Moorcroft Pottery Wisteria pattern pot, impressed marks, painted blue signature, 22cm. diam. (2) £200­300 49 ‘Anemone’ a Moorcroft Pottery bowl designed by Walter Moorcroft, painted in colours under a flambe red glaze, impressed factory marks, painted blue signature, 24.5cm. diam. £180­220 50 ‘Pomegranate’ a Moorcroft Pottery plate with Tiffany & Co metal mount designed by William Moorcroft, the circular plate, painted in shades of pink, purple, blue and green on a mottled blue ground, set with central foliate knop, stamped marks to metal mount, 22cm. diam. £120­180 51 ‘Big Poppy’ a Moorcroft Pottery vase designed by William Moorcroft, slender baluster form with everted top rim, tubeline decorated in pink, purple, ochre and green on a mottled ochre­blue ground, impressed factory marks, painted blue signature, 20cm. high

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£700­800 52 ‘Big Poppy’ a Moorcroft Pottery bottle vase designed by William Moorcroft, ovoid with cylindrical neck, painted in colours on a blue ground, impressed marks, painted blue signature, 23cm. high £300­500 53 ‘Claremont’ a Moorcroft Pottery jardiniere by William Moorcroft, dated 1920, swollen form, painted in colours on a green ground, painted green signature and date 1920, hairline to foot rim, 18cm. high £1,000­1,500

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55 54 ‘Midnight Blue’ a pair of modern Moorcroft Pottery ginger jar and covers, painted in shades of blue on a pale blue ground, impressed and painted marks, 15.5cm. high (4) £150­250 55 ‘Noah’s Ark’ a modern Moorcroft ginger jar and cover, painted in colours, and an ‘Arctic Tundra;’ ginger jar and cover printed and painted marks, 15cm. high (4) £150­250

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56 ‘Cluny’ a Moorcroft Pottery ginger jar and cover, painted in colours, and a ginger jar and cover, impressed factory marks, 15.5cm. high (4) £150­200 57 ‘Nasturtium’ a Moorcroft Collector’s Club ginger jar and cover designed by Sally Tuffin, painted in colours and a ‘Magnolia’ ginger jar and cover, printed and painted marks, 15cm. high, (4) £150­200 58 ‘Juneberry’ a modern Moorcroft Pottery ginger jar and cover, dated 2000, painted in colours, and a ‘Tree Peony’ ginger jar and cover, impressed and painted marks, 15.5cm. high (4) £150­250

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59 ‘Carousel’ a Moorcroft Pottery ginger jar and cover, dated 1996, painted in colours, and a ‘Chatsworth Rose’ Moorcroft ginger jar and cover, printed and painted marks, 15.5cm. high (4) £150­200

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60 ‘Panda’ a Moorcroft Pottery limited edition ginger jar and cover designed by Sian Leeper, painted in colours, printed and painted marks,104/150, 20cm. high £150­200

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61 ‘Otters’ a modern limited edition Moorcroft Pottery large ginger jar and cover designed by Sian Leeper, painted in colours printed and painted marks, 128/150, bruise to top rim, 20.5cm. high £150­200

62 ‘Elegy’ a modern limited edition Moorcroft Pottery vase designed by Angie Davenport, dated 1997, painted in colours printed and painted marks, numbered 151/350, 27cm. high £150­250

63 ‘Swallow’s’ a limited edition Moorcroft Pottery vase designed by Rachel Bishop, shouldered form, painted in colours impressed and painted marks, 417/500, 25.5cm. high £150­200

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64 ‘Carousel’ and ‘Summer Fruits’ two Moorcroft Pottery limited edition chargers, painted marks, 36cm. diam. (2) £200­300 65 ‘Heron ­ Reeds at Sunset’ a Moorcroft Pottery charger designed by Philip Richardson, painted in colours, and a plate in the same pattern, painted green monogram 35cm. diam. (2) £150­200

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66 ‘Charles Rennie Mackintosh’ a pair of Moorcroft Pottery candlesticks, painted in colours, and a modern Moorcroft vase made for Liberty decorated with a landscape in black and white painted marks, 20.5cm. high (3) £120­180 67 ‘Pohutakawa’ a Moorcroft Pottery limited edition plate, painted in colours on a blue ground, a pear shaped vase in the same pattern and a New Zealand Fern vase, printed and painted marks, 21.5cm. wide (3) £150­200 68 ‘Foxglove’ a Moorcroft Pottery vase, painted in colours, another similar and a Passion flower vase painted marks, 17.5cm. high (3)

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£120­180 69 ‘Red Postbox’ a modern Moorcroft Collector’s Club vase, dated 2008, painted in colours, a small Mistletoe ginger jar and cover, another similar, a Robin candlestick and five other modern Moorcroft pieces, 14cm. high (9) £150­250 70 ‘Underwood’ a Moorcroft Collector’s Club vase, dated 2000, painted in colours, and three other vases similar, painted marks, 75/200, 11cm. high (4) £150­200

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71 71 ‘Ragged Poppy’ a Modern Moorcroft Florian Ware vase, dated 2000, slender baluster form, painted with flower stems in blue on a pale blue ground, and a ‘Northern Star’ modern Moorcroft vase, impressed and painted factory marks, 37cm. high (2) £150­250

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72 A tall modern Moorcroft vase, dated 2004, ovoid body with tall neck and everted rim, painted with flower stems in blue on a pale blue ground, impressed and painted marks, 38.5cm. high £150­250 73 ‘Reeds at Sunset’ a Moorcroft Pottery baluster vase designed by Philip Richardson, painted in colours impressed and painted marks, 31.5cm. high £120­180 74 ‘Florian Spirit’ a Moorcroft Pottery twin­ handled vase designed by Rachel Bishop, dated 2005, painted in colours on a dark blue ground, and ‘Minnet’ a Moorcroft Pottery vase painted marks, 17/50, 18cm. high (2)

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£150­200 75 ‘Lilac’ a Moorcroft Pottery vase, slender baluster form painted in colours on a pale yellow ground, and another vase painted with dog rose and rosehips, painted marks, 26.5cm. high (2) £120­180 76 A Moorcroft Collector’s Club solifleur vase, dated 1996, painted with wild fruit in colours on a purple ground, painted marks, 31cm. high £120­180 77 ‘Lily Come Home’ a Moorcroft Pottery vase designed by Emma Bossons, dated 2008, painted with lilys in colours, and another Moorcroft Pottery vase painted marks, 18.5cm high (2) £120­180

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78 ‘Clematis’ a Moorcroft Pottery vase, painted in colours under a yellow flambe glaze, a small Clematis footed bowl, two Anemone pattern vases, three pin trays and three mugs, painted blue signature, 13.5cm. high (10) £150­200 79 ‘Acorn Oak Leaf’ a Moorcroft Collector’s Club vase, dated 1996, painted with acorns and oak leaves in colours on a blue ground, and a smaller ‘Queen of the Night’ Moorcroft vase by Anji Davenport, painted marks, 16.5cm. high (2) £120­180 80 ‘Gum’ a Moorcroft Pottery vase designed by Sally Tuffin, painted in colours, and a ‘Grape vine’ Moorcroft Pottery vase painted marks, 260/500, 18.5cm. high (2) £150­200 81 ‘Hibiscus’ a large Moorcroft ginger jar and cover, painted in colours on a green ground, a vase in the same pattern, a springflowers box and cover, a small Aquilegia ginger jar and cover and three dishes, painted green signature , 20cm. high (10)

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£150­200 82 A modern set of Moorcroft Collector’s Club Pottery egg cups, dated 2005, six egg cups, painted in shades of blue, in fitted case, a circular box and cover and a small plate, painted marks, (9) £120­180 83 ‘Poppy’ a Dennis China Works vase designed by Sally Tuffin vase, dated 1995, painted in colours, and a modern Moorcroft double gourd vase painted with carnation, painted marks, 15,5cm. high (2) £120­180

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85 84 ‘Cockerel’ a large and unique Dennis China Works vase designed by Sally Tuffin, dated 2000, shouldered form, painted in colours on a tan ground, impressed and panted marks, 36cm. high £200­250

85 ‘Sunflower’ a large Dennis China Works vase designed by Sally Tuffin, dated 2004, shouldered form, painted in colours on a graduated blue ground, impressed and painted marks, limited edition 11 of 25, 48cm. high Provenance British Art Pottery, Woolley and Wallis Auctioneer’s, 13th December 2017 lot 461 Private collection. £300­500

86 Carp a Dennis China Works limited edition vase designed by Sally Tuffin, dated 2001, shouldered form painted with diving scaly fish in orange and ochre on a graduated peach ground, impressed and painted marks, numbered 1/25 36cm. high £150­200

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87 ‘Dragonflies’ a Highland Stoneware vase designed by Sally Tuffin, painted in colours, printed factory marks, painted ST monogram 31cm. high Catalogue notes Sally Tuffin, (along with Kaffe Fassett, Maureen Minchin and Eric Marwick stayed with Duncan Grant for a week and painted a group of individual wares which were exhibited at Highland Stoneware and Friends held at the Richard Dennis gallery. £120­180 90

88 A Highland Stoneware vase designed by Sally Tuffin, shouldered baluster form, painted with a shoal of fish, in colours impressed and painted marks, 24.5cm. high £150­200 89 ‘Polar Bear’ a Highland Stoneware vase designed by Sally Tuffin, ovoid with flaring rim, painted in colours impressed and painted marks, 24.5cm. high £150­200

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90 Eric Marwick How I’m Gutted with the Conceit of This, a stoneware Faustus figure, painted in colours, another similar, and another modelled as a woman in a bag, signed EM03 and titled 10cm. high, (3) £120­180 91 Eric Marwick Breakfast with Eric, a group of three figures and three egg cups, painted in colours signed EM 03 11.5cm. high (largest figure), (6) £120­180 92 Maureen Minchin (born 1954) a large charger, painted to the well with three Razorbills and central roundel of two rabbits, the rim with puffin in a seascape, the reverse with a band of mackerel and seaweed impressed seal mark, 42cm. diam. £700­900

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93 93 ‘Mikado’ a Pair of Carlton Ware Rouge Royale ginger jar and covers, printed and painted in colours and gilt with Chinese figures in a landscape, on a red lustre ground, printed factory marks, 22.5cm. high (4) £120­180 94 A Susie Cooper Productions Kestrel breakfast set, painted with simple yellow flower stems, comprising small kestrel teapot and cover, two graduated covered hot­water pots, milk­jug and sugar basin, one cup, saucer and side plate, cruet set and a breakfast bowl, and a Foley part tea set designed by Albert Rutherston for the 1934 Art in Industry exhibition, printed factory mark, 12cm. high (a lot)

95 96

£150­200 95 ‘Travel’ a Wedgwood part dinner service designed by Eric Ravilious, printed in black and blue on a grey ground with travel vignettes, comprising; tureen and cover, sandwich plate, dinner plate, tea cup and saucer, and a Wedgwood Garden side plate designed by Eric Ravilious, printed factory marks, 25.5cm. diam. (cake plate), (7) £200­300 96 A Wedgwood Pottery vase designed by Keith Murray, shouldered form with horizontal bands, covered in a matt green glaze impressed marks, printed facsimile signature, 28.5cm. high £200­300 97 ‘Candlemas’ a Wedgwood Fairyland Lustre vase designed

by Daisy Makeig Jones, model Z5137, shouldered form, printed and painted in colours and gilt on a black ground, printed and painted factory marks, body crack, 19cm. high

97

98

£400­600 98 An early Bursley Ware Pomona vase designed by Charlotte Rhead, pattern 456, tubeline decorated with flowers and fruit in colours on a mottled brown and orange ground, printed factory mark, painted number, 20.5cm. high £200­300 99 A Bursley Ware flaring bowl designed by Charlotte Rhead, pattern 736, tubeline decorated with fruit and foliage in red, orange, yellow and blue on a puce lustre ground, a Crown Ducal charger by Charlotte Rhead pattern 4954 decorated with wisteria flowers and another Charlotte Rhead bowl printed factory marks, facsimile signature, 27.5cm. diam. (3) Provenance Private collection. £120­180

99 23

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100

102

101

ASHTEAD POTTERY 100 ‘Corngirl’ M72 an Ashtead Pottery figure designed by Allen G Wyon, painted in colours, impressed, printed and painted marks, 20cm. high £250­350 101 ‘Putti’ M73 a pair of Ashtead Pottery book­ ends designed by Percy Metcalfe, painted in colours printed and painted marks, 18cm. high, (2) £400­500 102 ‘Monkey and Baby’ M.3 an Ashtead Pottery sculpture by Percy Metcalfe, cast, covered in a white glaze, printed factory marks, firing crack to base, 26cm. high £300­500 103

104

103 ‘Child with a Stick’ M38 and ‘Child with Flowers’ M39 a pair of Ashtead Pottery figures designed by Phoebe Stabler, painted in colours, impressed signature, printed and painted marks, professional restoration to stick, 15cm. high (2) £400­500 104 ‘Eastern Lady’ M37 an Ashtead Pottery figure designed by Phoebe Stabler, painted in colours printed and painted factory marks, 15cm. high £250­300 105 ‘Buster Girl’ M49 an Ashtead Pottery figure designed by Phoebe Stabler, painted in colours, printed and painted marks, impressed facsimile signature to base, 17.5cm. high £250­350 106 ‘Buster Boy’ M51 an Ashtead Pottery figure designed by Phoebe Stabler, painted in colours impressed, printed and painted marks, 18cm. high

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105

106

£250­350

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107

108

107 ‘The Jungle Book’ five Ashtead Pottery figures designed by Donald Gilbert, comprising Baloo, Bageera, Kaa, Akela and Mowgli, glazed cream, impressed, printed and painted marks,17cm. high (Mowgli), (5) £800­1,200

108 ‘Bacchus’ M24 an Ashtead Pottery figure, painted in colours, printed and painted marks, 19.5cm. high £300­400

109 ‘Large Putto’ M40 a large Ashtead Pottery figure, modelled seated on a bed of flowers, on hexagonal base, printed and painted marks, 28cm. high

109

£500­700

110 ‘Summer’ M104 a rare Ashtead Pottery figure designed by Joan Pyman, designed 1931, painted in colours, impressed, printed and painted marks, professional restoration, chips to base, 35cm. high Provenance Christie’s South Kensington £300­500

110 25

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112

111 ‘Gay Gobbler’ a Midwinter Pottery large serving platter and six dinner plates designed

by Jessie Tait, printed and painted in colours with a turkey, the rim a frieze of grey and red feathers, printed factory marks, 53cm. wide (7) 113 both sides

£150­250

112 Vivien Leigh as Cleopatra a Briglin Pottery figure by Susan Parkinson, glazed grey­blue on white, etched and painted marks, 30.5cm. high £300­500

113 A Troika Pottery Chimney vase, modelled in low relief with a geometric figure, in shades of blue, green and brown, painted factory marks, 20.5cm. high £150­200

114 A Troika Pottery rectangular vase, modelled in low relief with geometric panels in shades of blue and brown on a buff ground, painted marks, AB monogram 21.5cm. high 114 both sides

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£150­200

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A PRIVATE COLLECTION OF FULHAM POTTERY

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115

116 115 A large Fulham Pottery twin­handled vase designed by William John Marriner, shape FMB, size 2, and another smaller impressed marks, 42cm. wide, (2) £200­300 116 A pair of Fulham Pottery Mantel vases, model WK, one glazed to the interior, the other glazed white all over, impressed and incised marks, 26cm. wide (2) £150­250 117 A Fulham Pottery twin­handled flower vase designed by Charles West , model no FWE, glazed mint green o interior, impressed and incised marks, 37.5cm. wide.

117

£150­250 118 A large Fulham Pottery twin­handled vase designed by William John Marriner, model FMC size 1 glazed interior, impressed and incised marks, stress hairline to top rim, 65cm. wide £300­400 119 A The Fulham Pottery twin­handled flower vase, footed form, covered in a white glaze, and another smaller, printed factory marks, 44.5cm. wide (2) £150­200 120 A Fulham Pottery footed flower vase designed by Charles West, model WF, glazed to the interior, and a similar The Fulham Pottery vase glazed white impressed and incised marks, 28cm. wide (2)

118

28

119

£200­300

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122

121 A small Fulham Pottery flower vase designed by Constance Spry, footed, fluted form, the handles with incised decoration, glazed to the interior, impressed factory marks, facsimile Spry signature, 30cm. wide £120­180

122 A large Fulham Pottery twin­handled flower vase designed by William John Marriner, FMC1, footed, twin­handled form, glazed to the interior, impressed and incised marks, 55cm. wide £150­200

123 A large Fulham Pottery flower vase designed by Gerard De Witt, footed, fan form, glazed interior, impressed and incised marks, 28.5cm. high £300­500

123 124 A pair of Fulham Pottery vases designed by Gerard De Witt, shape DWM1, footed, the flaring, fluted body with internal flower brick, glazed white, impressed factory marks, 22cm. high (2) £300­500

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126

125 125 A The Fulham Pottery twin­ handled flower vase designed by William John Marriner, twin­ handled, footed form covered in a mint green glaze printed factory marks, 43cm. wide

129 A The Fulham Pottery flower urn, model FLA1, footed, flaring fluted form, covered in a grey glaze printed and impressed marks, 32.5cm. high £150­250

£150­250

127

126 A pair of The Fulham Pottery Lotus vases designed by Charles West, covered in a mint green glaze, printed factory marks, 36cm. wide, (2)

130 A Fulham Pottery Lotus vase designed by Charles West, model no FWD1, covered in a black matt glaze, and another glazed grey impressed model number 35cm. wide (2)

£150­250

£150­250

127 A The Fulham Pottery Harp vase, footed form, covered in a white glaze, and a The Fulham Pottery Lotus vase, printed factory marks, 26cm. high (2)

131 A pair of Fulham Pottery twin­ handled flower vases designed by William John Marriner, shaped FMB, footed twin­handled form with wavy top rim, glazed to interior, impressed and incised factory marks, 44cm. wide, (2)

£150­200 128 A Fulham Pottery vase designed

by Charles West, model WDK, footed, flaring form, covered in a white glaze, and a larger Fulham Pottery twin­handled flower vase, impressed and incised marks, 33.5cm. wide. (2)

128

£200­300

£150­250

129 30

130

131

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133

132 A Fulham Pottery flower vase and cover designed by Gerard De Witt, model DW2, footed, flaring fluted form with a loose flower brick, glazed interior, impressed and incised marks, 22cm. high, (2) £500­800

133 A Fulham Pottery Coralie flower vase designed by Gerard De Witt, footed form with flaring fluted body and stepped integral flower brick, glazed, impressed factory marks, 21cm. high £500­800

134 134 A Fulham Pottery Coralie flower vase designed by Gerard De Witt, footed, flaring form, glazed to the interior, impressed marks, 18cm. high £150­200

135 A Fulham Pottery Fan flower vase designed by Gerard De Witt, footed, flaring form with six flower apertures, glaze interior impressed and incised marks, 29.5cm. high £250­350

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136

138

137 136 A Fulham Pottery twin­handled flower vase designed by John William Marriner, model FMB, twin­handled footed form, glazed pale green to the interior, impressed and incised marks to base, 35cm. wide.

139 A Fulham Pottery wall pocket, model FA, moulded in relief with foliage, glazed interior, and a Fulham Pottery twin­handled flower vase, model FMC impressed and incised marks, 15cm. high (wall pocket), (2)

£120­180

£150­200

137 A Fulham Pottery Napoleon’s Hat flower vase designed by Constance Spry, footed, flaring form, glazed to the interior, impressed and incised marks and facsimile signature, 42cm. wide.

140 A pair of JMS Fulham Pottery twin­handled flower vases, footed, fluted form, glazed white printed factory marks, 44cm. wide, (2)

£200­300

141 A Fulham Pottery stoneware flower vase designed by Charles West, model FWF, footed form with modelled foliate handles, covered in a grey glaze, impressed marks, 41cm. wide

138 A Fulham Pottery flower vase designed by William John Marriner, model WDK, footed form glazed to the interior, and another Fulham Pottery twin­handled flower vase, impressed and incised marks, 33.5cm. wide (2) £200­300

139

£150­250

£150­250 142 A Fulham Pottery Fan flower vase designed by Gerard De Witt, footed, flaring form with six flower apertures, glazed interior impressed and incised marks, 29.5cm. high £250­350

140

32

141

142

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143

145

144

146 143 Ashworth Pottery a flaring bowl, covered in a streaked blue glaze, and six other vases and bowls relating to Reginal Fairfax Wells, incised inscription, 19.5cm. diam. (7)

147

148

‡ 147 Reginald Fairfax Wells (1877­1951) a Coldrum Pottery vase, ovoid with collar neck, glazed turquoise over cream, impressed Coldrum Chelsea 21.5cm. high £150­250

£120­180 ‡ 144 Reginald Fairfax Wells (1877­1951) a Coldrum Pottery vase, slender shouldered form, covered in a burgundy glaze over lavender, impressed Coldrum 26cm. high £150­200 ‡ 145 Reginald Fairfax Wells (1877­1951) a Coldrum Pottery vase, shouldered form, covered in a running pink and lavender glaze impressed Coldrum to base, stress crack to neck, 18.5cm. high £120­180 ‡ 146 Reginald Fairfax Wells (1877­1951) a Soon Pottery vase, swollen cylindrical form with vertical ribs, glazed turqouise, incised Soon to base, applied paper label 26cm. high £200­300

148 Reginald Fairfax Wells (1877­1951) a Soon Pottery bowl on three lug feet, covered in a pale yellow splitting glaze, a Coldrum Pottery bowl on three feet and a cauldron, incised Soon, 16cm. diam. (3) Provenance Coldrum bowl from the Erik Hancock collection. £150­200 ‡ 149 Reginald Fairfax Wells (1877­1951) a large Coldrum Pottery vase, ovoid covered with a blue textured glaze impressed Coldrum Chelsea mark 24cm. high

149

£200­300 ‡ 150 Reginald Fairfax Wells (1877­1951) Bull a Soon Pottery sculpture, signed Soon, chipped horns, 15.5cm. wide £150­200 150 33

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152

151

153

‡ 155 David Leach OBE (1911­2005) a Lowerdown Pottery cut­sided porcelain bowl, covered in a tenmoku glaze, and a Muchelney Pottery bowl impressed DL and Lowerdown seal marks, 17.5cm. diam, 9.5cm. high (2)

‡ 151 Frances Richards (1903­1985) a stoneware vase, shouldered form with collar rim, covered in a mottled pale blue glaze, the neck glazed brown, and another smaller vase by Frances Richards, incised monogram to base, stress firing hairline to main vase, 21.5cm. high, (2)

Provenance Purchased from the Lowerdown Pottery Private collection.

£150­200

£150­200

‡ 152 William Staite Murray (1881­1962) a stoneware footed bowl with inverted rim, covered in a rich textured tenmoku glaze with rust rim and specks impressed seal mark, fine hairline to top rim,13.5cm. diam.

‡ 156 David Leach OBE (1911­2005) a large porcelain bowl, painted with simple flower repeat in cobalt and Tenmoku on a pitted off­white ground, impressed DL seal mark 21cm. diam, 12cm high

£120­180

154

‡ 153 David Leach OBE (1911­2005) a Lowerdown Pottery porcelain cut­sided bowl, covered in a pale blue celadon glaze, and another smaller Muchelney footed bowl impressed DL and Lowerdown seal marks to main bowl 17.8cm. diam, 10cm high, (2)

Provenance Purchased from the Lowerdown Pottery Private collection. £150­200 ‡ 157 David Leach OBE (1911­2005) a Lowerdown Pottery porcelain bowl, flaring form, painted with bands of lines and spots in rust brown and blue on a matt white Dolomite glaze, and another smaller bowl by David Leach with simple dash motif, impressed seal mark, 7.5cm. high, 13.5cm diam, (2)

Provenance Purchased from the Lowerdown Pottery Private collection. £150­200

155

‡ 154 David Leach OBE (1911­2005) a Lowerdown Pottery stoneware jug, covered in a tenmoku glaze, impressed seal marks, 27cm. high

Provenance David Coachworth Collection.

Literature Emmanuel Cooper and Kathy Niblett David Leach, Richard Dennis Publications, page 105 catalogue 99 and 100 for comparable examples illustrated.

£200­300

£120­180

156

157 34

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159

158

‡ 158 David Leach OBE (1911­2005) a Lowerdown Pottery teapot and cover, painted in tenmoku and manganese with a simple fern spray, on an off white ground, with over­slung bamboo handle, and another larger teapot decorated in resist with abstract design impressed Lowerdown mark to main pot 13.5cm. high (4) Provenance Purchased from The Lowerdown Pottery Private collection.

160

£150­200 ‡ 159 John Leach (1939­2021) a Muchelney Pottery burnished vase, 2009 ovoid with flaring neck and twin loop handles, burnished black with white stripe impressed seal marks, dated 09 14cm. high Provenance Woolley and Wallis Auctioneer’s, 22nd June 2011 lot 4.

Kate Catleugh £120­180 ‡ 160 Bernard Leach CBE (1887­1879) a Leach Pottery porcelain vase, ovoid with flaring neck, the body with incised band of decoration, glazed celadon, and a stoneware jug with incised ear of corn design, Impressed BL and Pottery seal marks, 16.5cm. high (2)

161

£300­500 ‡ 161 Shoji Hamada (1894­1978) a footed stoneware unomi, waisted body, painted with simple brush design in tenmoku over grey­celadon glaze, in wooden box box lid signed, unomi unsigned 9cm, high £250­350 ‡ 162 Shoji Hamada, (1894­1978), attributed a Mashiko Pottery vase shouldered form with impressed zigzag bands, covered in a tenmoku glaze, unsigned 24.5cm. high £500­800 162 35

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RICHARD BATTERHAM Whilst preparing this auction we lost another two much loved and appreciated potters – John Leach and Richard Batterham.

Richard was one of Britain’s leading throwers of stoneware pottery in the ‘Leach Tradition’ , having trained at Bernard Leach’s pottery with a two year apprenticeship in the early 1960s. Working on his own from his purpose built Dorset pottery (built in 1966) – Batterham worked systematically for over sixty years. His range of shapes and glazes developed and were refined over this period, including experiments with porcelain, with an example of each firing being kept for future reference.

His work is immediately identifiable, rarely decorated other than with simple chattering bands or cut­sides and rarely signed. His ambition was not fame but simply to refine his processes of making, produce pots some of which would ‘sing’ to him.

Sadly his passing came before the opening of the retrospective exhibition to be held from November 2021 at the Victoria & Albert Museum.

Michael Jeffery Richard Batterham Studio Potter at the V&A from 26th November 2021 – September 2022

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163

164

163 Richard Batterham (1936­2021) an early stoneware lidded casserole, made at the Leach Pottery in St Ives, with applied lug handles, glazed to the interior with a blue ash glaze, and an early Durweston pottery jug made by Richard Batterham applied paper label inscribed I made in Leach Pottery 20cm. high, (3) Catalogue notes The following 19 lots were consigned from Richard Batterham’s pottery, Durweston, Dorset. £120­180 164 Richard Batterham (1936­2021) two graduated stoneware jugs, the neck glazed ash, the cylindrical body tenmoku, unsigned, paper label ‘Dinah’, 1960s 28.5cm. high (2)

165

Catalogue notes The paper labels were to confirm these jugs were to be kept for Dinah Batterham, Richard’s wife, and not to be sold. £150­250 165 Richard Batterham (1936­2021) a large stoneware beer jar and cover, swollen cylindrical form with simple cut band of decoration, covered to the foot with an ash glaze, unsigned, cover repaired, small chips to top rim of jar, late 1970s 42cm. high Catalogue notes This Beer jar was much talked about in the family and was held in high esteem by Richard.

166

£150­200 166 Richard Batterham (1936­2021) a salt­glazed stoneware Melon teapot and cover, covered to the foot with a mottled salt­glaze, and another cut­sided teapot and cover by Richard Batterham, main pot incised 31 to base, 2000s 13cm. high (4) £150­250 167 Richard Batterham (1936­2021) a large cut­sided stoneware footed bowl, covered to the foot with an ash glaze unsigned, 1980s 31cm. diam, 16.5cm. high £150­250

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168

169

170

168 Richard Batterham (1936­2021) an early beaten stoneware little jar and cover, covered in an ash glaze with tenmoku patches, another cylindrical jar and cover with cut decoration, covered with an ash glaze, with paper label dating it to 1968, a taller cylindrical jar and cover and three other covered jars all by Richard Batterham, painted cobalt 28 to base of main, damages and repairs, 13cm. high, (12)

171 Richard Batterham (1936­2021) a rare early porcelain light and shade, pierced pagoda form, covered in a celadon glaze, unsigned 18cm. high, (2)

£150­250

172 Richard Batterham (1936­2021) a cut­sided stoneware bowl, decorated to the exterior with a tenmoku glaze, the interior ash, and another two similar cut­ sided bowls by Richard Batterham, unsigned, chip to rim of one, 23cm wide, 16cm high (main), (3)

169 Richard Batterham (1936­2021) a stoneware footed bowl, with simple cut band of decoration, covered with a pale celadon ash glaze with speckles, three other similar and a butter dish dated 1968 all by Richard Batterham, unsigned, paper price label to main, minor chips to one bowl 15.5cm. diam. (5) £120­180 170 Richard Batterham (1936­2021) a salt­glazed Melon teapot and cover, ovoid with vertical ribs, covered in a translucent speckled glaze, unsigned, incised 31 to base 16.5cm. high

Catalogue notes These lamps were made by Richard in small numbers as Christmas presents, mainly for the family, in the early 1970s. £120­180

£150­250 173 Richard Batterham (1936­2021) a large stoneware fruit salad bowl, decorated to the well with simple combed panel, covered in an ash glaze unsigned, painted cobalt 2, applied paper exhibition 11 label, 47cm. diam. £150­200

£120­180

171

172 38

173

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175

176

174 Richard Batterham (1936­2021) a salt­glazed stoneware cut­sided jar, the neck slipped down to the waist, and upper body glazed iron red over salt­glaze, circa 1998­2000 unsigned 35cm. high £300­500 175 Richard Batterham (1936­2021) a tall stoneware bottle vase, shouldered form with flaring neck, the foot, salt­ glaze with slip half way down, unsigned, circa 1998­2000 63cm. high £400­600 176 Richard Batterham (1936­2021) an early, tall porcelain and stoneware bottle vase with flaring rim, square section, covered in a celadon ash glaze with speckles, unsigned, paper label RB20, repaired neck, made pre­1966 58.5cm. high £200­300 177 Richard Batterham (1936­2021) a large two piece stoneware bottle vase, shouldered, tapering cylindrical form with simple bands of chattering decoration, covered in an ash glaze to the foot, unsigned 78cm. high Catalogue notes This vase was made in the 1980s at the Durweston Pottery. £600­1,000

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178

179

178 Richard Batterham (1936­2021) an extra large stoneware sugar jar and cover, cylindrical form covered in a white slip, unsigned, late 1970s 31cm. high, (2) £200­300 180

179 Richard Batterham (1936­2021) a salt­glazed stoneware caddy and cover unsigned, paper 171 label, small under­glaze chip to top rim, 24cm. high (2) £150­250 180 Richard Batterham (1936­2021) A cut­sided stoneware Lily jar, with collar neck, covered with a streaked ash and manganese glaze, unsigned 33.5cm. high £300­500 181 Richard Batterham (1936­2021) a salt­glazed stoneware small beaten bottle, swollen square section with flaring neck, with slip to shoulder, unsigned, incised 31 33.5cm. high £300­500

END OF COLLECTION 181 40

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182

‡ 182 John Maltby (1936­2020) a large stoneware charger, on shallow foot, enamelled with panels in blue and rust on a speckled celadon glaze, impressed seal marks, 43cm. diam.

183

Provenance Purchased from the artist directly Private collection £300­500 ‡ 183 John Maltby (1936­2020) Woman with Column stoneware, impressed seal 36.5cm. high Provenance Bettles Gallery £700­1,000 ‡ 184 John Maltby (1936­2020) Figure and a Tree, 2006 stoneware sculpture, on ebonised wood base signed and titled 46.5cm. high Provenance Bettles Gallery £800­1,000

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185

186

187

‡ 185 Gordon Baldwin OBE, (born 1932) a rare stoneware teapot and cover, circa 1974, ovoid with short spout and over­slung handle, covered in a mottled matt brown glaze, painted GB monogram, 23cm. high Provenance The British Crafts Centre, October 1974, by repute £120­180 ‡ 186 Glenys Barton (born 1944) Untitled (figure in a Pyramidal Group), black and silver ink on paper, framed signed Glenys Barton, 74 and dedicated to Kate and John in pencil 50 x 30cm.

188 42

‡ 187 Kate Malone MBE (born 1959) a Carnival Ware jug with fluted foot glazed in colours incised Kate Malone 12.5cm. high Provenance Given by the artist as a present to Fenella Fielding. £120­180 ‡ 188 Kate Malone MBE (born 1959) Homage to Fenella, stoneware glazed with earthenware glazes modelled as a pear and leaf, incised signature 25cm. high

Provenance Kate and Jon Catleugh.

Provenance Given by the artist as a present to Fenella Fielding.

£120­180

£150­200

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‡ 189 James Tower (1919­1988) Sea Piece, 1985 tin­glazed earthenware large vase incised Tower 85 52.5cm. high 57cm. wide Provenance Contemporary Ceramics, Bonhams, 26th March 1992 Private Collection.

Literature Paul Rice and Christopher Gowing British Studio Ceramics in the 20th Century, 1989, page 153 this vase illustrated.

Timothy Wilcox The Ceramic Art of James Tower, Lund Humphries, page 165 catalogue number 186. £10,000­20,000

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190

191

190 Paul Barron a bowl, footed form with simple translucent glaze, another vase similar, a Sidney Tustin jug and two other vases, impressed seal mark, 14.5cm. diam. (5) £120­150

192

191 Aldermaston Pottery a group of glaze trial ceramics, comprising; three plates painted with spiral colours, a tile two dishes and a bowl, unsigned 24.5cm. diam. (7) £150­250 192 Ray Finch MBE (1914­2012) a Winchcombe Pottery salt­glaze stoneware teapot and cover, with simple painted decoration, and an en suite caddy and cover, impressed seal marks, 15.5cm. high (4) £150­200 193

193 Peter Wright (1919­2003) Couple seated on a Plinth three piece porcelain group, glazed and another similar incised Wright 22.5cm. high (6) £150­200 ‡ 194 Patricia Volkes (born 1951) a pair of raku busts, on polished slate bases, unsigned, losses 39cm. high (2) Provenance Beaux Arts, Bath £300­500

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194

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‡ 195 Emily Myers (born 1965) A tall stoneware vase with horizontal ribs, glazed speckled off white, over brown, and another vase with spiralled decoration by Emily Myers impressed seal mark and paper labels 29.5cm. high (tallest), (2) £150­200 ‡ 196 Emmanuel Cooper OBE (1938­2012) a porcelain footed bowl, covered in a pitted blue glaze, the rim highlighted with manganese band, and two glass vases decorated with orange and black panels, impressed seal mark, 19cm. diam, 7.5cm. high, (3)

195

196

Provenance Contemporary Ceramics, London Private collection £150­200 ‡ 197 Peter Beard (born 1951) a stoneware vase with inlaid blue veins, ovoid form, and another solifleur vase by Peter Beard, impressed seal marks, 10cm. high (2) £120­180 ‡ 198 Peter Beard (born 1951) a stoneware vase, shouldered form with three loop handles, inlaid with blue and turquoise veined design, impressed seal mark 21.5cm. high

197

198

£150­200 ‡ 198A Colin Pearson (1923­2007) a tall stoneware jug with twisted handle, the shouldered cylindrical body with angled spout with torn rim, covered in a white and pale blue glaze impressed seal mark to handle, 55cm. high £800­1,200 ‡ 199 Colin Pearson (1923­2007) Winged Pot, a stoneware vase, elliptical section with applied, pierced handles, covered in a mottled grey glaze impressed seal marks, applied Colin Pearson paper label, 23.5cm. high Provenance David Coachworth Collection.

199

£300­400

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‡ 200 John Ward (born 1938) a hand­built stoneware vase, waisted, shouldered form, matt glazed rust and turquoise impressed seal mark 20cm. high Provenance Beaux Arts, Bath £3,000­5,000 46

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‡ 201 John Ward (born 1938) a hand­built stoneware vase with stepped rim, sand and matt blue patches, impressed seal mark, 21.5cm. high Provenance The New Craftsman, St Ives £2,000­3,000

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‡ 202 John Ward (born 1938) a hand­built stoneware facetted vase, mottled green on a white ground impressed seal mark, 15.5cm. high £800­1,200

202

‡ 203 John Ward (born 1938) a hand­built stoneware Tulip vase, mottled green on a white ground, impressed seal mark, 16.5cm. high £800­1,200

203

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‡ 204 John Ward (born 1938) hand­built stoneware vase, shouldered form with cylindrical neck, mottled white ground, the shoulder and neck with bands of turquoise, impressed seal mark, 23.5cm. high £3,000­5,000

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206 205 both sides

‡ 205 Peter Hayes (born 1946) Female figure, verdi gris stoneware, tall figure incised signature, minor losses to base 72.5cm. high £600­1,000 ‡ 206 Peter Hayes (born 1946) Standing Family tall stoneware sculpture glazed verdi gris, 72cm. high £600­1,000 ‡ 207 Peter Hayes (born 1946) Raku totem form, black polished raku with blue highlights, on polished slate base incised Peter Hayes 93 to base, 39cm. high £300­500 ‡ 208 Peter Hayes (born 1946) Totem Form with copper disc, a tall raku sculpture on polished slate base, black and blue finish unsigned 73.5cm. high £300­500 ‡ 209 Peter Hayes (born 1946) Tall white figure a raku pottery figure, white with pale blue highlights, on polished slate base incised Peter Hayes to base 74cm. high

207 50

208

209

£500­800

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211

‡ 210 Peter Hayes (born 1946) an impressive raku wall sculpture with blue resin band, 2007 signed Peter Hayes 07 in pen 70 x 71cm. £400­600 ‡ 211 Peter Hayes (born 1946) a raku wall panel with blue resin band and panels, on wooden frame, 2005 incised Peter Hayes 05 48 x 37.5cm. £400­600 ‡ 212 Peter Hayes (born 1946) Teardrop with disc, 2016 a Syrian technique engraved metal sculpture on black raku stand and polished slate base signed Peter Hayes 2016 47cm. high £500­800

212

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213 Gillian Montegrande (born 1960) untitled, 2021 stoneware vase and cover, glazed black, white and rust red signed and dated 40.5cm. high, (2) £150­200 214 Gillian Montegrande (born 1960) Alas Poor Yonic, 2021 stoneware vessel glazed black, signed and dated 32.5cm. high £150­200 215 Gillian Montegrande (born 1960) Roach, 2021 stoneware vessel glazed black and white signed and dated 24cm. high £150­200 213

‡ 215A Andrew Richardson (born 1949) Castle Sculpture, 1971 stoneware sculptural vessel and cover with impressed decoration, the cover with six small loose buildings, and a similar townscape of fifteen small buildings, impressed seal mark to side, 19cm. high, (23) Provenance The Crafts Centre of Great Britain, 1971, David Coachworth Collection. £150­250

214

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‡ 216 Anthony Theakston (born 1965) Bittern a white salt­glazed stoneware jug form, signed to base 36cm. high £300­400 ‡ 217 Anthony Theakston, (born 1965) Owl salt­glazed ceramic sculpture of a perched barn owl, on wooden plinth incised signature 30.5cm. high Provenance Purchased directly from the artist, private collection. £300­500 ‡ 218 Anthony Theakston (born 1965) Turnaround a tall grey and green salt­glazed stoneware sculpture of a barn owl perched on a cylindrical base, signed to base 36cm. high £700­800 218

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220

PRINTS BY ERIC JAMES MELLON 219 Eric James Mellon (1925­2014) Pluto Entertains Persephone, 1978 lithograph on paper, mounted signed, titled and numbered 17/20 AP 28.5 x 19cm (image) £120­150

221 Eric James Mellon (1925­2014) Persephone with two Musicians Ascalaphus, a cat and a fox, 1978 lithograph on paper, mounted signed, titled and numbered 19/29 AP 28.5 x 18.5cm. £120­180

220 Eric James Mellon (1925­2014) Mermaid and Fox, Owls and Rose, wood engravings on paper, in common mount signed, titled and numbered 13 x 9.5cm (owls image) £150­200

222 Eric James Mellon (1925­2014) Persephone with a Flautist, 1978 Lithograph on paper, mounted and ‘Persephone about to throw a pomegranate to Pluto’ a lithograph by Eric James Mellon signed, titles and numbered 16/20 and 5/12 30 x 19.5cm (image), (2) £150­200

221

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223 223 Eric James Mellon (1925­2014) Flying Angel, aquatint on paper, artist proof, mounted, and ‘Golden Angel/Ballagh Series’ aquatint by Eric James Mellon signed and titled in pencil, 15 x 9.5cm. (2) £150­250

224 Eric James Mellon (1925­2014) Living with Angels: Angel of Port Caman,1996 aquatint on paper, artist’s proof, mounted signed, titled and numbered in pencil, 19.5 x 14.5cm. £120­180

225 Eric James Mellon (1925­2014) Slack Wire Walker, colour sugar lift aquatint on paper, and Circus Horse and Rider a colour aquatint by Eric James Mellon, signed, titled and numbered 4/50 and 17/50 19.5 x 14.5cm (image), (2) £150­250 224

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228

DESIGN 226 A Sevres marbled glass vase, square section red and purple marbled glass, acid etched Sevres mark, 13.3cm. high £120­180 227 A rare pair of Art Nouveau Lithyalin vases by Friedrich Egerman, swollen square section the glass marbled to resemble agate, acid etched with poppy flower stems, unsigned, 11.8cm. high, (2) Literature Ray & Lee Grover, Art Nouveau Glass, Charles Tuttle Company, page 199 for comparable examples of this firms work. £300­500

228 An Emile Galle Art Nouveau cameo glass vase, shouldered form, cameo decorated with fuchsia flowers in aubergine glass over yellow cameo signature Galle, cover missing, 6.5cm. high £120­180 229 A large Loetz Flamarion glass vase, shouldered form, pink flames rising to pearl­ grey to the shoulder, cased in clear, unsigned, 24cm. high £1,000­1,500 230 An Art Nouveau Loetz glass vase with pewter mount, the glass vase, tapering cylindrical form with everted top rim, covered in a splashed iridescence, with pewter mount, pierced and cast with sinuous stems forming twin­handles, unsigned, 26.5cm. high £400­600

229

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FROM A PRIVATE COLLECTION OF ART NOUVEAU GLASS 231 An Art Nouveau miniature Daum Nancy enamelled glass solifleur vase, ovoid body on applied foot with tall cylindrical neck, enamelled with trailing fuchsia flowers, acid etched Daum Nancy mark, 8.7cm. high Provenance A private collection of Art Nouveau glass. £700­1,000 232 An Art Nouveau Daum Nancy enamelled glass vase, ovoid with tapering cylindrical neck, enamelled with pink sweet pea flowers, signed Daum Nancy, 9.8cm. high Provenance A private collection of Art Nouveau glass. £1,000­1,500 233 An Art Nouveau Daum Nancy enamelled glass vase, swollen cylindrical form, enamelled with orchid flowers, signed Daum Nancy to side, 12cm. high Provenance A private collection of Art Nouveau glass. £1,500­2,000 231

232

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234 A tall Art Nouveau Daum Nancy cameo glass vase, slender, footed form with swollen neck, cameo decorated in green and orange with poppy flowers, etched Daum Nancy to the foot, 31.5cm. high Provenance A private collection of Art Nouveau glass. £3,000­5,000

235 An Art Nouveau Galle cameo glass vase designed by Emile Galle, slender, shouldered pink glass body with flaring foot, overlaid with orange glass, cameo decorated with flowers and foliage etched signature Galle to foot, 20.5cm. high Provenance A private collection of Art Nouveau glass. £1,000­2,000

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236 A Moderne table lamp with Art Deco Verlys opalescent glass bowl shade, the opalescent glass cast in relief with three flowers, on domed chrome base and flaring conical ebonised wood column and chrome arms, etched Verlys France to the well, 34.7cm. diam (bowl), 46.5cm. high (2) £200­300 237 A spherical glass vase with cut and polished lens, pale blue glass unsigned, 18cm. high £120­180 238 A Viennese glass vase the design in the manner of Josef Hoffmann, footed form with flaring bowl, cut with geometric star and crescent design, and a Steuben taller, fluted green glass vase main unsigned, green vase signed Steuben, 15.3cm. high (2) 236

Catalogue notes There is a similar shaped vase designed by Josef Hoffmann, circa 1923 made by Johann Oertel & Co, decorated by Julius Zimpel in the Vienna Kunst Historisches Museum. £120­180 239 A set of three John Walsh Walsh glass shades, flaring, hexagonal section, frosted finish, acid etched makers mark to top, 14.5cm. high (3) £150­250 240 An Iittala Arkipelago glass suite designed by Timo Sarpaneva, clear glass, the solid stems with surface texture and air bubble decoration, comprising, eight red and six white wine glasses, seven champagne flutes, six larger flutes, seven shot flutes and seven sherry glasses, unsigned, 17cm. high (tallest glass), (41) £200­400

237

238

239 60

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241 A Mdina Fish glass vase, dated 1978, shouldered disc form with tapering solifleur neck, the body with polished front, mottled blue red and white glass cased in clear etched Mdina 1978 to base, 24.5cm. high £200­300

242 A large glass vase possibly Italian, red and white stripes and spots, cased in clear, unsigned 51cm. high £200­300

243 An Italian glass vase in the manner of Dino Martens, pear shaped with irregular top rim, multi­coloured panels with aventurine, cased in clear, unsigned, 15.5cm. high

241

£300­500

244 A Maleras glass block sculpture designed by Mats Jonasson, rectangular form, cast to the reverse with a portrait of a woman, applied sticker label, etched mark to base, 13.5cm. high

242

£120­180

245 A Venini glass vase, flattened disc form with tapering neck, pale green glass inlaid with bands of white and blue, unsigned 23cm. high

243

Literature Venini Catalogue Raisonne 1921­1986, page 287 for an original catalogue drawing for this shape and technique reproduced. £800­1,200

244

245

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246 A Galle Pottery model of a seated cat designed by Emile Galle, modelled seated wearing blue striped costume painted with stylised flower stems, in colours, with applied glass eyes, painted E Galle Nancy to foot, repaired ear, 32.5cm. high £400­600 247 A large Gouda Pottery earthenware vase, shouldered twin­handled form, painted with Art Nouveau flowers stems in colours on a pale green ground, painted and impressed marks, 43cm. high £300­500 248 A pair of Royal Worcester Chinese figures designed by Agnes Pinder­Davies, model no.3397 and 3398, painted in colours and two modern Royal Worcester caddies and covers and a dish decorated with Chinese figures, printed factory marks, 15.5cm. high (tallest), (7)

246

247

£120­180 249 Pan a continental pottery sculpture, modelled seated on tall, slender plinth, playing his pipes, covered in a crackled cream glaze, unsigned, 13.5cm. high £180­220 250 A Robj Paris set of knife rests and salts designed by Edouard Marcel Sandoz, twelve ceramic knife rests each modelled as a stylised duck, glazed white with gilt highlights, two duck salts with metal spoons, in fitted silk lined display case, stamped marks to base, 10cm long (rests)

248

Provenance Design, Woolley and Wallis Auctioneer’s, 16th October 2019 lot 1402.

Private collection. £120­180

249

251 Deux Disciples de Confucius en Priere a pair of Robj porcelain book ends, model no.148, each modelled as a kneeling figure in gold cape and hat, on coral red stand, printed factory marks, 19.5cm. high, (2) Literature Vanna Brega Le Ceramiche Robj, catalogue number 148 this design illustrated. This design introduced in 1928.

250

£150­250

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252 An Essevi Pottery bust of a young woman, wearing headscarf, painted with flowers and foliage in colours on a cream ground, painted factory marks, 16.5cm. high £200­300 253 A Royal Dux model of an Art Deco sailor girl

by Schaff, model no.3230, modelled standing in pantaloons and sailor’s cap painted in shades of pink, purple, blue and yellow, highlighted in gilt, on shades base, applied pink triangle mark and impressed marks, professional restoration to base, 27cm. high £200­300 252 254 A Rosenthal Studio Line porcelain vase, ovoid with tapering cylindrical neck, cast in low relief with geometric columns, another shell form vase and two other Rosenthal Studio Line vases, printed factory marks, 12cm high (4)

253

£150­250 255 A Rosenthal Studio Line vase designed by Martin Freyer, tall rectangular black body, cast in relief with textured design, printed factory marks, facsimile signature, 44cm. high £200­300 256 A Rorstrand stoneware model of a fox designed

by Gunnar Nylund, glazed red and brown, with shaped wooden stand, incised R Sweden GN to one foot, paper price label, 32cm wide, (2)

254

Provenance Private collection. £120­180 257 A Guido Gambone Pottery dish, rectangular form, painted with an abstract figure design in red, yellow and black on a white ground, and two other Gambone dishes similar, painted monogram, Gambone Italy, damages to two, 14 x 11cm. (3)

256

£200­400 258 Alexandre Kostanda (1921­2007) A Vallauris stoneware vase, swollen form with flaring neck, the body incised with geometric panels and painted in brown with foliate motif, on a tan ground, incised signature and Vallauris, 30.5cm. high £120­180

257

255

258

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259 A large Art Nouveau Dalpayrat pottery vase for Bon Marche, ovoid with three handles to the shoulder, painted with an Art Nouveau maiden holding a shell to her ear, with fish and water­lily flowers, unsigned, glaze chips to foot rim, 27cm. high £300­500

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260 ‘Art Nouveau The French Aesthetic’ a book by Victor Arwas, published by Andreas Papadakis, and books on Art Nouveau, Art Deco and design including; ‘Louis Majorelle’ by Alastair Duncan, `The Paris Salons’ Vol III (Furniture), Vol IV (Objets D’Art and Metalware), Art Nouveau Jewellery’ by Vivienne Becker, and Art Nouveau Domestic Metalware (WMF), (20 books) Provenance A private collection of Art Nouveau and Art Deco. £100­200 261 A pair of Liberty & Co oak reclining armchairs, the arms with simple carved slat support, with padded red leather seat and button back, unsigned, 98cm. high

260

Provenance Jeroen Markies A private collection of Art Nouveau and Art Deco. £1,000­2,000 262 An Art Nouveau silver­plated twelve setting cutlery service, cast in low relief with whiplash stems and tulip flowers, comprising; two serving spoons, a pair of salad servers, twelve dinner knives and forks, twelve dessert spoons and forks, twelve butter knives, and twelve teaspoons, six silver cake forks by James Dixon & Sons, a continental silver preserve spoon, another spoon and six coffee spoons, stamped marks, 21cm. long (dinner fork), (90) Provenance A private collection of Art Nouveau and Art Deco. £300­500

261

263 A pair of patinated bronze candlesticks possibly American, each modelled as an Art Nouveau flower stem, the bud sconce with a border of berries, unsigned, 22cm. high (2) Provenance A private collection of Art Nouveau and Art Deco. £200­400

262 66

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265

264 An Art Nouveau pewter mounted wood twin­handled tray, the handles cast in low relief with foliate panels, unsigned, 44cm. wide Provenance A private collection of Art Nouveau and Art Deco. £100­200 265 An Art Nouveau Ludwig Lichtinger polished pewter charger designed by K Goss, circular, decorated in low relief with a peacock perched on a bough, picking at a spray of berries, stamped LL mark, 42cm. diam.

Provenance A private collection of Art Nouveau and Art Deco.

266

£400­600 266 A large Art Nouveau WMF Warszawa pewter and glass claret jug, the waisted and pierced cylindrical body cast in low relief with a maiden before sinuous berried foliage stems, with hinged cover, green glass liner, stamped Warszawa marks to base rim, 37cm. high Provenance A private collection of Art Nouveau and Art Deco. £800­1,200 267 Charles Repelin Art Nouveau Maiden, 1897 oil on canvas, framed signed Ch Repelin and dated lower right 80 x 71cm.

Provenance A private collection of Art Nouveau and Art Deco. £1,500­2,000

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268 An Art Nouveau Galle marquetry pedestal stand, shaped, square section top inlaid with marquetry butterfly flying by clematis flowers and foliage, above a shaped shelf, on four flaring, shaped legs with brackets, signed in the marquetry Galle, 114cm. high 38.5 x 39cm. top Provenance A private collection of Art Nouveau and Art Deco.

Literature Alastair Duncan and Georges de Bartha, Galle Furniture, Thames & Hudson, page 253 plate 18 for a comparable pedestal illustrated. £1,500­2,500

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269 An Art Nouveau Louis Majorelle marquetry display cabinet, on four carved foliate feet, rectangular cupboard with twin­hinged doors, the doors inlaid with flag iris marquetry panels, with slender, carved, twisted foliate columns rising to support smaller, central cabinet with marquetry panel of a forest scene, flanked by open shelves with cream silk backs, signed L Majorelle Nancy 150cm. high, 55cm wide 35cm deep Provenance A private collection of Art Nouveau and Art Deco. £6,000­10,000

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270 A fine Art Nouveau tulipwood dining room suite designed by Camille Gauthier, previously also attributed to Louis Majorelle, comprising buffet sideboard with white marble top, extending dining table with four modern extension leaves, and seven dining chairs, the sideboard with slender bow front, white marble top, the carved foliate back with D shaped shelf, with bronze foliate handles,the extending table with four carved legs and central pedestal, the seven chairs arched pierced backs and dark olive green leather pads Sideboard 163cm high, 156cm wide, 44cm deep.

Table 72cm high, 118cm x 127cm (closed) leaves 127 x 49.5cm chairs 80cm. high Provenance A private collection of Art Nouveau and Art Deco.

Literature Alastair Duncan, The Paris Salons 1895­1914 Volume III – Furniture, ACC Books, page 250 this suite illustrated at the Exposition de L’Ecole de Nancy, Paris, 1903.

Important 20th Century Design, Sotheby's 10th March 2005 for a comparable suite.

The Elegant Home, Bonhams, Los Angeles, 7th March 2016 lot 16 for a comparable Buffet sold as by Louis Majorelle.

Catalogue notes Camille Gauthier's designs are listed being exhibited at the 1894 Exposition d'Art Decoratif et Industiel in Lorrain for Masjorelle, and also exhibited 'La Cascade' a marquetry cabinet, exhibited in collaboration with Majorelle, in 1899. Gauthier exhibited a comparable dining suite in tulipwood and walnut, under his own name at the School of Nancy exposition in Paris in 1903. £15,000­25,000

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271 A Majorelle Olga mahogany table designed by Louis Majorelle, rounded square section top and shelf with stepped edges, on carved legs with gilt bronze foliate feet, unsigned, two paper labels to top, 66cm. square, 75cm high Literature Alastair Duncan Louis Majorelle Antique Collector’s Club, page 206, bottom illustration for a comparable example.

Provenance A private collection of Art Nouveau and Art Deco. £3,000­5,000

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272 Ferdinand Leon Noel Delagrange (1872­1910) Loie Fuller (Scarf Dancer) a fine gilt bronze signed in the cast Delagrange 39cm. high Provenance Audrey Sternshine Gallery A private collection of Art Nouveau and Art Deco, £7,000­10,000

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272 reverse

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274

273

λ 273 Marcel­Andre Bouraine (1886­1948) Sealion with a Ball, patinated bronze with ivory ball, on veined onyx base, cast marks, La Stele foundry mark to underside of fin and stamped 38 to tail fin, 31cm. high Provenance A private collection of Art Nouveau and Art Deco. £1,000­1,500 274 George Henri Laurent (1880­1940) Marabou standing, a pair of silvered bronze sculptures on grey veined marble bases, signed in the cast G H Laurent 19.5cm. high, (2) Provenance A private collection of Art Nouveau and Art Deco. £500­1,000 275 George Henri Laurent (1880­1940) Marabou standing a tall silvered bronze sculpture of a bird, signed in the cast G.H.Laurent, 38.5cm. high Provenance A private collection of Art Nouveau and Art Deco. £1,000­2,000 275 75

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276 276 Louis Albert Carvin (1875­1951) Borzoi lying silvered bronze sculpture of a dog, on polished black slate base etched Carvin to base 50.5cm. wide Provenance A private collection of Art Nouveau and Art Deco. £800­1,200

λ 277 Professor Otto Poertzel (1876­1963) Champagne Girl, patinated bronze and ivory figure of a girl standing on a champagne cork, signed Prof O Poertzel in the cast and foundry mark, 17.5cm. high Provenance A private collection of Art Nouveau and Art Deco. £1,500­2,000 277

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279

λ 278 Luce Pierrette patinated bronze and ivory of a pierrette standing, on green veined marble base, cast Luce signature 25.5cm. high Provenance A private collection of Art Nouveau and Art Deco. £800­1,200 λ 279 Ferdinand Preiss, attributed Lady standing on tiptoes, carved ivory figure on faceted green onyx column base unsigned, 15.5cm. high Provenance Audrey Sternshine Gallery A private collection of Art Nouveau and Art Deco. £500­800 λ 280 Solange Bertrand (1913­2011) Girl in a trouser suit patinated bronze and ivory on red veined marble base incised Bertrand to top of base 17cm. high Provenance A private collection of Art Nouveau and Art Deco. £400­600

280

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281 Maurice Picaud (Pico), (1900­1977) Serpentine Dancer gilded wood, framed applied plaque M PIco to frame 48 x 50cm (panel) Catalogue notes This figure panel was originally designed for the exterior of the front of the Folies Bergere in Paris by Picaud.

Provenance A private collection of Art Nouveau and Art Deco. £800­1,200

281

282 A French Art Deco frosted glass Bulle clock by P M Favre, square section, cast in low relief with Arabic numerals, applied black hands, with electric movement, on stepped black wooden base, cast P M Favre, France, 16.5cm. high Provenance A private collection of Art Nouveau and Art Deco. £300­500

282

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283 A Modernist burr walnut veneered shelf unit, rectangular section with D shaped end, stepped shelves, with metal pillar support to one end, unsigned, 80.5cm. high, 101cm long, 35cm deep.

Provenance A private collection of Art Nouveau and Art Deco. £400­500

λ 284 An Art Deco rosewood pedestal desk and chair in the manner of Dominique, each pedestal with single door, the compartments with fitted drawers, chrome rod handles, rectangular top inset with cream leather writing surface,, the pedestal with chrome metal foot rail, with glass top, unsigned, 150cm wide Provenance A private collection of Art Nouveau and Art Deco.

283

£1,500­2,000

284

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285

286

285 An Art Deco patinated wrought iron wall mirror probably designed by Edgar Brandt, triangular, with pierced waterfall panels, unsigned 74cm. wide Provenance A private collection of Art Nouveau and Art Deco. £1,000­1,500 286 An Art Deco patinated wrought iron wall mirror in the manner of Edgar Brandt, rectangular frame, with pierced and cast floral panels to ends, unsigned, 111cm. high Provenance A private collection of Art Nouveau and Art Deco. £700­1,000 287 An Art Deco patinated wrought iron console table with white marble top in the manner of Edgar Brandt, four scroll stems on square base, with shaped top with fitted white marble unsigned 79cm. high, 92.5cm wide Provenance A private collection of Art Nouveau and Art Deco.

287 80

£1,000­2,000

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288 An Art Deco patinated wrought iron table lamp with Degue frosted glass shade in the manner of Edgar Brandt, flat, textured square base, pierced square section stem with tendril decoration, supporting four radiating stretchers, the tapering square glass shade cast with geometric panels, and patinated metal tip, indistinct cast signature to base, 50cm. high Provenance A private collection of Art Nouveau and Art Deco. £2,000­3,000

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WORKS ON PAPER & TEXTILES 289 William Holman Hunt OM (1827­1910) Lady of Shalott engraving, published by Arthur Tooth and Sons, 1909, framed impressed blind stamp, signed W. Holman Hunt and John Miller in pencil, printed printers details, copyright Tooth & Sons, 1909 60x47cm. (image) £500­800 289

290

290 The Mosaic Pavement of Cork Cathedral by William Burges, architectural design reproduced in the Building News, January 30th 1880, mounted, together with Mosaic Pavement of Chancel, two mounted pages, a Photograph of Burges’ Tower House, American Architectural and Building News, 1895, four other pages relating to William Burgess and Sir G Gilbert Scott and ‘Life of St Margaret Queen of Scotland, published by William Paterson, (9) £120­180 291 The Poster Six Masters of the Poster of the Eighteen Nineties a limited edition print set published by the Sunday Times, comprising; Jules Cheret, Toulouse­Lautrec, Dudley Hardy, Theophile Steinlen, Beggarstaff and Louis Anquetin, in original folder, two framed, and another The Poster Six Masters of the Poster of the Eighteen Nineties a limited edition print set in original folder, printed marks, Westerham Press for Sunday Times, limited to 2000 editions, 75 x 49.5cm. (2) £120­180

291

292

292 Conroy Maddox (1912­2005) The Enchanted Domain, lithographic surrealist poster for the exhibition, Exeter 1967, and two other Conroy Maddox lithographic posters signed in the print, 77 x 51cm. (3) £120­180 293 Elsie Wright Still life studies with pots Royal Drawing Society entrance, from Maida Vale High School, pencil on paper drawing with vases by Aller Vale of Brannam, mounted, ‘Utrecht’ an engraving by Margery Alexander, ‘Esther’, 1924 an engraving by Christopher Hughes, a photographic portrait and two other prints, original label to front, 58 x 42cm (frame), (6)

293

£120­180 294 Ernest Montaut (Gamy) En Bretagne lithograph on paper, framed, printed by Mabileau & Co, Paris, and nine other lithographs by Gamy featuring cars and automobile scenes, signed Gamy in the print, 89 x 44cm. (image), (10) £800­1,200 82

294

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295 Edward Bawden CBE RA (1903­1989) Napkins & Fruit, designed 1926 colour lithograph on wove paper, probably printed by The Curwen Press, unsigned, 74 x 58.5cm.

297 David Hockney, David Hockney at Andre Emmerich (Le Courbusier Chair), 1969 lithographic poster on paper, framed initialled and dated in the print, 70.5 x 50cm. (image)

Provenance Property of a lady with title.

£120­180

£200­300

298 Jean Picart le Doux (1902­1982) Musique de Chambre cotton tapestry applied label, signed in the weave 152 x 105cm

296 Lynton Lamb (1907­1977) The Country House, S.P.34 a School Prints lithograph on paper, printed by School Prints Ltd, 1951, framed, and another School Print by Lynton Lamb of canal boats, framed signed with monogram in the print, 72 x 45cm (image), (2) £150­250

£300­500 299 Jean Lurcat (1892­1966) La Bouc et la Nuit a printed textile panel of a goat (Aries), printed in colours, framed signed lower right, applied title label to reverse 71 x 54cm image 297

£300­400

298

299

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300 Bryan Kneale MBE RA (born 1930) Cat lithographic print on linen, framed, Rhinoceros Beetle by Richard Shirley Smith and a print of a cat by Kiffen, signed in pencil, Bryan Kneale, 4./30 8cm. square, (3) £120­180 301 Joanna Veevers (born 1960) Hands, 2004 lithograph on paper, mounted, The Percheron Horse after C F Tunnicliffe, B & White by M Ueda, and three other prints, signed, ap and 2004 in pencil, 30 x 24.5cm. (6) 302

£120­180 302 Michael Vaughan (1938­2003) Toast rack, 1967 pencil drawing on paper, framed, signed, and dated in pencil, exhibition label with title to reverse 40.5 x 34.5cm (image) Provenance Milo Cripps, Lord Parmoor, purchased from the Hanover Gallery exhibition.

The Property of the Late Lord Parmoor, Woolley and Wallis Auctioneer’s 24th February 2009 lot 5.

Private collection. £120­180 ‡ 303 Walter Schnackenberg (1880­1961) Ballet und Pantomine, 1920 pencil and wash on paper design for the front cover of twenty two costume designs, framed signed in pencil 29.5 x 21cm. £200­300

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DODO BURGNER ORIGINAL ARTWORK

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306

305

‡ 304 Dorte Clara Dodo Burgner (1907­1998) Lady in a Black Evening Dress, pen and ink on paper, mounted unsigned 27 x 9cm.

‡ 305 Dorte Clara Dodo Burgner (1907­1998) Woman in a Evening Dress, dated 1924 an early pencil on paper mounted, signed Wolff 25 x 20cm.

‡ 306 Dorte Clara Dodo Burgner (1907­1998) Lady in an Evening Dress ink on paper fashion study, mounted unsigned 26.5 x 15cm (image)

Provenance Art Deco & Design, Woolley and Wallis Auctioneer’s 21st March 2018, lot 226.

Private collection.

Catalogue notes Wolff was Dodo’s maiden name.

£300­400

£200­300

£120­180

‡ 307 Dorte Clara Dodo Burgner (1907­1998) Lady in a Blue Dress watercolour and white highlighter on paper, unsigned, 54 x 43cm (sheet) £120­180 ‡ 308 Dorte Clara Dodo Burgner (1907­1998) Woman in a Hat, 1924 pencil on paper titled and dated in pencil 25.5 x 20cm. (image) £200­300

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‡ 309 Dorte Clara Dodo Burgner (1907­1998) The Letter a good watercolour on paper, with pencil, mounted unsigned 39.5 x 31cm.

Catalogue notes The image depicts an Art Deco room porter delivering a letter to a glamorous lady in her boudoir. £3,000­5,000

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‡ 310 Dorte Clara Dodo Burgner (1907­1998) Das Madchen Mit Dem Glucksrad, red ink on paper, mounted unsigned 29 x 18cm. (sheet) £120­180 ‡ 311 Dorte Clara Dodo Burgner (1907­1998) Kennen Sie Schon Kupferberggold red ink on paper, mounted unsigned 31.5 x 21.5cm (image) £120­180 ‡ 312 Dorte Clara Dodo Burgner (1907­1998) Woman dressing with her Attendants, green ink and pencil on paper signed Dodo, annotated in green ink, 36 x 28cm. £200­300 ‡ 313 Dorte Clara Dodo Burgner (1907­1998) Society Portraits pencil and ink on paper, mounted signed Dodo and annotated 26.6 x 16cm. £300­400 313

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‡ 314 Dorte Clara Dodo Burgner (1907­1998) Ascending the Staircase watercolour on paper with silver highlights, of a young couple in evening dress, mounted unsigned 33.5 x 25.5cm. (image) £400­500

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FROM THE TOM WATKINS COLLECTION Tom Watkins (1949­2020) was an English pop impresario, music manager, songwriter, producer, designer and fine art collector. He was the famously entertaining pop Svengali with killer commercial instincts and prodigious talent for design.

With a background in art and design, he set up the XL Design agency in the early 1980s and was responsible for designing some of the most iconic record sleeves and music graphics of the period. His influence can be seen all over 80s and 90s pop culture, on the album sleeves of Wham!, Grace Jones, Art of Noise and Frankie Goes to Hollywood, among others. Tom moved into music management by the mid­1980s and propelled Pet Shop Boys, Bros and East 17 to global stardom, all whilst maintaining a savage, hedonistic lifestyle and a stellar art collection.

Tom was a fine art collector, specialising in works of the Memphis Group (an influential Italian design and architecture movement of the 1980s). In 2001, Tom loaned much of his Memphis collection to the Design Museum in London for their Memphis Remembered exhibition, held to mark the 20th anniversary of the debut of the Memphis movement. An admirer of Bauhaus­ inspired architecture, Tom designed and built The Big White House in East Sussex in 2004. This was featured in the Channel 4 Grand Designs television series. In 2006, Tom received the Sussex Heritage Trust Award for The Big White House project.

Funny, unstoppable and outspoken, a razor­sharp and greatly respected businessman, marketing visionary, designer and art collector, Tom enjoyed an extraordinary and colourful life within the inner­circle of 80s and 90s pop­culture.

Marc Evans

“An unstoppable creative powerhouse” “Controversial at times, mischievous always”

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315 315 An Egizia Bonnie glass vase designed by Ettore Sottsass, designed 1995, from the Handle with Care range, frosted glass body with yellow and black geometric panels, with ebonised wood cover, unsigned, 26cm. high, (2) Provenance Patric Brillet, August 1999 Tom Watkins Collection £200­300 316 A Memphis Milano Alcor glass vase designed by Ettore Sottsass, made by Compagnia Vetraria Muranese, designed 1983, clear, green and opaque white glass swollen panels, applied with black spiral, blue and golden­ brown geometric panels, etched to base rim E Sottsass per Memphis by Compagnia Vetraria Muranese, 49cm. high Provenance Bonhams Auctioneers, January 1997 Tom Watkins Collection

316

Literature Sottsass Glass Works, Vitrum, page 24 for an original design, dated 1983 and page 25 for a comparable example illustrated.

Barbara Radice Memphis, page 158 for a comparable example illustrated. £2,000­2,500 317 A Memphis Milano Sol glass bowl designed by Ettore Sottsass, designed 1982, blue glass bowl on clear stem and red domed base, highlighted with white glass, applied red, green and white supports, the rim with blue glass triangles and red etched E Sottsass Memphis to side, 26cm. high Provenance Phillips, March 1988 Tom Watkins Collection Literature Memphis Milano, manufacturer’s catalogue, 1986, page 77 for this design.

Sottsass Glass Works, Vitrum, page 26 for a comparable example illustrated.

Barbara Radice Memphis, Thames & Hudson page 157 for a comparable example illustrated. £2,500­3,000

317

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318 A Fischietto Whistle vase designed by Ettore Sottsass, made for Habitat, 2000, blue circular section on dark blue foot, with post­box aperture, and another taller applied Habitat price label, 17.5cm. diam, (main), 31.5cm. high (second vase), (2) Provenance Tom Watkins Collection £400­500 319 Dealbata a Zanotta vase designed by Alessandro Mendini, dated 1986, tapering cylindrical form with applied handles and geometric shapes, painted circles in colours on a white ground, impressed and painted marks, numbered 1/6, 30cm. high

318 319

Provenance Tom Watkins Collection £300­500 320 A Giotto ceramic vase in metal stand designed

by Johanna Grawunder, designed 1991, tapering blue ceramic vase in wave polished chrome frame, and another Giotto vase and stand by the same designer, applied Giotto labels, second vase chipped, 22.8cm. high (4) Provenance Tom Watkins Collection £400­500

320

321 A Giotto ceramic three vase in a metal stand set designed by Johanna Grawunder, designed 1991, three tapering ceramic pots in white, turquoise and yellow on a wave polished and chrome stand, applied label, 40cm. wide (4) Provenance Tom Watkins Collection £400­500 322 'Family Vase' a ceramic vase the design attributed to Studio Alchimia designed by Alessandro Mendini, designed 1988, modelled as four standing vases in blue, yellow and white glazes around a black bowl, unsigned, 30.5cm. high

321

Provenance Tom Watkins Collection £300­400 323 A Mirto vase designed by Ettore Sottsass, made

by Marutomi, 1997, blue and red lacquered plastic, cast marks to base, 20.5cm. high Provenance Tom Watkins Collection £250­350

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323

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324

324 Centre de Table Caravanserraglio a Studio Alchimia centrepiece designed by Ettore Sottsass, from the Bau.haus II range, designed 1979, enamelled metal, unsigned 40cm. square Provenance Sotheby’s April 1998 £1,500­2,500

325 A Memphis Broccoli bowl designed by Marco Zanini, designed 1985, red, white and blue elements, printed factory mark, 33cm. square Provenance Tom Watkins Collection £300­400 325

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326 A Barcelona Design Shiva vase designed by Ettore Sottsass, designed in 1973, glazed pink, impressed E Sottsass bd, 25cm. high Provenance Tom Watkins Collection £150­200 327 A Memphis Orinoco vase designed by Masanori Umeda, made by A Sarri Ceramiche, 1983, mushroom coloured triangular section vase with red rim, on three sky blue ball feet, printed factory marks, 28cm. high Provenance All Our Yesterdays, Los Angeles, 1997 Tom Watkins Collection £400­600

326

327

328 A Memphis Milano Carrot vase designed by Natalie Du Pasquier, made by Flavia, cylindrical knopped body with flaring foot and neck, turquoise with striped and patterned bands printed factory marks, 30cm. high Provenance Tom Watkins Collection Literature Michael Collins & Andreas Papadakis Post Modern Design Rizzoli, page 50 this design illustrated £300­500 329 A Memphis Milano Teller Rucola plate designed by Ettore Sottsass, made nu A Sarri Ceramiche, moulded in low relief to the rim, glazed white with printed black border, printed factory marks, 30cm. diam.

Provenance Tom Watkins Collection £200­400

328

329

330 Three Yantra 28 ashtrays designed by Ettore Sottsass for Habitat, glazed grey, red and black, unsigned small glaze frit to black ashtray, 14.2cm. wide (3) Provenance Bonhams, May 1996.

Tom Watkins Collection £300­400 331 Hsing Star vase designed by Ettore Sottsass for Anthologie Quartett, red enamelled ceramic vase, painted and printed marks, no.323, 17.5cm. high Literature Ettore Sottsass Ceramics, Chronicle Books, page 150 for this design illustrated.

Provenance Driade Milan Tom Watkins Collection £300­500

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331

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332

332 A Memphis Milano Pottery Cucumber vase designed by Martine Bedin, designed 1985, made by A Sarri Ceramiche, the cut circular body on black disc foot, decorated with curved blue lines on white, with bright yellow circular rim, printed factory marks, 31cm. high Provenance Tom Watkins Collection £300­500 333 A Memphis Giotto vase designed by Johanna Grawunder, 1991, tapering blue conical body with four white and black flanges, supporting grey bowl with white rim and yellow interior unsigned, 27cm. high Provenance Tom Watkins Collection £600­1,000 334 A Memphis First chair designed by Michele De Lucchi, tubular steel frame with painted wood panels, stamped Memphis mark and 1983 date, 90cm. high Provenance Tom Watkins Collection Literature Juli Capella & Quim Larrea Designed by Architects in the 1980s, Mitchell, page 65 for a comparable example illustrated.

Barbara Radice Memphis, Thames & Hudson, page 175 for a comparable example. £800­1,200

334

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335 Driade Celine 1 a tall red glass and white porcelain vase designed by Borek Sipek, unsigned 72cm. high Provenance Viaduct, January 1997.

Tom Watkins Collection £700­900

336 An enamelled metal pipe in the Memphis style, black, orange and white enamelled elements, unsigned, 94cm. high Provenance Tom Watkins Collection £150­200

335 336

337 A Memphis Carlton limited edition miniature bookcase designed by Ettore Sottsass, designed 1981, multi coloured laminates, signed and numbered 194/500, 33cm. high Provenance Tom Watkins Collection £600­800

338 A Memphis style drawer unit, grey laminate rectangular frame on square foot, with multicoloured drawers with metal furniture, unsigned, 105cm. high Provenance Tom Watkins Collection £100­200

337

339 An Olivetti Valentine portable typewriter designed by Ettorre Sottsass, in red plastic case, cast marks, 35 x 33cm.

Provenance Tom Watkins Collection £120­180

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338

339

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340 A Memphis Milano Alfiere etagere designed by Ettore Sottsass, tapering marble base supporting tapering veneer back panel, two curved shelves and central chrome support, unsigned, 174.5cm. high, 38cm wide.

Provenance Tom Watkins Collection £800­1,200

340

341 A Memphis Milano Svincolo floor lamp designed by Ettore Sottsass, laminated blue square base supporting blue and white patterned laminate square section stem and flaring chrome fitting with exposed fluorescent light bulbs, 246cm. high Provenance Tom Watkins Collection £3,000­5,000

341 97

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342 A Magis Tam Tam stool designed by Matteo Thun, grey moulded polyethylene, cast marks to base, 34cm. high, 54cm wide Provenance Tom Watkins Collection £150­200 343 An Artifort Mobilis lounge chair designed by Marcel Wanders, enamelled black and grey metal and plastic adjustable frame with canary yellow upholstery and pillows unsigned, 115cm. high,

342

Provenance Tom Watkins Collection £800­1,200 344 Eight Memphis electric wall clocks made by Neos, circular, printed in colours signed to dial, 33.3cm. diam. (largest), (8) Provenance Tom Watkins Collection £800­1,200 345 A Florian Goto vase designed by Gaetano Pesce for Lavazza, designed 1995, irregular cast orange form inscribed with words, and a Ritzenhoff glass jug and four beaker glasses designed by Nathalie du Pasquier, printed in colours cast factory marks, 15.5cm. high (6) 343 344

Provenance Tom Watkins Collection £200­300 346 A Zani & Zani Vesuvio cast and painted aluminium and resin coffee maker designed by Gaetano Pesce, cast marks and facsimile signature to base, 36cm. high Provenance Tom Watkins Collection £300­500

345

346

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347 A Dalila chair designed by Gaetano Pesce for Zani & Zani, designed in 1993, red polyurethane and urethane, unsigned, 85cm. high Provenance Tom Watkins Collection £3,000­5,000

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‡ 348 Lester Kahn (1922­2014) Mazda Light bulb black and white photograph, framed signed in pencil 30.5 x 22.5cm.

Provenance Tom Watkins Collection £120­180

‡ 349 Leslie Gooday OBE (1921­2013) The Critic’s Eye (Brian Sewell) mixed media and collage, framed signed L Gooday to the newspaper, titled to reverse 28.5 x 21cm.

Provenance Design, Woolley and Wallis Auctioneers, 10th September 2014 lot 1613.

Tom Watkins Collection 348

£120­180

‡ 350 Roger Blaker (born 1944) Fateful Journey 1 and Fateful Journey 2, 1977 relief construction, plywood and emulsion paint, framed signed and titled to reverse, 62 x 62cm, (2) Provenance Roger Blaker 1970’s Paintings and Constructions, Fleet Gallery, 2014 catalogue number 37 and 38.

Tom Watkins Collection £600­1,000

349

350 100

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‡ 351 Sir Terry Frost RA (1915­2003) collage with half­circles, 1999 collage and oil paint, framed signed Frost 99 bottom right 14.5 x 9.5cm.

Provenance Fleet Gallery, St Leonard’s on Sea, 2014.

Tom Watkins Collection £400­600

‡ 352 Andrea Branzi Bau.Haus oil on canvas, framed unsigned 114 x 87cm.

Provenance Bonhams auctioneers, 8th February 1997 lot 255.

Tom Watkins Collection £1,000­2,000

351

352 101

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353 A pair of Geo Conde pottery penguins, each cast standing on an ice block, glazed in colours, cast signature Geo Conde, 45cm. high, (2) Provenance Tom Watkins Collection £800­1,200

354 A Cenedese glass Penguin vase designed by Hans Hollerin, black glass body with applied red beak and yellow feet, etched Cenedese Hans Hollerin, 37.5cm. high Provenance Francesca, Alfies Market, London 2000.

Tom Watkins Collection

353

£300­500

355 A Knoll walnut and white laminate credenza designed by Florence Knoll, the walnut frame with white laminated sliding doors, and leather handles, on metal legs unsigned 183cm. wide, 45.5cm deep, 66cm high Provenance Tom Watkins Collection £1,000­2,000

354

355 102

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355A 355A An Alessi Twergi lime wood Centrepiece bowl designed by Ettore Sottsass, model ES14, designed 1990, with red stained foot, 29.5cm. diam, 13.5cm high Provenance Tom Watkins Collection £300­400

356 A Twergi Faces With Blue painted wood box with hinged cover designed

by Nuala Goodman, painted with portraits of a young couple, in colours on a blue ground, with hinged pyramid cover, and a Twergi wooden pedestal bowl, stamped marks no.1223, 33cm. high (2)

356

Provenance Tom Watkins Collection £200­300

357 An Alivar Zigzag chair originally designed by Gerrit Rietveld, ash planks with dovetailed joints, stamped Alivar, 74.5cm. high Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 157 for the original design illustrated.

Provenance Tom Watkins Collection £500­800

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WHITEFRIARS GLASS

358

358 A Whitefriars Pewter glass vase designed by Geoffrey Baxter, cylindrical form, the pewter glass applied with Tangerine spots, another Whitefriars Sage Green vase with strapping designed by Geoffrey Baxter, and five other glass items applied paper label, 18.5cm. high, (7)

361 A Whitefriars Tangerine glass Hoop vase designed by Geoffrey Baxter, textured finish, unsigned, 28.5cm. high

Literature Lesley Jackson Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 142, plate 166 for comparable examples illustrated.

362 A Whitefriars Tangerine glass Bamboo vase designed by Geoffrey Baxter, textured finish, unsigned, 19.8cm. high

Provenance Tom Watkins Collection £150­250 359

359 A Whitefriars Cinnamon glass Coffin vase designed by Geoffrey Baxter, textured finish, a Whitefriars Cinnamon cased glass vase designed

by Geoffrey Baxter and two other Whitefriars glass items, unsigned, 13.2cm. high (4) Provenance Tom Watkins Collection £120­180

360

360 A Whitefriars Tangerine glass small Drunken Bricklayer vase designed by Geoffrey Baxter, textured finish, unsigned, 21.5cm. high

361

Literature Lesley Jackson Whitefriars Glass, The Art of James Powell & Sons, Richard Dennis Publications, page 140 plate 160 for comparable examples illustrated.

Provenance Tom Watkins Collection £150­200

362

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364

Provenance Tom Watkins Collection £400­600

Provenance Tom Watkins Collection £120­180 363 A Whitefriars Tangerine glass TV vase designed by Geoffrey Baxter, textured body, unsigned, 17.5cm. high Provenance Tom Watkins Collection £120­180 364 A Whitefriars Tangerine glass Coffin vase designed by Geoffrey Baxter, textured finish, another Whitefriars Tangerine glass vase with zigzag design, and six other tangerine glass pieces, one with Whitefriars paper label, 13cm. high (coffin), (8) Provenance Tom Watkins Collection £150­250

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365 A Whitefriars Lilac glass vase designed by Geoffrey Baxter, shouldered cylindrical body with cylindrical neck, textured finish, and a Whitefriars Kingfisher blue vase unsigned, 18cm. high, (2) Provenance Tom Watkins Collection £150­200 366 A Whitefriars Kingfisher Blue glass vase designed by Geoffrey Baxter, square section, shouldered form with weave panel design, another Whitefriars Kingfisher Blue glass beaker vase with textured finish and five other blue glass vases unsigned, 15.5cm. high (7)

365

Provenance Tom Watkins Collection £150­250 367 A Whitefriars Pewter glass Totem vase designed by Geoffrey Baxter, slender rectangular form with cast design, unsigned, 25.7cm. high

366

Provenance Tom Watkins Collection £120­180 368 A Whitefriars Kingfisher Blue glass Cello vase designed by Geoffrey Baxter, textured finish, unsigned 18.5cm. high Provenance Tom Watkins Collection £150­200 369 A Whitefriars Cinnamon glass TV vase designed by Geoffrey Baxter, textured finish unsigned, 17cm. high 368

Provenance Tom Watkins Collection £120­180 370 A Whitefriars Cinnamon glass vase designed

by Geoffrey Baxter, waisted rectangular form with textured finish, unsigned, 32cm. high

367

Provenance Tom Watkins Collection £150­250

369

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371 A rare Whitefriars Lilac glass vase designed by Geoffrey Baxter, swollen cylindrical form with textured finish unsigned, 34cm. high Provenance Tom Watkins Collection £400­600 372 A Whitefriars Lilac glass vase designed by Geoffrey Baxter, waisted cylindrical form with flaring foot, textured finish, unsigned, 31cm. high Provenance Tom Watkins Collection £300­500

371

372

373 A Whitefriars Lilac glass vase designed by Geoffrey Baxter, swollen ovoid form with flaring neck, textured finish, unsigned 24.5cm. high Literature Lesley Jackson Whitefriars Glass, The Art of James Powell & Sons, Richard Dennis Publications, page 141 plate 163 for a comparable example of this vase in Kingfisher Blue illustrated.

Provenance Tom Watkins Collection £400­600 374 A rare Whitefriars Lilac glass vase designed by Geoffrey Baxter, swollen ovoid form with flaring neck, textured finish unsigned, 28cm. high Provenance Tom Watkins Collection £400­600

373

374

375 A Whitefriars Sage Green glass vase designed

by Geoffrey Baxter, cylindrical, swollen form with textured finish, unsigned, 34cm. high Provenance Tom Watkins Collection £400­500 376 A Whitefriars Sage Green glass vase designed

by Geoffrey Baxter, waisted, cylindrical form with flaring foot, textured finish, unsigned, 31cm. high Provenance Tom Watkins Collection £300­500

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378

377 A Whitefriars Tangerine glass vase designed by Geoffrey Baxter, rectangular with tapering shoulder, textured finish, unsigned, 24cm. high Provenance Woolley and Wallis Auctioneer’s Tom Watkins Collection £200­300 378 A Whitefriars Kingfisher Blue glass Drunken Bricklayer vase designed by Geoffrey Baxter, textured finish, unsigned, 33cm. high Provenance Tom Watkins Collection £400­600 379 A Whitefriars Lilac glass Nipple vase designed by Geoffrey Baxter, flattened, stepped disc form with flaring neck, applied Whitefriars label, 27.5cm. high

379

Provenance Tom Watkins Collection £300­500 380 A Whitefriars Tangerine glass Banjo vase designed by Geoffrey Baxter, moulded textured finish, unsigned, 32cm. high Provenance Tom Watkins Collection £700­1,000

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381 A Whitefriars Ruby glass vase designed by Geoffrey Baxter, square section, shouldered vase with cast textured surface, another Whitefriars Ruby glass vase with weave design and three other Whitefriars Ruby glass vases unsigned, 14.3cm. high, (5) Provenance Tom Watkins Collection £150­200 381 382 A Whitefriars Ruby glass Coffin vase designed by Geoffrey Baxter, textured finish, another Whitefriars Ruby glass cylinder vase, a swollen vase with textured finish and four other ruby glass vases, unsigned, 13.3cm. high, (7) Provenance Tom Watkins Collection £150­250 382

383 A Whitefriars Indigo glass vase designed by Geoffrey Baxter, square section, cast in low relief with geometric square maze panels, another Whitefriars Indigo vase similar and two other Whitefriars Indigo vases unsigned, 20cm. high, (4) Provenance Tom Watkins Collection £120­180

383

384 A pair of Whitefriars Indigo glass large beaker vases designed by Geoffrey Baxter, textured finish, three other Whitefriars Indigo glass vases and a beaker similar, unsigned, 20.5cm. high (6) Provenance Tom Watkins Collection £150­250 385 A Whitefriars Willow glass vase designed by Geoffrey Baxter, triangular form with textured finish, two other Whitefriars Willow vases and a beaker similar, unsigned, 17cm. high (4)

384

Provenance Tom Watkins Collection £150­200 386 A Whitefriars Indigo glass vase designed by Geoffrey Baxter, elliptical form with moulded design, a pair of Whitefriars Indigo textured beaker vases and three other Whitefriars textured vases unsigned 14cm. high (6) Provenance Tom Watkins Collection £150­250

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388

387

387 A Whitefriars Willow glass vase designed by Geoffrey Baxter, cylindrical form with textured finish, unsigned, 29.5cm. high

389 A Whitefriars Kingfisher Blue glass vase designed by Geoffrey Baxter, cylindrical form with textured finish, unsigned, 29cm. high

Provenance Tom Watkins Collection

Provenance Clarice Cliff, Art Deco & Design, Woolley and Wallis Auctioneer’s, 9th March 2011 Lot 907.

Tom Watkins Collection

£150­250 388 A Whitefriars Meadow Green glass vase designed by Geoffrey Baxter, cylindrical form with textured finish, unsigned, 30cm. high Provenance Clarice Cliff, Art Deco & Design, Woolley and Wallis Auctioneer’s 9th March 2011 lot 906.

Tom Watkins Collection £150­200

389

£150­200 390 A Whitefriars Willow glass vase designed by Geoffrey Baxter, rectangular with textured woven front, unsigned, 27cm. high Provenance Tom Watkins Collection £150­250

390

391 A Whitefriars Willow glass vase designed by Geoffrey Baxter, rectangular with cast keyboard design, unsigned 26.5cm. high Provenance Tom Watkins Collection £150­200

391

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393 392

394

392 A Whitefriars Sage Green glass vase designed by Geoffrey Baxter, flaring cylindrical form with textured finish, another Whitefriars Sage Green waisted glass vase and two other Whitefriars Sage Green vases designed by Geoffrey Baxter, unsigned, 21.3cm. high (4)

395 A Whitefriars Sage Green glass vase designed by Geoffrey Baxter, square section, the body cast with grid design, textured neck, and three other Whitefriars glass vases in Kingfisher Blue, Tangerine and Lilac of the same shape unsigned, 14.8cm. high, (5)

Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 141 plate 164 for comparable Sage Green pieces illustrated.

Provenance Tom Watkins Collection

Provenance Tom Watkins Collection £150­200 393 A Whitefriars Meadow Green glass vase designed by Geoffrey Baxter, waisted geometric form with cast design, three other Whitefriars Meadow Green vases and a similar beaker, unsigned, chips to top rim of main vase, 15.8cm. high 395

Provenance Tom Watkins Collection £150­250 394 A Whitefriars Cinnamon glass vase designed by Geoffrey Baxter, the circular disc body with moulded design, and another Whitefriars Indigo vase similar, unsigned, 14.8cm. high (2) Provenance Tom Watkins Collection £150­250

£150­250 396 A Whitefriars Aubergine glass vase designed by Geoffrey Baxter, square section body, with textured panel design, and two other Whitefriars Aubergine glass vases cast in relief with textured finish unsigned, 15.5cm. high (main vase), (3) Provenance Tom Watkins Collection £150­250 397 A Whitefriars Meadow Green glass Calculator vase designed by Geoffrey Baxter, and a Whitefriars Willow glass Calculator vase, unsigned 16.5cm. high, (2) Provenance Tom Watkins Collection £150­200 398 A rare Whitefriars Lilac glass small Drunken Bricklayer vase designed by Geoffrey Baxter, textured finish, unsigned 21cm. high Provenance Tom Watkins Collection

396

110

397

£200­300

398

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399

399 A pair of Dryiad Toy armchairs designed by Philippe Starck, orange moulded polypropylene, with white loose pad cushions, unsigned, 77.5cm. high (2) Provenance Tom Watkins Collection

400

£150­250 400 A Swan armchair designed by Philippe Starck for the Sanderson Hotel, tub chair form with carved swan arms, silvered finish, pale yellow upholstery, unsigned, 84.5cm. high Provenance Tom Watkins Collection £150­250 401 An Alephubik Mickville enamelled metal table designed by Philippe Starck, designed 1985, circular top on tripod legs, applied label, 81.5cm. high Provenance Tom Watkins Collection Literature Volker Fisher, Design Now Industry or Art?, Prestel, page 105 cat. no.223 for comparable examples. £500­800

401 111

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402

403

402 Petite Etrangete Contre Un Mur vase designed by Philippe Starck, probably Daum designed, clear rectangular glass with frosted green cornucopia, unsigned, 50cm. high Provenance Tom Watkins Collection £400­600 403 Petite Etrangete Contre Un Mur vase designed by Philippe Starck, probably Daum designed, clear rectangular glass with frosted blue cornucopia, unsigned, 50cm. high Provenance Tom Watkins Collection £400­600 404 Petite Etrangete Sous un Mur a Daum glass vase designed by Philippe Starck, designed 1988, clear rectangular glass with frosted blue cornucopia, etched Daum Starck to side, 46cm. high Literature Clotilde Bacri Starck, Taschen, page 256 for a comparable form illustrated.

Provenance Tom Watkins Collection £600­1,000 404

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405 Grande Vase a Daum glass vase designed by Philippe Starck, from the Folles Collection, large clear glass vase of bell shape with blue glass tube, and blue glass liner with fluted rim, unsigned, 55cm. high Provenance Tom Watkins Collection £300­400 405

406 Grande Vase En Modele Garnier a Daum glass vase designed by Philippe Starck, from the Folles Collection, footed, clear glass internally mounted with smaller blue glass vase, unsigned, 49cm. high Provenance Tom Watkins Collection £300­400

406 113

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408

409

407

407 A Paire de Vases Popopo planter designed by Philippe Starck, tall flaring terracotta plastic on aluminium foot, unsigned, 158.5cm. high

410 A pair of Sarapis enamelled steel stools designed by Philippe Starck, probably manufactured by Driade, designed in 1985, unsigned, 87cm. high (2)

Provenance Tom Watkins Collection

Literature Charlotte & Peter Fiell, 1000 Chairs, Taschen, page 515 this design illustrated.

Volker Fischer Design Now Industry or Art?, Prestel, page 106 cat. no. 224 for a comparable example.

£200­400 408 A pair of Driade Royalton side tables designed by Philippe Starck, designed for the Royalton Hotel in 1988, circular teak top on polished metal tripod base, unsigned, 51cm. high, 41cm diam. (2) Provenance Tom Watkins Collection £1,000­1,500 409 A pair of Descamps Night and Day bedside tables designed by Philippe Starck, folding metal X frame with grey moulded plastic tray top and shelf, cast mark and applied makers label, 50 x 34cm, 54cm high (6) Provenance Tom Watkins Collection 410

114

£300­500

Provenance Tom Watkins Collection £300­500

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411

411 A pair of Baleri Mac Gee shelving units designed by Philippe Starck, designed 1973, enamelled metal support with five graduated shelves, signed to upright, 240cm long, shelves 99cm wide.

Provenance Tom Watkins Collection £800­1,200 412 A Barcelona Design Olvidada floor lamp designed by Pepe Cortes, designed 1976, copper V foot supporting copper pipe stem and exposed fluorescent light bulbs, 192cm. high Provenance Tom Watkins Collection £400­600

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413 A Flos Taccia 121 table lamp designed by Achille Castiglione, designed in 1962, enamelled and chromed metal with clear glass and white enamelled shade, applied label to the inside of the base, 52.5cm. high Provenance Tom Watkins Collection Literature Nina Bornsen­Holtmann Italian Design, Taschen, page 29 for a comparable example illustrated. £500­800

414 A pair of Flos Toio floor lamps designed by Achille Castiglioni, designed 1962, black enamelled base with generator, supporting rod stem and vertical glass uplighter, applied label 182cm. high (2) Provenance Christie’s South Kensington March 1984.

Tom Watkins Collection Literature Volker Fischer Design Now Industry or Art?, Prestel, page 36 cat. no. 66 for a comparable example. £800­1,200

413

415 An Archap Moto Magis stool, black enamelled frame with rubber covered seat, back and feet cast Moto Magis to seat, 75cm. high Provenance Tom Watkins Collection £120­180

414 116

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416 A Levi’s limited edition Skull fleece hooded jacket designed by Damien Hirst, with original labels, size XL, Provenance Tom Watkins Collection £300­500

417 Marc Newson (born 1963) Orgone, a silver bracelet and two rings by chi ha paura, the bracelet and one ring lacquered red, the other ring lacquered blue, in original box for bracelet all stamped 925 9.3cm. wide (bracelet), K1/2 (rings), (3) Provenance Quittenbaum Auctioneers, 26th September 2014 lot 156.

Tom Watkins Collection

418 A pair of Gluon lounge chairs and footstools designed by Marc Newson for Moroso, designed 1993, silvered frame, on swivel base, with black velvet upholstery, unsigned, 85cm. high (chairs), (4) Provenance Tom Watkins Collection £2,000­3,000

419 An Arzberg City coffee set designed

by Lutz Rabold, comprising coffee pot and cover, milk­jug, sugar bowl and cover, one cup and two saucers, glazed in colours printed factory marks, 24.5cm. high (8) Provenance Design Christie’s South Kensington.

5th June 2007 lot 45.

Tom Watkins Collection £150­250

Literature Shonquis Moreno, Jewelry in a Virtual World, The Future is Here, American Craft, December­January 2009 £1,500­2,000

416

END OF COLLECTION

417

418

419

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420 A J & J Kohn Fledermaus chair designed by Josef Hoffmann, stained bentwood with applied ball decoration on bun feet, stamped factory marks, 73.5cm. high Literature Josef Hofmann Designs Mak­Austrian Museum, Prestel, page 40 figure 25 for the original design illustrated.

420 stamp

£300­500 421 ‘The Terrace’ a Rowley Gallery marquetry fire screen, rectangular panel, decorated with a medieval courting couple, on a terrace, before a large figural sculpture, stamped Rowley, original paper label to reverse, 87 x 57cm.

420

£120­180

421

422 A tile mounted mahogany hall stand and en suite hall chairs, with carved decorative panels, patinated metal furniture and tin drip pans, set with Minton’s ‘Days of the Week’ tiles designed by Elizabeth E Houghton , sepia on a white ground, unsigned, 199cm. high, 119cm wide. (hall stand), (3) Literature Minton Tiles, 1835­1935, Stoke on Trent City Museum & Art Gallery, 1984, page 37 catalogue number 242 for one tile illustrated. £200­400 423 A pair of carved oak angels the design attributed to Peter Paul Pugin, each modelled holding a shield with single flower to their chest, unsigned, 48cm. high (2) Provenance By repute these angels come from the church of St Francis, Glasgow, designed by Peter Paul Pugin in 1878. £200­300

422

423

424 An oak partners desk the design attributed to John Pollard Seddon, rectangular top inlaid with leather, over three drawers, on two bands of three graduated drawers, panelled sides, with polished brass furniture, unsigned, 138 x 136cm (top) 76cm. high Provenance Private collection, Philadelphia 2018 Paul Shutler Private collection. £1,000­1,500 425 A set of six Aesthetic Movement walnut chairs, with turned legs and bobbin backs, unsigned, 90cm. high (6) £120­180

424 118

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426

426 A set of two oak armchairs and two chairs designed by Charles Robert Ashbee, probably manufactured at the Guild of Handicrafts, ladder­back with turned finials, on turned legs, with rush seating, 91cm high, (4) Literature Alan Crawford, C.R.Ashbee, Architect, Designer & Romantic Socialist, Yale, page 303 figure 150 for a view of the dining room at 37 Cheyne Walk with comparable armchairs. £3,000­5,000

427 427 A Falkirk cast­iron fireplace designed by Charles Robert Ashbee, rectangular, cast in low relief with stylised flower panels, over­hanging mantel and grill, cast Falkirk mark, 105cm. high, 72cm wide (3) Literature The Studio 1898 page 255 fig 4 this design illustrated. £1,000­1,500

428 A Falkirk cast­iron fireplace designed by Charles Robert Ashbee, rectangular, cast in low relief with stylised flower panels, over­hanging mantel and grill, cast Falkirk mark, 105cm. high, 72cm wide (3) £1,000­1,500

428

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430

429 A Cox & Sons throne chair the design attributed to William Butterfield, probably manufactured by Messrs Cox & Son, architectural form, the planked back set with carved roundel panel, the arms pierced with an ogee panel and ionic pillar fronts, arched tracery under­carriage with similar trefoil roundels, with staining to details, unsigned, 105cm. high

429

Provenance Paul Shutler Private collection

431 A Reynolds of Ludlow oak corner cabinet, two shelf compartment above hinged, panelled door cupboard, applied metal label to door, 175.5cm. high 52.5cm. deep. £200­300 432 An ebonised wood console table, the rectangular top on D shaped support and tapering rectangular foot, with glass cover, unsigned 122cm wide, 85cm high, 46cm deep.

Literature Illustrated Catalogue of Church Furnishings, Cox & Son, page 15 this chair design illustrated.

Butterfield also used similar stained contrasting for the choir stalls of Keble College, Oxford (1870).

Provenance Art Deco & Design, Woolley and Walls Auctioneer’s 21st March 2018 lot 145.

Private collection.

£400­600

433 An Art Deco wrought iron two­light lamp in the manner of Edgar Brandt, the central clustered stem supporting floriform terminal the branches supporting frosted glass Muller Freres conical shades, shades signed Muller Freres Luneville, 61cm. high

430 An oak low table by Robert Ingham, rectangular top on L section legs, the top inset with twelve burr veneer panels, unsigned, 182 x 60cm (top), 48cm. high Provenance British Art Pottery & Design, Woolley and Wallis Auctioneer’s, 1st December 2010, lot 554.

Private collection.

£600­800

£500­800

£250­350

431

432 120

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434 A fine Hille burr walnut and ebonised wood canteen fitted with a suite of Richard Richardson silver cutlery, the wooden canteen designed by Ray Hille in 1935, with rounded rectangular top, four fitted drawers over pedestal with single cupboard with single shelf and hinged door, the Richard Richardson cutlery comprising, 24 grapefruit spoons, one soup ladle, 12 soup spoons, 24 fish knives and forks, 2 fish carvers, 24 table knives and forks, 2 meat carvers, 1 steel, 48 knives and forks, 8 small servers, 26 dessert spoons, 24 dessert knives and forks, 24 dessert forks, 12 cheese knives, 12 coffee spoons, 12 tea spoons, 12 pastry forks, 2 cake knives, 2 forks and 2 sugar tongs, stamped marks Richard Richardson, Sheffield, 1937, 85cm high, 135cm wide, 48cm deep Provenance Private collection Design, Woolley and Wallis Auctioneer’s, 17th October 2018, lot 1395.

Private collection.

Literature Sutherland Lyle, Hille ­ 75 Years of British Furniture, Elron Press/Victoria & Albert Museum, page 75 this actual canteen partially illustrated (lower right corner) in situ at the V&A Exhibition in 1981. £6,000­10,000

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435 An Ercol nest of three beech and elm tables designed by Lucian Ercolani, shaped, rounded top on three swollen turned legs, applied Ercol label to one, 65cm. wide, 44cm deep(largest), (3) £200­300

435

436

436 An Ercol nest of three stained beech and elm tables designed by Lucian Ercolani, shaped, rounded top on three swollen turned legs, applied Ercol labels to all three, 65cm wide, 44cm deep, (largest), (3) Literature Lesley Jackson Ercol Furniture in the Making Richard Dennis, page 96 for a comparable example £200­300 437 A Herman Miller red plastic Panton chair designed by Verner Panton, a pair of chrome metal and acrylic folding Plia chairs designed by Giancarlo Piretti and an enamelled metal occasional table, cast Herman Miller mark 82cm. high, (4) £120­180

437

438 A Huangslite homestudy Toucan desk lamp designed by H T Huang, green, white and yellow plastic, with articulated beak cast factory mark inside beak, 34.5cm. high £150­250 439 A modern Pearl Dot pedestal desk, the pedestals with four revolving drawers, simple applied veneer decoration, the rectangular top with five inlaid geometric strips, and a matching cupboard unsigned, 76 x 163cm (top), 76cm. high (2) £500­1,000

438

439 122

439 side

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440

441

440 A set of four Kandya Ltd Jason chairs designed by Carl Jacobs, beech with ebonised legs and stretchers, applied Kandya labels, 73cm. high, (4) Provenance Private collection Literature Austerity to Affluence, British Art & Design 1845­1962, Fine Art Society, page 24 for comparable chairs illustrated Lesley Jackson, Modern British Furniture Design since 1945, page 80­83 for comparable examples.

Charlotte & Peter Fiell 1000 Chairs, Taschen, page 270, this design illustrated. £600­800 441 A Scandia Hove Mobler high­back chair designed by Hans Brattrud, bent teak seat with chromed metal legs, unsigned, 94.5cm. high, Provenance Private collection. £150­250 442 A set of six Herman Miller LCW chairs designed by Charles Eames, bent plywood, applied manufacturers labels, 73cm. high, (6) Literature Marian Page Furniture Designed by Architects The Architectural Press, page 213 for a comparable example £3,000­5,000

442

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443 Roy Lewis Abstract stained glass panel, dated 1961, in wooden frame, signed and dated, part of one panel missing 119 x 75cm (panel) £300­500

444 Ron Arad (born 1951) a pair of One Off Horns chairs, designed 1985 and made 1986 for Bureaux, single piece aluminium with steel tube, 109cm. high, 38cm wide, (2) Literature Dejan Sudjic Ron Arad Restless Furniture, page 46 and 47 this design illustrated.

Paola Antonelli Ron Arad No Discipline, MoMA, page 22 figure 20 for an example illustrated.

Important Design, 800 Years of the Decorative Arts, Bonhams, London, 25th April 2018, lot 92 for eight chairs from the same suite. These Horn chairs were part of a larger commission by Ron Arad and Danny Lane in 1986, to furnish the offices of the design consultants Bureaux, Wapping Wall, London. £4,000­6,000 443

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445 A chrome standard lamp, on domed base, the curved, adjustable stem supporting blue enamelled cone shade cast numbers to underside of base, 171.5cm. high

446

£150­200

446 A pair of ISA Hex tables designed by Gio Ponti, white laminated hexagonal top on black enamelled metal tripod base, applied Isa label to one, 50.5cm. diam, 40cm.high. (2) £2,000­4,000 445 447 A pair of ISA Hex tables designed by Gio Ponti, wood laminated hexagonal top on black enamelled metal tripod base, applied Isa labels to both, 50.5cm. diam, 40cm.high. (2)

447

£2,000­4,000

448 An English enamelled metal and laminate top table, the white rectangular top on duck­egg blue enamelled metal frame, unsigned, 71cm high, 168 x 92cm.

Provenance Estate of an architect £150­200

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449

449 open

449 A walnut and sycamore secretaire de voyage Carpett table top desk unit designed by Jaime Tresserra, rectangular with hinged cover, fitted shelves and compartments in sycamore, silver­ plated metal mounts, unsigned, 94cm wide, 51cm deep, 12cm high

450

Provenance Private collection. £1,500­2,000 450 A Linley shagreen mounted desk set, comprising two candlesticks, with polished metal sconces, a photograph frame and a post­ it note holder, stamped and cast Linley, 20.5cm. high (candlesticks), 24cm. high (frame), (4) £150­200

451

451 A John Makepeace burr walnut card tray, circular with two disc handles, the rim with ebony and stained wood laminate edge, stamped John Makepeace, 25.5cm. diam.

Provenance Design Woolley and Walls Auctioneer’s 16th October 2019, lot 1568.

Private collection. £120­180 452 A Naos Coffee Break table designed by Gamba Guerra, two square glass tops on flaring polished metal stems that are articulated, and square wood laminate base, applied label, 42cm, high, 92cm square, (largest glass top) Provenance Purchased from Harrods in 2004. £150­250

126

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‡ 453 A large American walnut circular table by Robin Williams, the top with sixteen figured walnut veneer panels, the edge with thin silver band, on central laminated tree trunk pedestal which rises up through a central aperture to form eight branches, stamped makers cipher to edge of table, 178cm. diam, 72cm high Provenance Purchased from the maker’s studio in Dittisham, Devon in 1995. £4,000­6,000

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455

454

454 An Art Nouveau silvered metal oil lamp, flaring tripod foliate foot supporting central knopped stem and compressed reservoir, unsigned, 54cm. high £150­250 455 A pair of brass table lamps made for the Pullman first class railway carriages, on tripod foot with knopped hexagonal stem, unsigned 32cm. high, (2) £200­300

456

456 A pair of WAS Benson brass table or bracket wall lights, model no 1132, with James Powell satin glass shades, tripod foot with articulated stem and fitting, stamped Benson mark to articulated joint, 32cm. high (2) Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 151 plate 134 for a comparable example illustrated Provenance Private collection. £800­1,200 457 A WAS Benson copper Water­Lily tray, large circular tray with stamped veins, stamped mark 58cm. diam.

Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books, page 81 plate 53 for a comparable example used as a table top illustrated Provenance Private collection. £300­500

128

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458

459

458 A rare WAS Benson rose copper and brass ceiling light, the copper frame of foliate form with brass strap supports and James Powell vaseline glass shade unsigned, 24.5cm. diam.

Provenance Private collection. £1,000­1,500 459 A WAS Benson brass lantern with James Powell vaseline glass shade, strapwork with foliate panel to base, housing cylindrical vaseline glass shade unsigned, 28cm. high Provenance Private collection. £300­500 460 A brass and vaseline glass table lamp in the manner of WAS Benson, tripod foot with heart­shaped feet, supporting cylindrical stem and foliate terminal, with vaseline glass shade unsigned, 41cm. high

460

Provenance Private collection. £200­300 461 A rare WAS Benson copper and brass seedpod table lamp, model no. 278, flaring tripod foot supporting seedpod reservoir, with flaring vaseline glass shade probably by James Powell, stamped WAS Benson to foot, 30cm. high (2) Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 1248 plate 2 for a comparable example with copper reflector illustrated Provenance Private collection. £400­500

461

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462 An Art Nouveau brass table lamp in the manner of WAS Benson, tripod foot, flanking central, knopped stem unsigned, 38cm. high £150­200 463 An Art Nouveau brass and copper oil lamp, the brass tripod frame supporting Hinks copper reservoir, unsigned, 39cm. high £200­300 464 A WAS Benson brass table or bracket wall light, model no.1211, tripod foot with foliate terminals, supporting articulated curved stem and articulated fitting, with James Powell vaseline glass shade unsigned, 43.5cm. high Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 151 plate 134 for a comparable example illustrated Provenance Private collection. £400­600 462

465 A WAS Benson brass table or bracket wall light, model no.1211, tripod foot with foliate terminals, supporting articulated curved stem and articulated fitting, with James Powell vaseline glass shade unsigned, 43.5cm. high Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 151 plate 134 for a comparable example illustrated Provenance Private collection. £400­600 463

464 130

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466 467

466 An Art Nouveau gilded metal twin­branch wall light in the manner of WAS Benson, the twin branches flanked with foliate panel and scroll terminals, unsigned, 42cm. long £150­200 467 A brass table or wall light, tripod foliate foot supporting cylindrical stem with articulated fitting and fluted shell reflector, unsigned, 37cm. high (maximum) £150­200 468 A WAS Benson copper and brass extending floor lamp, four flaring legs with claw feet, central extending stem with silvered metal ball terminal, the reservoir flanked with four silvered copper leaves, stamped on foot, patent mark to mechanism, 154cm. high Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 132 plate 110 for a comparable example illustrated Provenance Private collection. £800­1,200

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469 A WAS Benson copper and brass kettle on wrought iron stand, model no. 790, stamped Benson to kettle and stand, 84cm. high (3) Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books, page 71 plate 44 for a comparable example illustrated in an advert for Benson kettles.

Provenance Private collection. £150­250 470 A WAS Benson copper and brass tray, rectangular copper tray with applied brass handles, stamped WASB & CO Ltd to back, 46.5cm. wide Provenance Private collection. £120­180 470 471 A WAS Benson copper jardiniere, the flaring body comprising six petals with rivet joints, unsigned, 21.5cm. high Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 89 plate 62 for a comparable example illustrated

469

Provenance Private collection. £300­500 472 A WAS Benson copper and brass seedpod inkwell, model no.553A, fluted copper lily­pad tray supporting seedpod well with hinged cover, unsigned 11.5cm. high, 17.5cm. diam.

472

Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 255 plate 30 for a comparable example illustrated Provenance Private collection.

471

£200­300 473 A WAS Benson copper and brass rose bowl, model no.776, flaring foliate form with pierced rose, on scrolling brass foot stamped Benson to foot, 15.5cm. high, 27.5cm. diam. (2) Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 90 plate 64 for a comparable example illustrated Provenance Private collection. £400­500

132

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474 A rare WAS Benson silvered metal table lamp, model no.1192, on domed square base with pad feet, the scrolling stem flanked with spiral tendril, the articulated fitting with James Powell vaseline glass shade stamped Benson to articulated fitting, 44cm. high Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 147 plate 125 for a comparable example illustrated Provenance Private collection. £1,000­1,500

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475 A silver­plated thurible designed by Augustus Welby Northmore Pugin, hexagonal tapering foot supporting flaring bowl engraved with panels, the cover with pierced tracery panels under pitched roof and central pierced spire, hanging chains, unsigned 30.5cm. high Provenance St Cuthbert’s Chapel, Ushaw’s College, Durham by repute. £400­600 476 An electroplated metal and glass claret jug after a design by Dr Christopher Dresser, tapering clear glass body with star­cut foot, the electroplated neck with angled spout, hinged flat cover, applied ebonised wood rod handle, unsigned, 24.5cm. high £150­250 476

475

477 A pair of Aesthetic Movement wall panels, printed and painted with Pre­Raphaelite portraits, inside foliate borders, in wooden frame unsigned, 30cm diam (panels), (2) £200­300 478 A Robert Mouseman Thompson oak cheeseboard, octagonal, carved with mouse signature, and a ‘House of the Mouse’ price list, 30.5cm. wide, (2) £150­200 479 A patinated copper fender possibly designed

by CFA Voysey, simple semi­circular form stamped in low relief with heart motif, 91cm. wide.

477

£300­500

478

479 134

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480

480 detail 480 A John Pearson repousse copper casket, dated 1905, rectangular section with hinged cover, the cover hammered in relief with a young child holding a large dolphin, the front of the box with two lily flower stems, stamped JP 1905, 17 x 11cm. £300­400

481 A Newlyn Industrial Classes copper rose bowl and cover, the bowl hammered in relief with scaly fish before waterweed, stamped Newlyn to side, 20cm. wide, 9.5cm. high (2)

481

482

£250­350

482 A Newlyn Industrial Classes copper rose bowl and cover, the footed rose bowl hammered in relief with scaly fish swimming past waterweed, stamped Newlyn to base, 18cm. diam, 12cm. high (2) £300­400

483 A ‘Glasgow School’ brass wall mirror in the manner of Margaret Gilmour, circular form, stamped in low relief with entrelac panels, bevelled round mirror, on wooden back, unsigned, 47cm. diam. £250­350

483

135

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484 ‘Mother and Child’ a large painted alabaster panel, unsigned, 88cm. wide £300­500

λ 485 Anon St George and the Dragon carved ivory on wooden base probably Indian or Chinese, and a Dieppe ivory model of a man holding a staff, unsigned 24.5cm. high (2) £400­600

486 Emmanuel Villanis (1858­1914) Saida a dipped, patinated bronze bust signed and titled in the cast 30cm. high Provenance Private collection. £150­250

λ 487 Solange Bertrand (1913­2011) Dutch boy and Dutch Girl gilt bronze and ivory signed Bertrand to base of one 16cm. high, (2)

484

£300­500

485 136

486

487

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

λ 488 Ferdinand Preiss (1882­1943) seated boy with a cornucopia carved ivory unsigned 5.5cm. high Literature Bryan Catley Art Deco & Other Figures, ACC books, page 262 this model illustrated. £150­250 488 λ 489 Ferdinand Preiss (1882­1943) Medieval boy holding a casket, and Medieval girl holding keys two gilt bronze figures on marble bases, signed in the cast F Preiss 16cm. high (2)

489

Literature Bryan Catley Art Deco & Other Figures, ACC books, page 268 these figures illustrated. £600­1,000

λ 490 Ferdinand Preiss (1882­1943) Boy with a trumpet, ivory on a veined onyx base, signed F Preiss to the ivory base, 15.5cm. high Literature Bryan Catley Art Deco & Other Figures, ACC books, page 263 this figure illustrated.

490

£200­400

491 J D Guirande Thyrsus Dancer a large silvered bronze model of a dancing woman, holding a Thrysus branch, on flaring, veined black marble base, signed in the cast in the dress, 67cm. high Provenance Art Deco & Design, Woolley and Walls Auctioneer’s 21st March 2018, lot 147.

Private collection. £1,500­2,500

491 137

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492 Josef Lorenzl (1892­1950) Dancer with a disc patinated bronze sculpture on veined onyx desk stand base, signed in the bronze Lorenzl 20.5cm. high (figure), 36cm. wide (stand) Provenance Art Deco & Design, Woolley and Walls Auctioneer’s 21st March 2018, lot 160.

Private collection. £300­500 492 493 Rabt a patinated bronze model of a dancer, on onyx, bronze and black slate tray stand, signed in the cast 29cm. high Provenance Private collection.

493

£150­250 494 Mary Sims Binyon (1882­1976) Resting Bison, patinated bronze signed in the cast Mary S Binyon 26cm wide, 17cm high. £200­300 495 A patinated bronze sculpture of a flying bird, on square wooden base, indistinct monogram to base, 18.5cm. high

494

£150­200 496 An American patinated bakelite wall sculpture, modelled as two flying stylised birds, cast marks to back, 125cm. wide £120­180

495

496 138

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

497 An Edgar Gilstrap Simpson silver and moonstone pendant necklace, shield­shaped, cast and pierced with stylised foliage and tendrils, set with central moonstone heart cabochon, on link chain, stamped ES mark, 6cm. long. £800­1,200

498 A Henry George Murphy silver and Carnelian stone pendant necklace, circular laurel wreath with small berries, set with four carnelian cabochon, with simple carnelian cabochon drop with laurel leaf unsigned, 6cm. long £400­600

497

498

499 A rare enamelled brooch by Frederick Partridge, domed, circular form, enamelled with a fruiting pomegranate tree, in shades of red, orange and green on a sandy­yellow ground, inside a border of red stylised pomegranates by May Hart Partridge, stamped Partridge, 3.3cm. diam. £1,000­2,000

500 A silver and moonstone tiara by Ethel Pye, pierced and shaped as a band of fine foliage set with moonstone cabochon and central flower of radiating moonstones, in original fitted presentation case, cast inscribed Ethe Pye, Limpsfield, Surrey, 16.2cm. wide.

499

£2,000­4,000

500 500 in box 139

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501

503

502

501 A Norwegian silver ring, cast loop band set with two ball panels, another ring with solid crescent form, and four other rings main marked BEH 925 S, (6) £150­200 502 A Wege Tenn pewter pendant necklace, circular with central pink glass drop, a Logeskov pewter bracelet, a Tyr pewter pendant necklace and two brooches stamped marks, 5cm drop, (5) £150­200 503 A Lapponia silver necklace designed by Bjorn Weckstrom, abstract form on link chain, and a ring similar, stamped marks, 4cm. wide (2) £200­300 504

505

504 A David Anderson silver pendant necklace, cast stylised flower design with central turquoise stone cabochon, on link chain stamped marks, 5cm. diam. £150­200 505 An Aarre and Krogh Danish silver necklace, fourteen leaf links, a matching bracelet and a brooch with simple flower stem motif, stamped marks, 36cm. long (necklace), (3) £200­300 506 A Taxco Mexican silver brooch, twisted elliptical form stamped marks, 7cm. wide. £150­200

506

507

507 A red and black plastic bangle by Jean Marie Poinot, Paris, twisted black plastic with red front, cast Jean Marie Poinot Paris mark 8cm wide. £150­200

140

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

508

510

509

508 A Georg Jensen silver ring, model no.1, cast foliate band and central domed silver cabochon, stamped marks, size L 509 A Georg Jensen silver and agate ring, model no 1, cast foliate band with green agate cabochon, stamped marks, size H £150­200 510 A Georg Jensen silver and hematite ring, model no.46B, set with hematite cabochon, stamped marks, size K £150­200 511 A Georg Jensen silver bangle, stamped marks, 6.5cm. wide

511

£200­250 512 A Georg Jensen silver brooch, model no.10, circular cast with a leaping fish, set with green agate cabochon, stamped marks, 3cm. wide £200­250

512

141

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513

514

515

513 A Jorgen Jensen pewter necklace, model no,2200, two shaped rectangular panels with turquoise cabochon, another single panel necklace with cabochon and another disc pendant stamped marks, 7.8cm. long (3) £150­200 514 A Niels Erik From silver and tiger’s eye pendant necklace, central bar with four tiger’s eye cabochon, stamped marks, 6cm. long £150­200 515 An English silver necklace, the cast sun motif pendant set with red cabochon, on articulated collar, stamped SD Birmingham 1970, 5.5cm. long (pendant) 516

£150­200 516 A Georg Jensen silver link necklace, thirteen triangular links, and a pair of Georg Jensen silver earrings, stamped marks, 38.5cm. long (3) £300­400 517 A Hans Hansen silver link bracelet, six shaped triangular panels, 17cm. wide £150­200

517 142

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

518

518 A set of twelve Liberty & Co silver and enamel cake forks, the terminals enamelled with a stylised foliate design in blue and green, in fitted case, stamped marks Birmingham 1928, 13cm. long. £400­600 519 A Gallia electroplated ice bucket, flaring cylindrical form with ribbed band decoration and two loop handles, a Gallia twin­handled electroplated footed bowl and a Mappin & Webb electroplated footed bowl the design attributed to Keith Murray, a pair of C & C Holmgren cast iron candle holders, circular form, a C & C Holmgren Pumpkin candle holder, a Liberty pewter tray and an Art Nouveau bronze paper­knife by Bertin, stamped marks, 20.5cm. high (8)

519

Literature Everyday Things Exhibition, 1936, Royal Institute of British Architects, page 37 catalogue number D108 for a similar bowl illustrated as part of a cocktail set. £120­180 520 An Omar Ramsden silver cigarette case, rectangular, the case with simple geometric decoration, etched Omar Ramsden me fecit, stamped London 1939, 17cm., (8.2oz) £350­450 520

END OF SALE 143

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DESIGN | 2022 CALENDAR

16th March Clarice Cliff, Art Deco & Design 19th January closing date

15th June Fine Arts and Crafts 20th April closing date

19th October Design 24th August closing date

30th November British Art Pottery 5th October closing date

A Liberty silver and enamel clock

ENQUIRIES

Estimate £8,000 ­ 12,000*

Michael Jeffery +44 (0)1722 424505 mj@woolleyandwallis.co.uk

CONSIGNED FOR 15TH JUNE FINE ARTS AND CRAFTS AUCTION

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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UPPER SLAUGHTER MANOR, THE COLLECTION OF MICHEÁL & ELIZABETH FELLER TUESDAY 9TH & WEDNESDAY 10TH NOVEMBER 2021 Two London delftware blue dash chargers, early 18th century From a selection of early English pottery included in the sale

ENQUIRIES Mark Yuan­Richards | +44 (0) 1722 411854 myr@woolleyandwallis.co.uk

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FINE JEWELLERY WEDNESDAY 17TH & THURSDAY 18TH NOVEMBER 2021

A fine Art Nouveau foliate necklace with brooch pendant by René Lalique Estimate £40,000 ­ 60,000*

ENQUIRIES Charlotte Glyde | +44 (0)1722 424586 | cg@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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JAPANESE WORKS OF ART WEDNESDAY 24TH NOVEMBER 2021

Utagawa Kuniyoshi (1797­1861) The Ghosts of the Taira Clan attack Yoshitsune in Daimotsu Bay, c.1850 Estimate £20,000 ­ 30,000*

ENQUIRIES Alexandra Aguilar +44 (0)1722 424 583 aa@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm

VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

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.

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.

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

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.

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS These will be posted on our website shortly after the sale.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban Shipping

+44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd

+44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes

+44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

+44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

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

EXPORTING YOUR PROPERTY FROM THE UK If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand­carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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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 card­holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30­97­41 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.

We reserve the right to add storage charges to all lots 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 (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS Please note that lots marked Regulations when exported.

λ may be subject to CITES

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a a levy.

‡ symbol are potentially subject to

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, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS

TERMS OF CONSIGNMENT FOR SELLERS

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.

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. 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 (Ω) 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. (As at 31st December 2020.

Please refer to SOFAA website for updates to the Terms and Conditions).

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 pre­sale 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.

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).

Reserves.

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.

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.

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.

(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.

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. 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).

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re­ offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. 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.

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.

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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.

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 Ω. 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

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.

(a) Immediately a lot is sold you will:

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.

(c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

CONDITIONS OF SALE

(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.

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.

(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.

(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 NON­PAYMENT 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 lay­out 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’.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

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.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

(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.

15. FORGERIES

(j) Dimensions are given height before width.

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.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS

GENERAL

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.

16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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.

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.

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.

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.

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.

Royalties for Droit de Suite are as follows:

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.

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

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

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

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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 2018 (DPA) and 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, 51­61 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; • the­saleroom.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 the­saleroom.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 (the­saleroom.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 government­issued 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; • the­saleroom.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.

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.

In particular:

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life­threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • 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); 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).

• 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.

YOUR LEGAL RIGHTS

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.

• 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 at: www.ico.org.uk

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17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

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

Woolley & Wallis Salisbury Salerooms Ltd. 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29

Design & Production

by Jamm Design Ltd +44 (0)20 7459 4749 jammdesign.co.uk

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PLEASE PRINT CLEARLY IN BLOCK LETTERS

ABSENTEE BID FORM

Lot Number

BRITISH ART POTTERY & DESIGN

Brief Decription

Price Excluding

in numerical

buyer’s premium

order

& VAT

WEDNESDAY 20TH OCTOBER 2021 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 Business 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

ID may be required even if you have bid with us before.

Signature

Salisbury Salerooms, 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU | Tel: +44 (0)1722 424500 | Fax: +44 (0)1722 424508

www.woolleyandwallis.co.uk

AUCTION CALENDAR ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2022 AUCTIONS

2021 OCTOBER 5th & 6th 7th 20th

Silver & Objects of Vertu English & European Ceramics & Glass British Art Pottery & Design

NOVEMBER 9th & 10th 17th & 18th 23rd & 24th

Upper Slaughter Manor, The Collection of Micheál & Elizabeth Feller Fine Jewellery Asian Art, Chinese Paintings & Japanese Works of Art

DECEMBER 7th & 8th 14th 15th

Modern British & 20th Century Art Medals & Coins, Arms & Armour African & Oceanic Art | Antiquities

2022 JANUARY 12th 25th & 26th

Furniture, Works of Art & Clocks Silver & Objects of Vertu

FEBRUARY 9th

Fine Porcelain and Pottery

Dates may be subject to change

+44 (0) 1722 424500 enquiries@woolleyandwallis.co.uk 51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

Hans Coper (1920­1981) Bottle with Disc top, circa 1973 SOLD FOR £55,000*

www.woolleyandwallis.co.uk