Woolley & Wallis Auctioneers

FINE ARTS & CRAFTS WEDNESDAY 15TH JUNE 2022

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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 339752 446980

ASIAN ART 424506 424583 424589 +44 (0)7812 601098 424591 424571

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards Michelle Yu

Clare Durham Hollie Morrison

411854 339161 446974 446974 339161

JAPANESE ART 424583 424591

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Samuel Hug FGA DGA Emily O’Donnell Megan Corbett

424595 424504 424586

Sally Litherland

MARKETING Chloe Davie

Sharon Ringwood Anna Gentleman

John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director

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

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

424501 424594

424500

CASTLE GATE RECEPTION

BOARD OF DIRECTORS 424507 446964

FURNITURE, WORKS OF ART & CLOCKS

Alexandra Aguilar Alana Ker Mercer

Ruth Pike (Office Manager) Sarah Bennie Leyanne Hind Nicola Young

ACCOUNTS 424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS

Mark Yuan­Richards Neil Grenyer Jim Gale Suzy Becsy Sarah Stone

424502 339161 424509

GENERAL OFFICE

Will Hobbs Molly O’Reilly

John Axford MRICS ASFAV Alexandra Aguilar Freya Yuan­Richards Jeremy Morgan Alana Ker Mercer Michelle Yu

Jeremy Lamond MRICS ASFAV FRSA Neil Grenyer Amanda Lawrence

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

446951

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FINE ARTS AND CRAFTS WEDNESDAY 15TH JUNE 2022 10.00AM at our Castle Street Salerooms, SP1 3SU

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

VIEWING AT OUR NEW EXHIBITION SPACE AT CASTLE GATE Unit 1B, Castle Gate Business Park Old Sarum, Salisbury, SP4 6QX

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

VIEWING Saturday 11th June Monday 13th June Tuesday 14th June Wednesday 15th June

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

DIRECTIONS TO THE NEW EXHIBITION SPACE AT CASTLE GATE Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

E

Kia Motors

Old Sarum Park

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Westover Garage Sarum Business Park

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VIEWING HERE

WOOLLEY & WALLIS Castle Gate

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1st Self Access Storage

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AUCTION HERE

WOOLLEY & WALLIS Salisbury Salerooms

A345 Castle Rd

AMESBURY

SALISBURY

Old Sarum

A36

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MARLBOROUGH & SWINDON

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

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THE VIEWING OF THIS SALE WILL TAKE PLACE AT Unit 1B, Castle Gate Business Park Old Sarum, Salisbury, SP4 6QX Client Parking Available

Saturday 11th June Monday 13th June Tuesday 14th June Wednesday 15th June

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

THE AUCTION ON 15TH JUNE WILL TAKE PLACE AT CASTLE STREET 51­61 Castle Street, Salisbury, SP1 3SU

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Requests for telephone bids cannot be accepted after 5pm on Tuesday 14th June CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults.

COLLECTION OF LOTS BY APPOINTMENT Collection is from our warehouse, Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please instruct carriers accordingly and note, the warehouse is closed over weekends.

Please call 01722 446950 or 01722 424500 prior to collection to ensure the items are ready

LIVE ONLINE BIDDING – FREE OF CHARGE

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 14th June

Instagram: @woolleyandwallisdesign @woolleyandwallissalerooms Facebook: @woolleyandwallis Twitter: @woolleywallis Pinterest: Woolley and Wallis

All accounts to be settled prior to collection EXPORT AND CITES LICENCES Some lots may require export or CITES licences in order to leave the UK or Europe, please refer to the department for guidance.

ILLUSTRATIONS Back cover: Lot 140 Inside cover: Lot 55 Catalogue £12.00 (£15.00 by post)

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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

THE BESS DOBI COLLECTION OF MARTIN WARE

1 A Martin Brothers stoneware grotesque spoon warmer by Robert Wallace Martin, dated 1880, modelled as a dragon­like creature, with scaly skin, gaping mouth, and swept back feather and tendrils, glazed in shades of green, blue, white and brown incised 49 2/80 R W Martin London & Southall, professional restoration, 20.5cm. high Provenance The Bess Dobi Collection of Martin Ware.

Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 86 figure 113 (Sotheby’s). £1,500­2,000

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2 A Martin Brothers stoneware Owl vesta by Robert Wallace Martin, dated 1877, shield shaped with an Owl below corbel, clutching a book in its talons, glazed brown, blue and green, incised 2-1877, 29, R W Martin, professional restoration to front rim, 13.5cm. high Provenance The Bess Dobi Collection of Martin Ware. £300­500 3 A Martin Brothers stoneware jug by Edwin and Walter Martin, dated 1898, tapering cylindrical form, incised and painted with poppy flowers on scrolling stems, in brown and buff, incised 1-1898 Martin Bros, London & Southall, hairline to top rim, 22.5cm. high Provenance The Bess Dobi Collection of Martin Ware. £300­500 4 A Martin Brothers stoneware jug by Edwin and Walter Martin, dated 1886, tapering cylindrical form, incised with three butterflies flying amongst daisy stems, in brown and white on a buff ground, incised 3-1886 Martin Brothers, London & Southall, professional restoration, 18.5cm. high 2

Provenance The Bess Dobi Collection of Martin Ware. £250­350

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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

5 A rare Martin Brothers stoneware Monkey vase by Edwin and Walter Martin, dated 1893, footed, baluster form, incised with a troop of monkeys amongst scrolling foliage fruiting with pomegranates, in green and tan on a buff ground, incised 7-1893 Martin Bros London & Southall, 24cm. high Provenance The Bess Dobi Collection of Martin Ware. £2,000­4,000 5 both sides

6 A Martin Brothers stoneware Aquatic vase

by Edwin and Walter Martin, dated 1892, slender, shouldered form, incised and painted with numerous grotesque fish swimming with jelly fish, eels and a crab, amongst waterweed, in shades of tan, brown and green on a buff ground, incised 10-1892 Martin Bros London & Southall, filled small firing crack to base, professional restoration to neck, 23.5cm. high Provenance The Bess Dobi Collection of Martin Ware. £800­1,200

6 both sides 7

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7 A Martin Brothers stoneware pawn chess piece by Robert Wallace Martin, modelled as a man, head thrown backwards, on a flaring square section base, glazed tan and brown, incised Martin Bros London & Southall to base rim, 7.5cm. high Provenance The Bess Dobi Collection of Martin Ware. £500­800 8 A Martin Brothers stoneware pawn chess piece by Robert Wallace Martin, dated 1901, modelled as a bearded man with cap, on flaring square section base, covered in an off white glaze, incised RWM sc 6-1901, Martin & Bros London & Southall, 8.5cm. high Provenance The Bess Dobi Collection of Martin Ware.

Literature Malcolm Haslam The Martin Brothers Potters Richard Dennis, page 133 for a comparable set of chess pieces dated 1902. £500­800 9 A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, modelled seated playing the cello, covered in a white glaze, on ebonised wood base, incised Martin London, professionally restored, 13cm. high Provenance The Bess Dobi Collection of Martin Ware. £800­1,200

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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

10 A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1902, modelled standing with webbed claw feet, modelled with slender beak glazed blue and green on a buff ground with white highlights, on ebonised wood base, incised 3.1902, R W Martin & Bros London & Southall to base and neck, 20cm. high (2) Provenance The Bess Dobi Collection of Martin Ware. £10,000­15,000 9

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10 reverse

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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

11 both sides 11 A Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1903, modelled in low relief to one side with a smiling face, the reverse with open mouth, glazed in tan and brown, highlighted in white and black, incised R W Martin & Bros, London & Southall, 5.3.1903, professional restored section to top rim, 18.5cm. high Provenance The Bess Dobi Collection of Martin Ware. £1,500­2,500

12 An unusual Martin Brothers stoneware grotesque face jug, dated 1890, modelled in low relief with a smiling face, the reverse with a similar face with toothy grin, the creatures long ears rising to form a central handle, glazed in brown with white highlights, incised 10-1890 Martin Brothers London & Southall, professional restoration, 17cm. high Provenance The Bess Dobi Collection of Martin Ware. £2,000­3,000

12 both sides

END OF COLLECTION 11

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13 both sides

13 A Martin Brothers stoneware face jug designed by Robert Wallace Martin, dated 1899, modelled in relief with a smiling face mouth open with tongue slightly out, the reverse a grinning face, glazed in tan with white and black painted highlights, incised 4-1899 Martin Bros London & Southall, small glaze chip to handle, 18.5cm. high £800­1,200

14 A Martin Brothers stoneware grotesque reptile creature

by Edwin and Walter Martin, dated 1894, modelled lying with front paws out­stretched, his back with fur ruffles to back, incised decoration with white highlights, incised 4-1894, Martin Bros London & Southall, 10.5cm. wide, 6cm. high Provenance Sotheby’s Private collection.

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12

£1,000­1,500

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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

15 A Martin Brothers stoneware grotesque jug or spoon warmer probably by Robert Wallace Martin, the plump ovoid creature with open gaping mouth, its tail curled to form a handle, glaze olive and green with white highlights, incised Martin London & Southall to base, 10.5cm. high Provenance Private collection. £1,500­2,000

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16 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 £120­180 17 An Aesthetic Movement Martin Brothers stoneware vase by Robert Wallace Martin, shouldered form with cylindrical neck, incised with a band of stylised sunflowers to the shoulder and neck, glazed yellow, ochre and translucent white between geometric bands glazed buff, the lower body glazed dark blue, incised R W Martin Southall with indistinct date, smashed and repaired, 25cm. high Provenance Arts and Crafts Woolley and Wallis Auctioneer’s 19th June 2013, lot 144.

Private collection.

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£150­250 18 A large Martin Brothers stoneware Stilton dome and dish by Robert Wallace Martin, dated 1884, the cylindrical dome with modelled foliate handle, incised and painted with a wading bird amongst bull rushes and trees, to the reverse a flock of ducks flying over bull rushes, in shades of brown and green on a buff ground, the dish with band of incised stylised foliage frieze in brown, incised to dish 10-84 RW Martin & Brothers London & Southall, hairline to side of dome, 32cm. high (2) £3,000­5,000 19 A rare Martin Brothers stoneware butter dish and cover by Robert Wallace Martin, dated 1882, the elliptical dish on integrated tray incised and painted with wading birds in a grassland setting, other birds flying past in blue and brown on buff ground, the cover with radiating prunus boughs, and foliate finial, 2-5-82 RWMartin London & Southall, repaired finial, chip to rim, 21.5cm. wide (2) £200­300

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20 both sides

20 A Martin Brothers stoneware face jug by Robert Wallace Martin, modelled in relief with a smiling face to both sides, glazed brown and tan with white and black highlights incised R W Martin London & Southall, 15cm. high Provenance The George Twyman Collection of Martin Ware.

Private collection.

21 An unusual and rare Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1897, modelled in relief with a sly smiling face, his eyes cast sideways, the reverse modelled in relief with smiling face, glazed matt brown with white and black highlights, incised 6-1897 Martin Bros London & Southall, 18cm. high £3,500­4,500

£800­1,200

21 both sides 15

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22 part

23 22 Boobies Boojums and Snarks a catalogue of the ceramic curiosities of the Martin Brothers from the Jordan Volpe Gallery, 1982, loose folio, and an interesting collection of books and catalogues on late nineteenth century and twentieth century design, including; L’Art de la Potterie en France de Rodin a Dufy, Zsolnay, The House of Amphora, Royal Copenhagen, Auguste Delaherche, 1973, J Vieillard & Cie, Cantagalli, Cazaux, Keramik von Emile Galle, Wemyss, WMF, and Emile Decoeur Ceramiste par Guillaume Janneau, 1923, (a lot) Provenance Peter Rose & Albert Gallichan £150­200 23 Two 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 3-1909 Martin Bros London & Southall, 10.5cm. high (2) £300­500 24 A Martin Brothers stoneware jug, dated 1884, ovoid body, painted with foliage sprays in chestnut on a buff ground, on flaring foot with cylindrical neck, applied loop handle, incised 2-84 Martin Bros London & Southall, 23cm. high

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£300­400 25 A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1896, footed baluster form, incised with scrolling foliage in grey on a dark chestnut ground, incised 10-1896 Martin Bros London & Southall, 22.5cm. high Provenance Christopher Wood, thence by descent Literature Isabelle Anscombe & Charlotte Gere Arts and Crafts in Britain and America, Van Nostrand Reinhold, page 98 plate 105 this vase illustrated. £500­1,000 26 A Martin Brothers stoneware vase by Edwin and Walter Martin, slender ovoid form with swollen neck, incised and pushed out with opium poppy seedheads, glazed brown and white with green highlights, on a tan ground, incised 1-1907 Martin Bros London & Southall, small nick to top rim, 24cm. high Literature Arts and Crafts Woolley and Wallis Auctioneers, 19th June 2019 lot 51 for a near identical vase made in the same year. £1,500­2,000

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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

27 A Martin Brothers stoneware miniature Crab vase by Edwin & Walter Martin, dated 1904, shouldered square section, incised to each side with a spider crab, glazed brown and ochre on a buff ground, incised 3.1904, Martin Bros London & Southall, 5.8cm. high Provenance British Art Pottery, Woolley and Wallis Auctioneer’s 3rd December 2014, lot 138 Private collection. £1,200­1,800 28 A Martin Brothers stoneware twin­handled gourd vase by Edwin & Walter Martin, dated 1898, ovoid with applied loop handles, surface decorated and glazed yellow with a green wash, the neck glazed brown to interior incised 1-98 Martin Bros, London & Southall, 9cm. high

27 both sides

Provenance Private collection. £500­800 29 A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1896, shouldered, cylindrical form with collar rim, modelled with veined surface decoration. glazed green and blue with small air bubble pitting, 2-96, Martin Bros London, 8.2cm. high Provenance Private collection. £500­800 30 A Martin Brothers stoneware miniature gourd vase by Edwin & Walter Martin, dated 1899, tall, slender ribbed form with incised texture, glazed rust and tan, highlighted with blue, incised 1-99 Martin Bros London & Southall, 12cm. high

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29

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31

Provenance Sidney Greenslade Reverend William Henry Spottiswood Webb, thence by descent.

British Art Pottery, Woolley and Wallis Auctioneer’s 25th November 2015 lot 12 Private collection. £800­1,200 31 A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1903, shouldered, ribbed cylindrical form, painted with olive green spots on a tan ground, incised 11.9.1903, Martin Bros London & Southall, 11cm. high Provenance British Art Pottery, Woolley and Wallis Auctioneer’s 11th December 2013, lot 28.

Private collection. £700­900

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THE BEULAH COLLECTION OF MARTIN WARE

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32 A Martin Brothers Pottery stoneware beaker by Edwin & Walter Martin, flaring conical form, incised and painted with a finch perched in a blossom tree above grasses, with another bird flying, in brown, blue and white on a buff ground, incised Martin Bros London & Southall, fine hairline from top rim, 8cm. high £200­300 33 An early Martin Brothers stoneware jug by Robert Wallace Martin, dated 1877, swollen form with applied handle, incised with an owl, wings outstretched, on scrolling foliage ground, with two other birds, in white and blue on a textured brown ground, incised 107 RW Martin London 1-1877, professional restoration, 14.5cm. high £300­500 34 A pair of Martin Brothers stoneware bottle vases

by Robert Wallace Martin, dated 1885, slender, shouldered form with cylindrical neck, incised and painted with butterflies and a mayfly flying past wild flowers, the neck with incised stylised foliate frieze, in shades of green and brown on a buff ground, incised 10-1885 R W Martin & Bros London & Southall, 23.5cm. high (2) £1,500­2,000

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35 A Martin Brothers Pottery stoneware jug by Robert Wallace Martin, dated 1882, footed, tapering cylindrical form with angular handle and spout, incised and painted with two ducks standing amongst grasses and oak trees, the spout incised with a flying owl, the base of the handle modelled with a classical mask, in shades of blue, green and brown on a buff ground, incised 26 & 27 5, 82, R W Martin London & Southall, 21cm. high £500­1,000 36 A Martin Brothers Pottery stoneware jug by Edwin and Walter Martin, dated 1896, tapering cylindrical form, incised with dragonflies flying above blue flag iris and wild flowers, in blue, green and brown on a grey ground, 11-1896 Martin Bros London & London, professional restoration to top rim, 27.5cm. high £1,000­1,500

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37 A pair of Martin Brothers stoneware candlesticks by Robert Wallace Martin, dated 1885, tapering square bases with twisted column with swollen neck, painted to each panelled side of the base with a martin and other birds flying or perched, the neck inside with twisted foliate column, glazed in shades of blue, green and brown on a buff grey ground, incised 4-85 R W Martin Bros London & Southall, professional restoration to column of one, 19.5cm. high (2) £800­1,200 38 An early Martin Brothers Pottery stoneware wall vesta by Robert Wallace Martin, dated 1877, modelled as a Pelican in Her Piety, modelled in relief with wings outstretched above four chicks in the nest, glazed blue and green incised 37 R W Martin 3 1877, old professional restoration to corner of back plate, 13cm. high £400­600 39 A Martin Brothers Pottery stoneware Medieval jug, dated 1875, shouldered form with knopped neck and applied handle, incised with a lady playing a lute on a terrace setting with peacocks, the reverse with a maiden standing, glazed in blue and green on a buff ground, E.23 R W Martin London 1-1875, to base and plaque below handle, hairline to top rim, 24.5cm. high

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£500­700 40 A Martin Brothers Pottery stoneware Imp Musician by Robert Wallace Martin, modelled seated playing the harp, covered in a white glaze with buff mottling, incised Martin London & Southall to harp, professional restoration to harp, 11.5cm. high £800­1,200

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41 A Martin Brothers Pottery stoneware vase by Edwin and Walter Martin, dated 1889, ovoid with short cylindrical neck, incised with lizards, a snake and a stag beetle amongst scrolling foliage, in shades of green, blue and buff on a chestnut brown ground, incised 3-1889 R W Martin & Brothers London & Southall, museum restored cracks to base, 24cm. high £1,500­2,000

42 A Martin Brothers Pottery stoneware candlestick by Robert Wallace Martin, dated 1893, circular with three arched supports and central circular sconce, incised with scrolling foliage in blue and green on a mottled buff grey ground, incised 3-1893 Martin Bros London & Southall, professional restoration to one arch support, 12.5cm diam. £600­1,000

43 A Martin Brothers Pottery stoneware jug by Robert Wallace Martin, shouldered form, incised with a parrot perched on a fruiting bough, two other finches flying past, below a band of stiff leaf foliage, in green, brown and white on a buff ground, incised R W Martin London & Southall, professional restoration, 21.5cm. high £1,500­2,000

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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

44 A Martin Brothers Pottery stoneware bird jar and cover by Robert Wallace Martin, dated 1892, the rotund bird with claw feet, short beak blue feather eyebrows and wings, in shades of blue, tan and green, highlighted with white, on ebonised wood base, painted Martin Bros 6-1892 London & Southall to neck, and indistinctly to the rim of the base, 19cm. high Provenance Purchased from Christie’s by repute £10,000­15,000 21

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45 A Martin Brothers Pottery stoneware jug by Edwin & Walter Martin, dated 1897, tapering cylindrical form with applied loop handle, incised with a column of medieval musical instruments hanging from a classical mask, in buff on a brown ground, incised 6-1897 Martin Bros London & Southall, 22cm. high £800­1,200 46 A small Martin Brothers Pottery stoneware vase by Edwin & Walter Martin, shouldered ovoid form, incised and painted with simple stems of blue wild flowers, in blue and green on a buff ground, incised Martin London and indistinct date possibly 1898, 7cm. high

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£250­300 47 A Martin Brothers Pottery stoneware vase, ovoid form with flaring neck, incised and painted with birds flying above grasses, in brown on a grey ground, incised Martin & Bros London, 7cm. high £250­300 48 A Martin Brothers Pottery stoneware vase by Edwin and Walter Martin, slender, shouldered form, incised and painted with flag iris and wild flowers, the neck with mayflies blue, white and green on a mottled brown ground, 4-1899 Martin Brothers London & Southall, 22.5cm high £700­1,000 49 A Martin Brothers Pottery stoneware vase by Robert Wallace Martin, dated 1886, shouldered, cylindrical form with two angled handles, incised with sprays of foxgloves and daisies, in shades of white, green and brown on a buff grey ground, the collar rim with incised geometric band, incised 9-1886 R W Martin & Bros London & Southall, 24.5cm. high £800­1,200 48 22

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50 John Barleycorn a Martin Brothers Pottery stoneware bottle

by Robert Wallace Martin, dated 1900, modelled in relief with a smiling face amidst ears of corn, glazed buff with white and back highlights, incised 5-1900 regd mark Martin Bros London & Southall, stress hairlines to handle, 18.5cm. high £2,500­3,000

side view

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51 A Martin Brothers Pottery stoneware Aquatic vase by Edwin and Walter Martin, dated 1890, shouldered ovoid form, incised and painted with a shoal of grotesque fish and an eel, in shades of green and buff, highlighted in white on a buff ground, the top rim with blue, incised 81890 Martin Bros London & Southall, 7cm. high £800­1,200 51

52 A Martin Brothers Pottery stoneware Aquatic vase by Edwin and Walter Martin, dated 1889, shouldered form, incised and painted with grotesque fish and eels swimming amongst waterweed below a band of scrolling foliage, in shades of green, blue and tan on a pale blue over tan ground, incised 4-1889 R W Martin & Bros, London & Southall, professional restoration to side of vase, 26.5cm. high £1,500­2,000 52 24

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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

53 A Martin Brothers stoneware bird jar and cover

by Robert Wallace Martin, dated 1905, slender body with hunched wings, with large webbed feet, forward looking resigned staring eyes and slender beak, glazed green, pale blue and white on a buff ground, on ebonised wood base, painted to neck and base Martin Bros, 1-1905 London & Southall, paper label to neck, 21.5cm. high Provenance Stan Moore £15,000­20,000

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53 reverse

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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

54 A Martin Brothers Pottery stoneware Bird jug by Edwin and Walter Martin, dated 1894, slender form incised with three anthropomorphic birds, amongst palm fronds, in shades of green and brown on a buff ground, incised 8-1894, Martin Bros London & Southall, 984, 24.5cm. high £2,000­3,000

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55 Martin Brothers A page of Anthropomorphic Birds, pencil sketches on conte paper probably by Robert Wallace Martin, of birds, judge birds and a bald headed monk, the reverse with studies of two birds heads in profile, the front with number annotations, in modern frame unsigned, 41 x 27cm (image), 54.5 x 40cm.(frame) Provenance Sylvia Powell Private collection.

Literature Malcolm Haslam The Martin Brothers Pottery, Richard Dennis Publications, page 89 figure 124 this sheet illustrated and attributed to The Martin Studio circa 1895. £5,000­8,000

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WILLIAM DE MORGAN CERAMICS 56 A Bushey Heath Pottery vase by Fred Passenger, tapering cylindrical form with flaring top rim, painted with an eagle and a griffin in ruby lustre amidst foliage sprays in golden lustre on a white ground, printed Bushey mark and FP monogram, 22cm. high £300­500 57 A William De Morgan solifleur vase, footed ovoid form with swollen cylindrical neck, painted with carnation flowers in ruby lustre on a white ground, the neck ruby lustre, impressed thistle mark, chips to rims, 23cm. high Provenance Halsey Ricardo, thence by descent. £500­700 58 A William De Morgan solifleur vase, ovoid with tapering neck, painted with stylised flowerhead motif in sand on a ruby ground, painted A31 mark to base, 15.5cm. high

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57

Provenance Halsey Ricardo, thence by descent. £200­300 59 A large pottery footed bowl probably William De Morgan, on ivory blank, painted to the exterior with foliage frieze, the interior a large flowerhead, in ruby on a white ground, impressed ivory mark, repaired damages, 41cm. diam, 18cm. high Provenance Andrew Harriss £200­400 60 A William De Morgan Dodo wall plate, painted with a dodo bird perched amongst berried foliage in ruby on a white ground, unsigned, repaired damages, 31cm. diam.

58

Provenance Andrew Harriss £300­500

59

60

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61 A William De Morgan Pottery tulip vase by Halsey Ricardo, shouldered form with central waisted cylindrical neck, the shoulder with six aperture, painted to the body with a frieze of alternating peacock and snakes, before foliage sprays, the neck with geometric bands, in blue, turquoise and yellow on a white ground, painted HR monogram, minor glaze chips, 18.5cm. high Provenance Halsey Ricardo, thence by descent. £2,000­3,000 61

62 A William De Morgan Persian twin­handled vase, dated 1890, shouldered form with flaring neck and applied twin­handles, painted to one side with a dragon eating a yellow fruit, the reverse a serpent amongst fruiting stems, in shades of aubergine, green, yellow, blue and turquoise on a white ground, impressed Merton Abbey mark, painted JB monogram and 1890, 23.5cm. high Provenance Private collection. £5,000­8,000 62 30

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63 A fine William De Morgan vase and cover by Halsey Ricardo, slender, shouldered form painted with classical dolphins, in shades of turquoise and green on a blue and purple calm water ground, the shallow domed cover with a radiating star motif impressed thistle mark, painted HR monogram, small old restoration to inside top rim, minor glaze chips, 24.5cm. high, (2) Provenance Haslam & Whiteway, purchased by the Halsey Ricardo family. £4,000­6,000

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64 both sides

64 A William De Morgan Pottery vase by Edward Porter, ovoid with knopped neck, painted with hares amongst tufts of grass in blue, turquoise and green on a pale green ground, impressed tulip mark, painted EP monogram, minor glaze loss to top rim, 13.5cm. high Provenance Halsey Ricardo, thence by descent.

Literature Martin Greenwood (editor) The Designs of William De Morgan, Richard Dennis, page 102 figure 1429 for the original drawing of two of the hares, illustrated. £1,500­2,000

65

65 A William De Morgan plate, painted to the well with a galleon at sail, the rim with large scaly fish frieze, in golden yellow on a white ground, unsigned, 21cm. diam.

Provenance Andrew Harriss £300­500

66 A William De Morgan Galleon plate, painted with a galleon weighing anchor, in ruby lustre on a white ground, the reverse with foliate design, unsigned, smashed and repaired, 21.5cm. diam.

Provenance Andrew Harriss Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 51 catalogue number 1266 this design illustrated. £200­400

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67

68 67 Five William De Morgan BBB tiles, each tile painted in shades of yellow, aubergine and green on a white ground, mounted in frame, impressed marks, minor glaze chips and restoration, 15.5cm. square (each tile) £1,000­1,500 68 A William De Morgan ‘Persian’ Galleon tile on Poole Pottery Architectural blank, painted with the stern of a manned warship sailing past a classical building, in yellow, aubergine, ochre turquoise and pale green, framed, impressed Poole marks, chips to back of tile, 15.5cm. square

69

Provenance Private collection.

Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 176 figure 470 for the full two tile panel of the manned galley in a classical harbour. £400­600 69 A William De Morgan Sands End Pottery Galleon tile, painted with a galleon at full sail on a calm sea, in green on a white ground, impressed factory mark, restored 14.8 x 15.5cm. £500­1,000 70 A William De Morgan Merton Abbey Prancing Lioness and Cub tile, painted with a large lioness above her cub, before grass clumps, in ruby lustre on a white ground, impressed factory mark, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 122 figure 1015 for the original design illustrated. £2,000­3,000

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71

71A 71 Two William De Morgan Persian tiles, painted with stylised foliage fronds in dark and pale blue on a white ground, six large tiles moulded in low relief with birds, covered in a mustard yellow glaze, and a collection of tiles including Delft tin­glaze tiles, impressed Sand’s End and Late Fulham marks, one in half and re-stuck damages to collection of tiles, 15.5cm.square, (a lot) Provenance The Estate of David Coachworth and Peter Myers. £120­180

72

71A A large William De Morgan Merton Abbey Argyll Persian tile, painted with a bird flying amidst stylised foliate panels in blue and turquoise on a white ground, impressed Merton Abbey mark, 20.5cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 151 figure 570 for this tile illustrated in a two tile repeat panel. £300­500

73

72 A William De Morgan Merton Abbey K L Rose tile, painted with two flowers in shades of yellow, aubergine and green on a white ground, impressed factory mark, minor glaze loss, 15.5cm. square £150­200 73 A William De Morgan Boston tile, on Carter’s Poole blank, painted with flowers in turquoise, blue and green on a white ground, and another William De Morgan ‘Berries and Leaves’ tile impressed no.5, 15cm. square, (2) Provenance Richard & Hilary Myers collection (Berries and Leaves tile) £200­300

74

74 A William De Morgan tile, painted with a spray of berried foliage in golden lustre, and a William De Morgan Merton Abbey period Persian foliate tile fragment, berried foliate tile a blank, 15.2cm. square, (2) £120­180 75 A pair of William De Morgan Pottery late Fulham Period tiles, painted with two carnation flowers and scrolling foliage, in blue and green on a white ground, two similar William De Morgan tiles with yellow carnation flowers, a half tile decorated with star and ribbon design, and a half tile decorated with scroll and foliage panels, impressed marks, damages, 15.2 x 15.2cm. (6) Provenance Halsey Ricardo, thence by descent. £200­300

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76 76 Three William De Morgan Chelsea Period Single Rose tiles, each painted with a single flower in shades of blue and green on a white ground, impressed marks to one, restoration, 15.8cm. square (3) £300­500

77 A pair of William De Morgan Sands End Pottery Persian large tiles, each painted with a bird of prey amidst scrolling foliage in shades of blue, green, yellow and aubergine on a white ground, framed impressed factory marks, professional restoration, 20.5cm square (each tile) Literature Jon Catleugh William De Morgan Tiles, Richard Dennis Publications, page 159 catalogue number 251 for four comparable examples illustrated.

Provenance Ceramic Design, Bonhams London, 14th March 2007 lot 382. £1,500­2,000

78 Eight William De Morgan ruby lustre Scroll tiles, painted with scrolling flowers and foliage in ruby lustre on a cream ground, unsigned, restoration and rims reduced 15cm. square (8)

77

Provenance Ceramic Design, Bonhams London, 25th February 2003 lot 18. £600­1,000

79 Three large William De Morgan Fan tiles, painted in shades of blue, turquoise and green on a white ground framed, impressed marks, professional restoration, 20cm square (each tile) £2,000­3,000

78

79

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80

81

80 A William De Morgan Early Fulham Period BBB tile, painted with a flower in blue, aubergine and green on a white ground, and another William De Morgan Merton Abbey period tile painted with blue flowers, impressed marks, restored, 15.5cm. square (2) £200­300

81 A William De Morgan Sands End tile, painted with two flowers in blue and green on a white ground, and another William De Morgan Merton Abbey tile painted with flowers impressed marks, restored 15.5cm. square (2) £200­250

82 A William De Morgan eight tile panel, painted with scrolling foliage in green on a white ground, mounted on frame, impressed marks, minor glaze chips, 61.5 x 30.5cm (panel) £800­1,200 83 A William De Morgan Merton Abbey Persian two tile panel, painted with flowers and foliage in shades of blue, turquoise, green and aubergine on a white ground, framed , impressed marks, minor glaze loss, 35.5 x 20cm. (frame)

82

£300­500

84 A William De Morgan New Persian no.2 two tile panel, painted in shades of blue, turquoise green and aubergine, framed marks concealed by frame 33 x 17.5cm.(frame) Provenance Peter Creffield Collection Bonhams sale 15302 lot 366 Private collection. £500­600

36

83

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85

86

85 A William De Morgan ruby lustre Bird tile, painted with a bird and snake before scrolling foliage, in red lustre on a white ground, unsigned, restoration to corners, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 130 figure 974 for the original design illustrated.

Provenance Ceramic Design, Bonhams London,25th February 2003 lot 21. £400­600

86 A William De Morgan Dodo tile, on Wedgwood blank, painted with a Dodo bird before grasses and foliate fronds, in red lustre unsigned, 15cm square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 129 figure 1019 for the original design illustrated. £1,500­2,000

87 A rare and large William De Morgan Dodo ruby lustre tile, painted in ruby lustre on a white ground, unsigned, 20.5 x 20.5cm.

Provenance Andrew Harriss

87

Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 129, catalogue number 1019 for the original reversed design illustrated. £1,000­1,500

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88

89

TILES 88 A pair of Minton Hollins & Co tiles, each printed with a Pre­Raphaelite classical figure in sepia on a cream ground impressed factory marks, 15cm. square (2) £120­180

90

89 A Minton Chimpanzee tile designed by Polly Brace, screen printed with a seated chimpanzee in colours on a mint green ground, another with a moose, five others similar designed by Polly Brace and two smaller Minton tiles screen printed with lambs impressed marks, 15.5cm square. (9) Literature Chris Blanchett 20th Century Decorative British Tiles (A-H), Schiffer, page 208, the chimpanzee and moose tiles illustrated.

Provenance Peter Creffield Collection, Bonhams London, 14th March, 2007 lot 363 and 365. £120­180 90 A Morris & Co Longden tin­glazed tile, painted with alternating flowers and foliage stems, in blue on a white ground, a ‘Scroll’ tile and two ‘Artichoke’ tiles unsigned, minor losses, 13cm. square (4) Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis, page 42 figs 10d and 10e for two comparable Longden designs. £250­300 91 A Morris & Co Poppy tile, painted with a flower stem in aubergine and green on a white ground, and three Elsley tiles painted with flower stems in green and aubergine, unsigned, 13cm. square (4) Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 108 figure 175 for this design illustrated. £150­200

91 38

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DELLA ROBBIA POTTERY

92 Gideon a large Della Robbia two­tile plaque designed by Ford Madox Brown, modelled in low relief with Saint Gideon in full armour, on a scrolling vine ground, painted in shades of blue, turquoise and green on a cream ground, in oak frame, marks concealed, minor professional restoration, 71 x 42cm.

Provenance Private collection.

Literature Rob Higgins & Christopher Stolbert Robinson, William De Morgan Arts and Crafts Potter, Shire Library, page 62 for a comparable panel illustrated Charles Sewter The Stained Glass of William Morris & His Circle, Yale, catalogue number 75 for the original cartoon.

The Birkenhead Della Robbia Pottery 1893­1906, Jeremy Cooper Ltd, page 46 catalogue number 32 for a comparable example with Harold Rathbone’s monogram. This panel was exhibited, along with ‘Alfred the Great’ at the Walker Art Gallery in 1900. £5,000­6,000 39

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93 A Della Robbia Pottery vase by Charles Collis, cylindrical, footed form with flaring neck, applied with three looped handles, slip decorated with scrolling foliage in white and green on a brown ground, incised Galleon mark and C 123, one handle re-stuck, 13cm. high £120­180 94 A Della Robbia Pottery vase probably by Elizabeth Beckett, ovoid footed form with applied loop handles to shoulder, incised and painted with a band of scrolling ivy between stiff leaf bands, in shades of green, yellow and turquoise on a brown ground, incised Della Robbia mark and EB artist monogram, 26cm. high 93

94

£200­300 95 A Della Robbia Pottery bowl by Agnes, painted with bands of radiating foliage from a central Tudor rose, the rim with smaller flowers and foliage, in shades of red, green and cream on a tan ground, an Art Nouveau C H Brannam jardiniere, a Ruskin Pottery crystalline bowl and a collection of ceramics, incised DR mark and AEB, painted Agnes, chips to bowl, 20.5cm. diam. (a lot) Provenance The Estate of David Coachworth and Peter Myers. £120­180 96 A Della Robbia Pottery charger by Violet Woodhouse, dated 1895, incised and painted with flower mon inside geometric bands to the well, the broad rim a band of scrolling foliage, in shades of green, yellow, turquoise and brown on a buff ground, incised mark, date and JP monogram, painted Violet, chips and crack to rim, 37.5cm. diam.

95

Provenance Christopher Wood, thence by descent £500­1,000 97 A Della Robbia Pottery plate by ELL, incised and painted with bands of stylised foliage, in shades of blue, green and yellow, incised Della Robbia mark, and ELL monogram, painted ELL mark, fine hairline to rim, 26.5cm. diam.

Provenance Christopher Wood, thence by descent £300­500

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98 A Della Robbia Pottery twin­handled vase by Lizzie Wilkins, dated 1901, the ovoid vase with tapering neck and swollen top rim, applied twin griffin handles, painted and incised with Art Nouveau foliate panels, in shades of green, yellow, turquoise and blue painted Della Robbia mark, dated and LW monogram, minor professional restoration, 41cm. high Provenance Christopher Wood A Very Victorian Eye, Christie’s South Kensington, 28th February 2007, lot 160.

Private collection Literature Isabelle Anscombe & Charlotte Gere Arts and Crafts in Britain and America, Van Nostrand Reinhold, page 216 plate 311 this actual vase illustrated. £1,500­2,000 99 A Della Robbia Pottery Dragon Jug by Liz Wilkins and Arthur Bells, swollen ovoid body with applied strap handle, the spout modelled as a mythical beast, incised and painted with panels of stylised Art Nouveau flowers and foliage in shades of green, blue and turquoise, painted and incised DR ship, painted LW and incised AEB monograms, 26.5cm. high Provenance Bonham’s London24th April 2012, lot 315.

Private collection, Literature Peter Hyland The Della Robbia Pottery, Birkenhead 1894-1906, ACC Books, page 238, original catalogue illustration, this shape illustrated catalogue number 14. £1,000­1,500 100 A large Della Robbia Pottery vase by John Fogo, swollen ovoid form with tapering neck and everted rim, applied dolphin handles, incised and painted with stylised flower roundels, inside foliage borders, in pink, yellow, green and brown, incised Della Robbia mark, JF monogram, painted CW monogram, minor glaze loss, 32.5cm. high

98

Provenance Christopher Wood, thence by descent £800­1,200

99

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101 A Della Robbia Pottery Small Dutch vase and cover by Ruth Bare, ovoid with cylindrical neck and flaring rim, with flat domed cover, incised with Art Nouveau columns of heart­shaped flowers, glazed in shades of green and blue, incised Della Robbia mark, artist cipher and dated 1899 and painted LK monogram, minor glaze flaking 28cm. high, (2) Provenance Anne Schofield Collection £800­1,200 101

102 A Della Robbia Pottery Algerian vase by Cassandra Annie Walker and Lizzie Wikins, dated 1903 ovoid body with knopped cylindrical neck, incised and painted with Art Nouveau tulip flower panels in shades of green, blue, yellow and brown, incised Della Robbia mark, artists monograms and date, handles off and missing, 39cm. high £400­600 102 42

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103 A fine Art Nouveau Della Robbia Pottery vase by Cassandra Annie Walker, dated 1896, pear­shaped with knopped and flaring cylindrical neck, incised and painted with three ships at sail on a rough sea blown up by three mermaids, the neck with a frieze of stylised sunrise. in shades of brown, yellow and green incised Della Robbia mark, artist cipher and date 1896, painted GEMB, 34cm. high £1,500­2,000

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104 A rare Mintons Henri Deux earthenware tazza designed by Charles Toft, the domed base with rope border, the stem cast with shell, knopped stem cast with small masks, under flaring scrolls, the flaring bowl printed with scrolling foliage border, a central roundel with flaring trefoil panels, painted in colours printed Mintons C. Toft to base, 11.5cm. high, 17.5cm. diam.

Provenance The Douglas Johnson collection. £150­200

104

105 A large urn shaped vase possibly Wedgwood the design attributed to Frederick Alfred Rhead, decorated with Epoe seated on a throne with classical maidens in attendance, in low relief, painted in colours and highlighted in gilt on a pale grey ground, the swollen lower body with a band of scrolling stylised vine and berry, the foot with a laurel border with blue flowerheads, apparently unmarked, restored, 44cm. high Provenance The Douglas Johnson collection. £250­350 106 A George Jones Pate sur Pate vase probably by Frederick Schenk, slender, rectangular section, shouldered form, decorated with a maiden with diaphanous veil, standing between calla lily and large palm fronds, white on a dark green ground with gilt highlights to top rim, painted 5632 A to base, hairlines to top rim, 24cm. high Provenance The Douglas Johnson collection.

Literature Bernard Bumpus, Pate Sur Pate, Barrie & Jenkins, page 160 figure 121 for a larger vase pattern number 5648A.

104 detail

44

105

£120­180

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107 A Mintons wall plate by Rebecca Coleman, dated 1876, painted with a portrait of a young girl wearing a pearl necklace, in colours on a sky blue ground, impressed Mintons mark, painted R Coleman signature, datecode for 1876, 29.5cm. diam.

Provenance The Douglas Johnson collection. £200­300 108 A Mintons Art Pottery Studio wall charger in the manner of W S Coleman, painted with a young girl resting amidst lilac boughs, a butterfly flying below, in colours on a sand ground, printed and impressed factory mark, painted artist monograms, impressed datecodes for 1874-1875, 42.5cm. diam.

Provenance The Douglas Johnson collection.

107

£200­300 109 An Aesthetic Movement Minton’s Redware wall charger, painted with a parrot perched on an exotic flower stem, a blue butterfly flying close by, in colours on a brown ground, a Copeland charger painted with a seascape titled Scarborough, by W Gale, and two other chargers, impressed factory marks, 39cm. diam. (4) Provenance The Douglas Johnson collection. £150­250 110 An Aesthetic Movement Minton’s charger by Charlotte Spiers, dated 1882, painted with a finch, flying amongst tulip stems, in colours impressed factory marks, painted signature and date 1882, 38cm. diam.

Provenance The Douglas Johnson collection. £120­180

108

109

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111

111 detail

112

111 A Minton Hollins & Co Queen Victoria Jubilee 1887 commemorative paperweight, rectangular modelled in low relief with a portrait bust of the young Queen Victoria, glazed blue, a Grafton China Coronation of King George & Queen Elizabeth mug designed by Dame Laura Knight, a Paragon China King George VI Coronation plate, and a large collection of Royal commemorative china, impressed inscription to back of paperweight, 11.5cm. long, (a lot) Provenance The Douglas Johnson collection.

113

£150­250 112 A pair of tall W H Goss pottery Classical female figures, one modelled holding a lamb, the other Leda and the Swan, modelled holding an urn glazed cream with gilt and pale blue enamel highlights, impressed Goss mark to Leda’s base , firing hairlines to base, 44.5cm. high (2) Provenance The Douglas Johnson collection. £120­180 113 A Bromfield & Sons press­moulded jug the design attributed to E W Godwin, disk form, cast in low relief with flying cranes, glazed grey, a stoneware jug cast in low relief with figures in an architectural setting, and thirteen press­moulded jugs, impressed marks, 19cm. high, (15) Provenance The Douglas Johnson collection. £120­150

114

114 An Art Nouveau Austrian ewer probably Amphora, model no.3569, tapering cylindrical form, the handle cast as an Art Nouveau maiden with bunches of grapes in her hair, the spout a Bacchanalian mask, in colours, a Royal Bonn vase by Leglet, another similar and two Art Nouveau bisque wall plaques, impressed marks, painted marks, minor glaze chips to base rim, 28cm. high (5) Provenance The Douglas Johnson collection. £150­200 115 A Minton’s porcelain cabinet plate, painted to the well with snowdrops, the rim with geometric flowers in colours on a turquoise ground, another with reticulated rim, a Copeland Aesthetic Movement plate printed and painted with an exotic wading bird, and eight other plates impressed marks, damages, 23.5cm. diam. (11) Provenance The Douglas Johnson collection.

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116 A Minton majolica monkey teapot and cover, modelled as a seated monkey holding a large gourd, impressed factory marks and date code for 1874, professional restoration, 15.5cm. high (2) Provenance The Douglas Johnson collection.

Literature Minton Majolica, Jeremy Cooper Ltd, 1982, catalogue number 12 for a comparable example.

Paul Atterbury & Maureen Batkin, The Dictionary of Minton, page 134 for a comparable example illustrated.

116 both sides

£150­200 117 A large John Mortlock & Co London wall charger, on Minton blank, painted with a medieval figure in broad rimmed hat with ostrich feather, before foliage, in colours impressed mark, painted Mortlock inscription, restored, 48.5cm. diam.

Provenance The Douglas Johnson collection. £120­180 118 A Minton’s Pottery Beer jug designed by Henry Stacy Marks, printed with portrait roundels and bands of stylised flowers and foliage, in colours on a white ground, a small washbasin and jug in the manner of Dr Christopher Dresser, a larger jug, two vases and two brass pouring vessels, impressed marks, 22cm. high (jug) (8) Provenance The Douglas Johnson collection. £120­180

117

118 part

119 An Aesthetic Movement Minton’s wall charger by Charlotte Spiers, dated 1881, painted with a young man standing before rhododendron flowers, in colours and another Aesthetic Movement charger by Marion Gemmell, dated 1882, impressed Minton marks, signed C H Spiers, dated 1881 hairline crack, 38.5cm. diam. (2) Provenance The Douglas Johnson collection.

Exhibited Howell & James, Art Pottery Exhibition, 1882 Miss Marion Gemmell’s charger entitled Pearl.

119

£120­180 120 A large Aesthetic Movement wall charger, printed and painted with a crane flying before stylised flowers and foliage, in colours highlighted in gilt on a cream ground, another charger painted with the Old Weir Bridge Killarney

by W Gale, and a Villeroy & Boch charger of Rathaus Koln, main charger unsigned 39cm. diam (3) Provenance The Douglas Johnson collection. £120­180 121 An Aesthetic Movement pottery wall charger, dated 1883, painted with flag iris in colours on a tooled gilt ground impressed factory marks, painted BFB 1883, 42.5cm. diam.

Provenance The Douglas Johnson collection. £100­200

120

121

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122 part

123 122 A Wedgwood pot and cover by Grace Barnsley, swollen ovoid form painted with columns of blue flowers stems, the domed cover with ball finial, in shades of yellow, blue and green on a white ground, a Wedgwood fluted dish by Emile Lessore painted with a woman and a dog, two smaller dishes by Emile Lessore, and a Wedgwood plate by E G Thomson, impressed marks painted artist monogram, 12cm. high (6) Provenance The Douglas Johnson collection. £200­400 123 Sidney Tustin (born 1914) a Winchcombe Pottery bowl, combed column design, glazed mustard yellow, another similar and a collection of twenty Winchcombe pottery pieces impressed seal marks, 21.5cm. diam. (22) Provenance The Douglas Johnson collection. £150­250

124

124 A large tile plaque possibly Burmantoft’s Faience, painted in thick impasto with a ferryman punting his boat across a river to collect a man with his donkey, in colours unsigned 42.5 x 33.5cm.

Provenance The Douglas Johnson collection. £120­180 125 A pair of early C H Brannam Pottery beakers

by James Dewdney, dated 1886, flaring conical form, painted with a blue bird flying before stylised flowers and foliage in blue, white and tan on a brown ground, a twin­ handled vase and five other Brannam and Lauder pieces, incised marks, JD monogram and dated 1886 13cm. high, (8)

125 48

Provenance The Douglas Johnson collection. £120­180

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126 126 A pair of Art Nouveau C H Brannam vases, probably retailed by Liberty & Co, dated 1904, swollen baluster form with loop handles, tubeline decorated with Art Nouveau flowers and foliage on sinuous stems, in blue and brown on a green ground, and a pair of C H Brannam waisted cylindrical vases by Frederick Bowden painted with scaly fish, incised marks and TL monogram to main vases, 21.5cm. high (4) Provenance The Douglas Johnson collection.

129 A C H Brannam Barum vase by James Dewdney, dated 1888, pear shaped with flaring top rim, incised and painted with a shoal of scaly fish, in shades of blue, cream and tan, and a tall Baron Barnstaple vase painted with panels of scaly fish, incised marks JD monogram dated 1888, 33cm. high, (2) Provenance The Douglas Johnson collection. £120­180

127 A pair of C H Brannam Aesthetic Movement spill vases, each modelled as a crane standing beside a large bamboo stem, glazed blue green and ochre, two small Brannam solifleur vases and three other items, incised marks, 24cm. high (7)

130 A pair of C H Brannam Pottery Dragon vases by Frederick Bowden, dated 1909, probably retailed by Liberty & Co, tapering form with applied dragon handles, the body incised with a scaly fish panel, in blue, green and brown on a blue ground, incised marks, FB monogram and date 1909, minor professional restoration, 27.5cm. high (2)

Provenance The Douglas Johnson collection.

Provenance The Douglas Johnson collection.

£150­200

£150­200

£120­180

127

128

128 A pair of tall and early C H Brannam Pottery vases, dated 1884, shouldered form with flaring necks, incised and painted with panels of a peacock before stylised foliage, the reverse a thrush perched on foliage in brown on a blue ground, and a smaller ovoid Brannam vase by William Baron dated 1885, incised C H Brannam Barum, N Devon 1881, professional restoration to one vase, 33.5cm. high (3) Provenance The Douglas Johnson collection. £120­180

129

130

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131 A Della Robbia Pottery tazza by Charles Collis, incised with radiating heart­shaped foliage, in shades of green, blue and yellow, and three Della Robbia plates, incised Della Robbia mark, C and 52, 18.5cm. diam. (tazza), (4) Provenance The Douglas Johnson collection. £300­500

132 A Della Robbia bottle vase by Violet Woodhouse, ovoid with flaring cylindrical neck, painted with large leaf frieze below smaller flower stems in green, yellow and brown, painted Della Robbia mark and Violet, 19cm. high Provenance The Douglas Johnson collection. £150­250

131

133 A Manzoni Pottery charger by Carlo Manzoni, dated 1897, incised with a medieval figure decorating an elaborate jug, the rim with foliate bands, in shades of green, blue, sand and white incised factory marks and Manzoni inscription, 46cm. diam.

Provenance The Douglas Johnson collection. £500­700

134 A Della Robbia Pottery jug by John Fogo, painted with bands of heart­shaped geometric decorated in between foliage borders, in shades of yellow, green and blue and a Della Robbia pot by Hannah Jones incised factory mark, painted JF monogram, 16.5cm. high (2)

132

133 50

Provenance The Douglas Johnson collection. £150­250

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135 A Della Robbia pottery Moorish vase by Liz Wilkins, twin­handled form, incised and painted with large leaves in green, brown and yellow on a turquoise ground, incised Della Robbia mark, painted LW monogram, minor glaze loss to foot rim, 25.5cm. high Provenance The Douglas Johnson collection. £200­300 135

136 A large and impressive Della Robbia charger by Cassandra Annie Walker, dated 1901, probably designed by Harold Rathbone, incised and painted to the well with an Art Nouveau maiden with flowing, long blond hair, beside a red rose, inside thin intertwined band and broad scrolling border, in shades of green, turquoise, yellow and red incised Della Robbia mark, dated 1901 and CAW monogram and 245, painted large HR monogram, 48cm. diam.

Provenance The Douglas Johnson collection.

Literature Peter Hyland, The Della Robbia Pottery, Birkenhead 18941906 ACC, page 127 fig.136 for a comparable charger. £1,000­2,000 136 51

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THE DOUGLAS JOHNSON COLLECTION 137 A William De Morgan Sands End Pottery tile, painted with five daisy tiles, in blue, green and aubergine on a white ground, and another William De Morgan Persian tile, impressed marks, 15.5cm. square, (2) Provenance The Douglas Johnson collection. £150­200

137

138 A large Aesthetic Movement Minton’s tile, painted with a butterfly flying past a flower stem, in colours on a vivid blue ground, a Craven Dunnill & Co tile painted with two large pigs, a Jackson Bros dust pressed tile decorated with a Roman portrait, and a small collection of tiles, impressed marks, 20cm. square (20) Provenance The Douglas Johnson collection. £200­300 139 A Pilkington’s Lancastrian Fish and Leaf tile designed by Charles Francis Annesley Voysey, dust pressed with a fish before flowering water lily pad glazed red and a matched lily flower and pad tile, glazed green impressed P to back of tile, red tile reduced, green repaired, 15.5cm. square (each tile), (2) Provenance The Douglas Johnson collection.

Literature Charlotte Gere and Michael Whiteway 19th Century Design from Pugin to Mackintosh, Weidenfel & Nicolson, front cover for this design illustrated. £120­180 140 A Pilkington’s Lancastrian Fish and Leaf two tile panel designed by Charles Francis Annesley Voysey, dust pressed with a fish before flowering water lily, glazed green impressed P to back of tile, 15.5cm. square (each tile), (2) Provenance The Douglas Johnson collection.

Literature Karen Livingstone C.F.A Voysey Arts and Crafts Designer, V&A, page 287 cat. no.377 for a panel of three repeats in the red colour way illustrated.

138

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£200­300

140

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142

141 A Pilkington’s Lancastrian Fish and Leaf two tile panel designed by Charles Francis Annesley Voysey, dust pressed with a fish before flowering water lily, glazed green impressed P to back of tile, small glaze chip to corner, 15.5cm. square (each tile), (2) Provenance The Douglas Johnson collection. £150­200

142 A Pilkington’s Lancastrian Fish and Leaf two tile panel designed by Charles Francis Annesley Voysey, dust pressed with a fish before flowering water lily, glazed green impressed P to back of tile, 15.5cm. square (each tile), (2) Provenance The Douglas Johnson collection.

Literature Angela & Barry Corbett Pilkington Tiles 1891-2010, page 40 for a polychrome example illustrated. £200­300

143 A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1911, shouldered, octagonal faceted form, painted with heraldic lion rampant, amidst tall pencil cypress trees, and laurel columns, in golden lustre on a yellow ground, the rim inscribed Qui non Laborat non Manducet (the one who does not work does not eat), in golden lustre impressed factory mark and XI datemark, painted artist cipher and date code for 1911, stilt mark chip to glaze on inside of foot rim, 24.5cm. high Provenance The Douglas Johnson collection. £1,000­2,000

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THE DOUGLAS JOHNSON COLLECTION

DR CHRISTOPHER DRESSER 144 An Old Hall earthenware jug designed by Dr Christopher Dresser, diamond section, printed and enamelled with geometric flower and foliage panels in colours on a white ground, nine Old Hall tureens and covers designed by Dr Christopher Dresser, including Shanghai and Hampden patterns, three graduated plates, a bowl and six plates, painted 1661, to jug, 16.5cm. high (29)

144

Provenance The Douglas Johnson collection.

Literature Widar Halem Christopher Dresser, Phaidon/Christies, page 107 figure 107 for a comparable jug illustrated, £150­200

145

145 A pair of Linthorpe Pottery vases designed by Dr Christopher Dresser, pulled ovoid form with flaring conical necks, covered with a running blue and green glaze to the shoulder, over brown, a pair of Watcombe Pottery candlesticks, two small Ruskin Pottery bowls, an Elton Pottery jug, and a small collection of ceramics, impressed HT monogram and Christopher Dresser facsimile signature, professional restoration to one Dresser vase, 14.5cm high (18) Provenance The Douglas Johnson collection. £150­200 146 A pair of pottery twin­handled vases designed by Dr Christopher Dresser probably Ault, compressed ovoid form with waisted necks and angular twin­ handles, modelled in low relief with elliptical panels of flowers, covered in a vivid yellow glaze, impressed facsimile signature, professional restoration to foot rim, 22cm. high, (2) Provenance The Douglas Johnson collection. £120­180

146

147 A Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.152, ovoid with collar rim, with streaked green glaze over brown, a Watcombe Pottery terracotta ewer designed by Dr Christopher Dresser, a Watcombe carafe, stopper and saucer and five other Linthorpe Pottery items, impressed factory marks, facsimile signature and number, restored neck, 15.5cm. high (10) Provenance The Douglas Johnson collection. £150­250

END OF COLLECTION 54

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148 A tall Minton’s porcelain Cloisonne vase the design attributed to Dr Christopher Dresser, shouldered, shaped form on stand, painted with panels of long­tailed birds flying past clouds, alternating with geometric panels, in colours on a turquoise ground, with gilt highlights, impressed Minton’s mark, restuck foot and minor restored chips to feet, 30.5cm. high Literature Michael Whiteway Christopher Dresser A Design Revolution V&A, page 100 fig.126 for a comparable pair of vases decorated with mons. £400­600 148

149 A rare Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.249, ovoid on tapering foot with cylindrical neck, cast in low relief with Aztec roundel and geometric bands, glazed yellow, ochre and translucent sky blue lustre on an olive green ground, impressed factory marks, HT monogram and facsimile Dr Christopher Dresser signature, minor glaze frits to base rim, 24.5cm. high £500­1,000 149 55

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152

151 150

150 A Linthorpe Pottery plate designed by Dr Christopher Dresser, model no.299, circular, the well with border of flowers and foliage, turquoise, yellow and green on an olive green ground, impressed Linthorpe mark, facsimile Dresser signature, Henry Tooth monogram and 299 number, 30.5cm. diam. £150­200 151 A Wedgwood plate designed by Dr Christopher Dresser, printed and enamelled with a geometric band, in shades of sky blue, red and gold, outlined in black, impressed factory marks, painted red 7859, 25.5cm. diam.

Literature Harry Lyons Dresser, New Century, 2­19 June 1999, figure 37 the original border design illustrated (Wedgwood Archive) Michael Whiteway, Christopher Dresser A Design Revolution, V&A Publications, page 104 figure 136 for a Wedgwood vase with a colour­variation of this border. £200­300 152 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)

153

£120­180

154

153 A Pottery vase designed by Dr Christopher Dresser probably Ault, fluted, shouldered form, covered in a running blue glaze to the neck and shoulder over chestnut and red glazes, and another smaller jug, indistinct impressed mark to base, 22.5cm. high (2) £150­200 154 A large earthenware grotesque spoon­warmer in the manner of Linthorpe Pottery, modelled as a stylised head with gaping mouth and pierced eyes and nostrils, its platted hair forming a handle, glazed with streaked green, ochre and yellow glaze, the back­plate pierced for wall hanging, unmarked, 40cm. long £80­120

155 56

155 A Linthorpe Pottery jug designed by Dr Christopher Dresser, model no.795, covered in a streaked green and turquoise glaze, another taller Linthorpe Pottery ewer, no.602 and a vase model no. 200, impressed marks facsimile signature to Dresser jug, 13cm. high (3) £200­300

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156 157

158

156 A Hukin & Heath silver cruet stand designed by Dr Christopher Dresser, model no.1882, triangular section of six legs, three circular aperture for cruets, central rod stem with finial, the finial engraved with palm tree over coronet, stamped marks Birmingham 1883, designed

by Dr Christopher Dresser and regd diamond, marks rubbed, 9.5cm. high, 10.5cm. wide.(4oz) £200­300

157 A Hukin & Heath electroplated watering can designed by Dr Christopher Dresser, angled spout, hinged cover, the handles with wicker cover, stamped marks, 17cm. high £200­300

158 An Elkington & Co electroplated metal condiment holder designed by Dr Christopher Dresser, model no.18309, twin compartment with central T bar handle, stamped marks, 17cm. high £150­200

159 A Benham and Froud copper and brass kettle designed by Dr Christopher Dresser, ovoid with spike feet, collar rim with angular spout and applied brass handle with ebonised rod, the cover with ebonised wood finial, stamped Benham & Froud mark, 24.5cm. high (2)

159

£120­180

160 A rare James Dixon & Sons electroplated metal teapot designed by Dr Christopher Dresser, model no.2272, tapering form on tripod foot, the hinged cover with knop finial, stamped marks, regd diamond and facsimile signature, 17cm. wide, 10.5cm. high Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 152 figure 189 for the three piece set illustrated. £800­1,200 160

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162

161

161 A Hukin and Heath silver dish the design attributed to Dr Christopher Dresser, twin compartment with over­ slung handle, stamped marks, London 1880, 19cm. wide, 13cm. high £150­200 162 A pair of brass firedogs attributed to Benham & Froud and designed by Dr Christopher Dresser, ovoid on tripod foot, cast with thin band decoration, the rest a simple rod with curled terminals, a Kenrick cast iron door knocker, four letter boxes and two grilles, one stamped 66, 16cm. high (9)

163

Literature Truth Beauty and Design, Dr Christopher Dresser 18341904, Historical Design, for a comparable pair illustrated. £150­250

164

163 A pair of cast iron fire dogs probably Kenrick designed

by Dr Christopher Dresser, shaped rectangular section, the stepped square plinth base with cast geometric bands, rising to scroll terminals, unsigned, 21cm. high (2) £150­200 164 A pair of Benham and Froud cast bronze fire dogs designed by Dr Christopher Dresser, model no.848, tapering rectangular bases with cast band, pierced stylised foliate body supporting flowerhead on long stem, the back terminal an acorn, cast 848 and regd diamond, 26cm. wide, 21.5cm. high (2) £150­200 165 A Gothic Revival brass mounted purdonium in the manner of Benham & Froud designed by Dr Christopher Dresser, the shaped wooden coal box with hinged door, mounted with brass foliate panels and furniture, with brass shovel, stamped Regd diamond, 49cm. wide, (2) £150­250

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167

168

COMPTON POTTERY THE POTTERS’ ARTS GUILD 166 Saint George a Compton Pottery The Potters’ Arts Guild figure designed by Mary Seton Watts, modelled standing holding his sheathed sword, the dragon dead at his feet, coloured impressed Compton mark and paper label, 31cm. high Literature Hilary Calvert & Louise Boreham Mary Seton Watts and the Compton Pottery, PWP, page 139 figure 8.17 for a comparable example illustrated. £300­500 167 Saint Michael the Archangel a Compton Pottery The Potters’ Arts Guild figure designed by Mary Seton Watts, modelled standing resting on his sword and holding scales, in colours impressed Compton Pottery mark, 22cm. high £200­300 168 Saint Joan a Compton Pottery The Potters’ Arts Guild figure designed by Mary Seton Watts, modelled standing in a cape, her tunic with fleur de lys pattern, resting on a sword, impressed Compton mark, minor chips to base, 20cm. high

169

£150­200 169 St Michael a Compton Pottery The Potters’ Arts Guild figure designed by Mary Seton Watts, modelled standing holding a tall sword and shield , coloured impressed Compton mark, 21.5cm. high Literature Hilary Calvert & Louise Boreham Mary Seton Watts and the Compton Pottery, PWP, page 139 figure 8.23 for a comparable plaque of St Michael, before all angels, illustrated. £150­200 170 Saint Cecilia a Compton Pottery The Potters’ Arts Guild figure designed by Mary Seton Watts, modelled standing playing a hand organ, coloured impressed Compton mark 25cm. high Literature Hilary Calvert & Louise Boreham Mary Seton Watts and the Compton Pottery, PWP, page 139 figure 8.18 for a comparable example illustrated. £150­200 170 59

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171

172

171 Saint Cecilia a rare Compton Pottery The Potters’ Arts Guild pendant necklace designed by Mary Seton Watts, the tear­shaped scroll panel cast in low relief with St Cecilia playing an organ, below two beads on silk necklace, unsigned, 5.3cm. long £100­150

172 A Compton Pottery The Potters’ Arts Guild terracotta planter designed

by Mary Seton Watts, rectangular section, cast to the front with a reclining cherub, unsigned, 18cm. high, 22.5cm. wide Literature Veronica Franklin Gould, Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery, page 48 this window box illustrated and dated to 1903­1904.

173

£300­400

173 A Compton Pottery The Potters’ Arts Guild plaque designed by Mary Seton Watts, cast in low relief with the young Christ Child crucified on a tree, in colours, impressed mark, minor chips, 13.5 x 9cm. £50­80

174 Saint Michael the Archangel a Compton Pottery The Potters’ Arts Guild plaque designed by Mary Seton Watts, rectangular, cast in low relief with St Michael holding a flaming sword and scale of justice, in colour, two other Compton Pottery plaques of a medieval knight with white horse, and another Compton Pottery nursery rhyme plaque ‘The world is so full of a number of things’, all painted in colours, impressed mark to all four plaques, 18.5 x 11.5cm. (4) £300­500

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175 ‘Skoal’ a rare Maw Salop ruby lustre vase designed by Walter Crane, shouldered twin­handled form, painted with two resting warriors toasting drinking horns, in ruby lustre on a cream ground, painted Maw Salop, paper label, 22.5cm. high Provenance Private collection.

Literature Greg Smith & Sarah Hyde Walter Crane, Artist, Designer and Socialist, Lund Humphries, page 143 catalogue number K8 (iv) for a comparable example. £5,000­8,000

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176 177

PILKINGTON’S LANCASTRIAN POTTERY 176 An unusual Pilkington’s Lancastrian tazza, dated 1907, the cylindrical stem modelled with four masks to the shoulder, supporting bowl with stylised butterfly panels, covered in a matt olive green glaze, impressed factory mark, VII datemark, 15.5cm. high 178

Provenance Private collection. £300­500 177 A Pilkington’s Lancastrian Pottery vase by Richard Joyce, dated 1907, shape no.2503, ovoid with cylindrical neck, painted with fish swimming amongst waterweed, in golden lustre on a red ground, impressed marks, painted artist cipher, 12.5cm. high Provenance Private collection. £300­500 178 A Pilkington’s Lancastrian Pottery vase by Gladys Rogers, shouldered ovoid form, painted with scaly fish swimming amongst waterweed, in golden lustre on a pale blue ground with ruby highlights, impressed factory mark, painted artist cipher, and anchor mark, impressed XI for 1911, 11.5cm. high £500­800 179 A Pilkington’s Lancastrian vase by Gladys Rogers, dated 1912, compressed body with tall flaring neck, painted with a frieze of cob nuts to the base, the neck with stylised foliage in golden lustre impressed Pilkington’s mark and date XII, painted artist cipher, professional restoration to chip on top rim, 20cm. high £200­300

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181 180

180 A Pilkington’s Lancastrian Pottery vase by William S Mycock, shouldered form with everted top rim, painted with heraldic lion amidst scrolling foliage, above a band of berried laurel in golden lustre on a red ground impressed factory marks, painted artist cipher and date code for 1909, 22cm. high Provenance Christopher Wood, thence by descent Literature Isabelle Anscombe & Charlotte Gere Arts and Crafts in Britain and America, Van Nostrand Reinhold, page 98 plate 105 this vase illustrated. £500­1,000 181 A Pilkington’s Lancastrian Pottery vase by Richard Joyce, shouldered cylindrical form, painted with a mounted Knight sword raised, flanking an armorial panel Nec Deficit Animus the reverse Nec Minus Fortiter, in ruby, pink and golden lustre impressed factory marks, incised ETR and painted artist cipher, small glaze flake to shoulder, 19cm. high £500­700 182 A Pilkington’s Lancastrian Pottery vase by Richard Joyce, shouldered cylindrical form, painted with a mounted Knight sword raised, flanking an armorial panel Nec Deficit Animus the reverse Nec Minus Fortiter, in ruby, pink and golden lustre impressed factory marks, incised ETR and painted artist cipher, 19cm. high £500­800

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183 A large Pilkington’s Royal Lancastrian Pottery vase by William S Mycock, dated 1915, flaring, shouldered form, painted with tall flower stems in ruby, amber and green lustre on a dark blue/green ground, impressed factory marks, painted artist cipher and date mark for 1915, 31.5cm. high £700­900

183

184 A Pilkington’s Lancastrian Pottery vase by Richard Joyce, shouldered form with collar rim, painted with a frieze of polar bears on a mountain plain, between narrow bands of geometric decoration, in golden lustre on a pale blue ground, impressed factory marks, painted artist cipher, paper price label, 16.5cm. high £2,000­2,500

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185 A Pilkington’s Lancastrian lustre vase by Richard Joyce, dated 1919, slender, shouldered form painted with scaly fish swimming amongst waterweed, in golden lustre on a streaked blue and green lustre ground, impressed marks, painted artist cipher, 17.5cm. high £400­600

185

186 A Pilkington’s Lancastrian Pottery twin­handled coupe by Gordon Forsyth, dated 1908­09, painted with bands of stylised carnation flowers, scrolling grape vine and laurel, inscribed Qui Nono Laborat Non Manducet, (The One who does no work shall not eat), in ruby and golden lustre on a blue ground, impressed mark and date mark, painted artist cipher and two date marks for 1908 and 1909, professional restoration to small chip on top rim, 23.5cm. high Provenance Richard Dennis Gallery Private collection. £1,500­2,000

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187 A C I C Bailey Fulham Pottery jar and cover, cylindrical form, impressed and incised with stylised flowerhead panels, inside foliate border, the cover with similar foliate panels and acorn finial, and another Bailey Fulham Pottery low dish and pierced cover, incised Bailey Fulham, low pot with JC monogram, exhibition labels, damages 16.5cm. high (4)

187

Provenance Given by the Pottery owner’s son to the vendor’s grandmother circa 1870, described as specimen pieces.

Exhibited Fulham Pottery & Prints, Central Library, Fulham, 1929, (catalogue numbers 327 and 328). £150­250 188 A Doulton Lambeth low stoneware Indian Vase jardiniere and stand, octagonal form cast in low relief with panels of flowers and foliage, and four cast elephant head handles, on low octagonal section stand impressed marks, chips and losses 46cm. high

188

Literature Desmond Eyles and Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 196 this design reproduced from the Doulton & Co Lambeth catalogue 1898.

Provenance British Art Pottery Woolley and Wallis Auctioneer’s lot 5 11th December 2013. £300­500 189 An Aesthetic Movement Ashworth Pottery charger, printed in black and white with a portrait of Ellen Terry as Portia in The Merchant of Venice, with gilt rim, impressed marks, 36cm. diam.

189

£150­200

190 A lustre pottery plate, painted to the well with manned sailing vessel, the rim with four stylised fish, in copper lustre on a cream ground, the reverse cream with thin copper lustre bands, unsigned, 21.5cm. diam. £200­250 191 A near pair of Dunmore Pottery bottle vases by T W Haigh, dated 1879, in the manner of William Burges, ovoid form with waisted cylindrical neck, printed with a band of stylised birds and sunflowers in red and black on a tan ground, impressed factory marks, painted signature and date, applied Howell & James paper labels, repaired neck to one, small chip to top rim of other, 22cm. high (2) £150­250 192 A C H Brannam Barum Dragon vase, dated 1906, tapering cylindrical form with flaring top rim, applied with two dragon handles, the body incised and painted with a large scaly fish amongst waterweed, in blue, brown and green on a green ground, incised C H Brannam, Barum 1906, minor glaze nicks, 25cm. high Provenance Christopher Wood, thence by descent £120­180 193 A C H Brannam Barum jardiniere by Frederick Bowden, dated 1907, shouldered, ovoid form with applied scroll handles, painted with scaly fish in blue and green on a pale yellow ground, a Dryad painted wood candlestick, dated 1928, a Secessionist pewter and glass footed bowl, a Monart bowl and two other items, incised marks, Brannam restored, 23cm. high (6) £100­200

190

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195

194 A John Pearson ceramic bowl, painted to the well with a radiating foliage design in shades of blue, highlighted in gilt on a white ground, the reverse with a blue painted peacock, painted JP monogram, museum restored, 24.5cm. diam. £150­250 195 A John Pearson ceramic pot and cover, circular section, the slightly domed cover painted with birds amongst flowerheads in pink lustre on a blue ground, the base with a frieze of stylised flowers, in colours incised JP monogram, restored base, 9cm. diam. (2) £150­200 196 A pair of Minton Pottery moonflasks, flat disc form on flaring rectangular foot, with flaring conical neck and loop handles, painted to one side with a child in medieval dress climbing a tree, the girl to pick an apple the boy to study a bird’s nest, in colours painted artist monogram, impressed Minton mark, model no.1498, professional restoration to small chips on foot rim of one, 34.5cm. high, (2) £300­500 197 A rare Mintons teapot and cover designed by Sir Henry Cole, under the pseudonym Felix Summerly ‘s Art Manufacturers, shouldered body, the spout cast with a lion head, the handle with mountain goat terminal, the cover with a ram’s head finial, glazed creamy yellow, unsigned,chip and hairline to cover, 16.5cm. high (2)

196

Literature Paul Atterbury & Maureen Batkin The Dictionary of Minton, Antique Collector’s Club, page 260 for an illustration of Cole’s designs and also of this teapot.

Catalogue notes Sir Henry Cole (1802­1882) was a civil servant who spent his life championing the arts, in particular design, being involved in the organisation of the 1851 Great Exhibition, Crystal Palace and later in 1853 he became the first director of the South Kensington Museum, now the Victoria & Albert Museum. Cole was also a director of Summerly’s Art Manufacturers and using the Felix Summerly pseudonym designed this tea set that won the silver medal from the Royal Society of Arts in 1846. The cups and saucers from the service appear to have become a staple design for Minton being produced over a long period but the scarcity of known examples of the teapot suggest that it was produced in limited quantities. £500­800

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198

199 198 A large pair of Burmantoft’s Faience Barbotine wall plates, model no.315, painted in impasto with simple flowers and foliage sprays in green, white and brown on a chestnut brown ground, sold with a copy of the Burmantofts catalogue, impressed and incised factory marks, 47cm. diam. (2) Provenance A Private Collection of Burmantoft’s Faience Pottery, Woolley and Wallis Auctioneers, 22nd June 2017 lot 603.

Private collection. £150­200 199 A Burmantoft’s Faience vase, model no.929, modelled in low relief with a pair of birds perched amongst exotic flowers and foliage, glazed turquoise blue, sold with a copy of the Burmantofts catalogue,impressed factory marks, chip to top rim, 35cm. high

200

201

Provenance A Private Collection of Burmantoft’s Faience Pottery, Woolley and Wallis Auctioneers, 22nd June 2017 lot 650.

Private collection. £120­180 200 A Burmantoft’s Faience lustre vase designed by Joseph Walmsley, ovoid form with swollen cylindrical neck, painted with Art Nouveau flower stems in iridescent glaze on a deep petrol lustre ground, impressed Leeds Fireclay Pottery mark and painted TL monogram, professional restoration to top rim, 18.5cm. high £250­300 201 A pair of Burmantoft’s Faience lustre candlesticks probably designed by Joseph Walmsley, shape no.2219, tapering square section with square sconce, painted with overlapping scallop shell columns in red and lavender lustre impressed factory marks, painted TL monogram to one, 22.5cm. high (2) Provenance A Private Collection of Burmantoft’s Faience Pottery, Woolley and Wallis Auctioneers, 22nd June 2017, lot 654. £250­350 202 An unusual Burmantoft’s Faience tile plaque, rectangular decorated with a wren perched on the ground, the sea in the distance, in colours on a cream ground, framed impressed BF mark, 30 x 15cm.

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£80­100

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204

MOORCROFT POTTERY 203 Bara Ware a Moorcroft Pottery coffee can and saucer designed by William Moorcroft, made for retail by Liberty & Co, tubeline decorated with rose flowers and smaller stylised flowerheads in pink, blue and green on a cream ground printed Liberty mark, painted green signature, 6.5cm. high (2) Literature Paul Atterbury, Moorcroft Pottery, Richard Dennis Publications, page 62­63 for examples of this range illustrated. £150­200 204 ‘Cornflower’ a James Macintyre & Co Florian Ware jug designed by William Moorcroft, tubeline decorated in yellow, blue and green with floral cartouche, and a James Macintyre Gesso Faience cup and saucer printed factory marks 16.5cm. high (jug), (3) £150­200 205 ‘Poppy’ a James Macintyre & Co vase designed by William Moorcroft, shouldered baluster form, tubeline decorated on a textured ground with Art Nouveau flower stems in ochre, green and blue on a sand ground, printed factory mark, painted green facsimile signature, 18cm. high £100­200 206 ‘Flambe Frilled and Slipper Orchids’ a Moorcroft Pottery vase lamp base designed by William Moorcroft, ovoid with slender neck, painted with a band of frilled and slipper orchids with springflowers, in colours under a light flambe glaze, with gilt metal mounts, marks concealed by metal mounts, 33cm. high (vase)

207 ‘Green and Gold Florian Ware’ a James Macintyre & Co solifleur vase designed by William Moorcroft, slender, swollen form with a tall solifleur neck, tubeline decorated with Art Nouveau flower cartouche in blue, green and gold on a green ground, and a James Macintyre & Co sifter in the same pattern, printed factory mark, painted green Moorcroft signature, sifter missing cover, 30.5cm. high (2)

205

£300­500 208 A large collection of Moorcroft Pottery Powder Blue tableware designed by William Moorcroft for retail at Liberty & Co, including teapots and covers, toastracks and mugs, pale blue glaze with darker blue fleck, impressed marks, minor damages, 18cm. wide (toastrack), (a lot) Provenance The Estate of David Coachworth and Peter Myers.

Exhibited Liberty’s 1875-1975, V&A Museum (part exhibited). £120­180 209 ‘Big Poppy’ a Moorcroft Pottery biscuit box with Liberty Tudric Pewter cover designed

by William Moorcroft, made for retail by Liberty & Co, square section, painted in shades of red, blue and ochre on a mottled blue ground, stamped Liberty Tudric mark, painted blue signature, fine firing crack to top rim of the pot, 15cm. high, (2)

206

207

£200­300

£250­350

209

208

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RUSKIN POTTERY

210 A Ruskin Pottery high­fired stoneware ewer designed by William Howson Taylor, dated 1933, ovoid, shouldered form with short neck and applied handle, mottled sang de boeuf over white with turquoise splashes, and a Denby stoneware bowl, impressed Ruskin Pottery 1933 to the ewer, 21cm. high (2) £150­200

210

211 A Ruskin Pottery lustre baluster vase by William Howson Taylor, slender, baluster form covered in a golden iridescence, painted scissor mark, 24cm. high £200­300

212 A Ruskin Pottery high­fired stoneware vase designed by William Howson Taylor, dated 1926, swollen, shouldered form with tall cylindrical neck with flaring rim, sang de boeuf glaze with lavender and silver to the shoulder, impressed Ruskin England 1926, 22cm. high £200­300 211

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213 A fine Ruskin Pottery high­fired stoneware vase and stand designed by William Howson Taylor, dated 1926, shouldered cylindrical form, cylindrical slightly flaring neck, sang de boeuf with lavender and speckles of mint green to the shoulder, the stand on four tapering rectangular legs, with similar glaze, vase impressed Ruskin England 1926, the stand impressed Ruskin England, 49cm. high (overall height), 34cm. high (vase), 15cm. high (stand), (2) Provenance Private collection. £8,000­12,000 71

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GEORGE CARTLIDGE MORRISWARE 214 Ruth Cartlidge The Dee, Chester , 1907 watercolour on paper, framed, and a portrait of an old lady by George Cartlidge, dated 1887, oil on board, signed RC 1907 and titled The Dee Chester 18 x 12.5cm (image) 31 x 26cm (frame), (2) £100­200

214

215 Ruth Cartlidge Journeys End in Lovers Meeting, watercolour on paper, depicting a pair of young medieval lovers in a garden setting, inside a border of angels, framed signed Ruth Cartlidge 41cm. diam (image) 57cm. square (frame)

215

£200­300 216 Spring a Sherwin & Cotton tile plaque designed by George Cartlidge, rectangular cast in low relief with a lady holding a lamb, glazed green, another depicting a highland stag and four other tile plaques, impressed factory marks, minor chips, 30.5 x 15.5cm (6) £120­180 217 An S Hancock & Sons Morrisware vase designed by George Cartlidge, model C4­2, ovoid with tall cylindrical solifleur neck, tubeline decorated with Art Nouveau berried stems in red and green on a royal blue ground, printed factory mark, painted facsimile signature, 22.5cm. high

216

£150­200 218 An S Hancock & Sons Morrisware vase designed by George Cartlidge, model C10­12, compressed body with tall tapering cylindrical neck, tubeline decorated with carnation flowers in purple and green on a mottled blue ground, printed factory mark, painted facsimile signature, 21.5cm. high £150­200 219 An S Hancock & Sons Morrisware vase designed by George Cartlidge, model C18­25, compressed form with tapering neck and knopped rim, tubeline decorated with bell flower on sinuous Art Nouveau stems, in shades of red, purple and green on a lavender ground, printed factory mark, painted facsimile signature, hairline to top rim, 24cm. high Provenance 26th October 2000 lot 83.

217

218

219

Literature Tony Johnson, The Morris Ware, Tiles and Art of George Cartlidge, private press, page 90 for a comparable example illustrated. £150­200

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220 220 An S Hancock & Sons Morrisware bowl designed by George Cartlidge, model C13­15, inverted rim, tubeline decorated with flowers and foliage in green and purple on a mottled blue ground, printed factory mark, painted facsimile signature, small chip to top rim, 24cm. diam.

Literature Tony Johnson, The Morris Ware, Tiles and Art of George Cartlidge, private press, page 94 for a comparable example illustrated. £120­180 221 A large S Hancock & Sons Morrisware vase designed by George Cartlidge, model C14­5, swollen shouldered form, decorated with sprays of Art Nouveau cornflowers in red and green on a blue ground, printed factory mark, painted facsimile signature, professionally restored top rim, 33cm. high

221

£200­300 222 An S Hancock & Sons Morrisware candlestick designed by George Cartlidge, model C20­1, swollen cylindrical form, tubeline decorated with Art Nouveau tulip stems in red and blue on a green ground, printed factory mark, painted facsimile signature, restored, 31cm. high £150­200 223 An S Hancock & Sons Morrisware vase designed by George Cartlidge, model C73­1, tapering cylindrical form with flaring top rim, painted with owls perched amongst berried vine, in purple and green on a sage green ground, printed factory mark, facsimile signature, 26.5cm. high

222

Literature Tony Johnson, The Morris Ware, Tiles and Art of George Cartlidge, private press, page 112 for a comparable example illustrated. £200­300 224 An S Hancock & Sons Morrisware vase designed by George Cartlidge, model C17­24, cylindrical form with knopped neck, tubeline decorated with Art Nouveau thistle flowers in yellow, red, purple and green on a royal blue ground, printed factory mark, painted facsimile signature, 29cm. high Provenance 26th October 2000 lot 85.

Literature Tony Johnson, The Morris Ware, Tiles and Art of George Cartlidge, private press, page 90 for a comparable example illustrated. £300­500

223

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JOYCE BIDDER & DAISY BORNE 225 Joyce Bidder FRBS RMS (1906­1999) Sea Urchins pottery sculpture, glazed in colours signed in the base M Joyce Bidder, chip to base 19cm. high Provenance Cyril & Billie Watford, thence by descent.

225

Catalogue notes This figure is listed in ‘Particulars of Work as made in 1935 and sold for 8gns.

226

£200­300 226 Joyce Bidder FRBS RMS (1906­1999) Minstrel and The Minstrel’s Lady a pair of pottery sculptural book ends, glazed in colours signed in the cast M Joyce Bidder, signed and titled to card on base 12.5cm. high (2) Provenance Cyril & Billie Watford, thence by descent. £200­300 227 Joyce Bidder FRBS RMS (1906­1999) Wenceslas, pottery sculpture glazed in colour titled and signed M Joyce Bidder in the base, applied paper label to base, restored, 27.5cm. high Provenance Cyril & Billie Watford, thence by descent. £200­400 228

227

228 Joyce Bidder FRBS RMS (1906­1999) St Francis of Assisi pottery sculpture glazed in colours, signed M Joyce Bidder to base 28cm. high Provenance Cyril & Billie Watford, thence by descent. £150­250 229 Joyce Bidder FRBS RMS (1906­1999) figure studies two pottery tiles mounted as a panel each depicting a young naked girl amongst scrolling flowering foliage, framed 17 x 13.5cm (each tile), 35 x 22cm (framed) Provenance Cyril & Billie Watford, thence by descent. £200­300

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230 Daisy Borne (1906­1988) Two Kids playing (goats) pottery sculpture glazed in colours, on wooden base paper label to base 18cm. wide Provenance Cyril & Billie Watford, thence by descent £120­180

231 Daisy Borne (1906­1988) Piping Angels, 1988 pottery sculptural wall plaque glazed cream, incised D Borne, 1988 22cm. high Provenance Cyril & Billie Watford, thence by descent.

231

230

£120­180

232 Joyce Bidder FRBS RMS (1906­1999) Trout pottery sculpture glazed in colours applied paper label to base signed M Joyce Bidder, chip to base rim, 15cm. high Provenance Cyril & Billie Watford, thence by descent. £120­180

233 Daisy Borne (1906­1988) Maiden with basket of fruit pottery sculpture, glazed in colours signed in pencil D T Borne, minor losses to palm leaves 24.5cm. high

233

232

Provenance Cyril & Billie Watford, thence by descent. £120­180

234 Daisy Borne (1906­1988) Hare a pottery sculpture, glazed in colours and another modelled as a bear glazed white unsigned, chips to base rim of hare, Bear signed and dated 1961, 21.5cm wide (hare), (2) Provenance Cyril & Billie Watford, thence by descent. £150­200 234

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235 ‘Eastern Lady’ M.37 an Ashtead Pottery figure designed by Phoebe Stabler, painted in blue, green and yellow, on a pearl­barley ground, printed and painted factory marks, chips to base rim, 14cm. high £80­120 236 Percy Metcalfe (1895­1970) Fan tailed doves stoneware covered with an oatmeal glaze signed to the base P Metcalfe sc 28cm. high £150­250 237 A Fulham Pottery plate by Quentin Bell, incised and painted to the well with a portrait of a woman, glazed in colours, with a gilt band to the rim, incised Fulham Pottery Quentin Bell, 24.5cm. diam.

235

£150­200 236

238 Michael Cardew (1901­1983) a Winchcombe Pottery jar and cover, shouldered form, slip decorated with a band of hatching a flower bud stems, in yellow and ochre, a Sidney Tustin pottery pot and cover and a jug, impressed seal marks, chip to cover of Cardew, damages, 13.5cm. high (5) £120­180 239 Victoria Ellis Romeo and Juliet, 2011 a large pottery plaque, modelled in low relief, inside scrolling floral border, glazed in colours, framed signed V Ellis 2011 37.5 x 32.5cm (image)

237

£400­500 240 Victoria Ellis a pottery plaque dated 2011, modelled in low relief with two cherubs playing with butterflies before a flowering tree, in colours, framed signed V Ellis and dated 2011 29.5 x 16.5cm. (frame) 238

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239

£200­300

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‡ 241 A Bloomsbury Workshops pottery table lamp designed

by Duncan Grant, the footed and shouldered body modelled by Phyllis Keyes, painted with two naked women arms raised holding a basket above their heads, in blue, turquoise, terracotta and dark chestnut brown on a white ground, incised P and keys monogram, red paper price label, 30cm. high Provenance Halsey Ricardo, thence by descent. £5,000­8,000

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242

243

244

242 A Wedgwood Pottery plate by Alfred Powell, painted to the well with a robin perched on a gatepost below boughs of cob nuts and foliage, a thatched cottage in a rural setting in the distance, painted in colours inside an emerald green band and thin gilt band to rim, impressed Wedgwood mark, painted artist cipher and 4164 to reverse, 24cm. diam. £150­200 243 A Wedgwood plate by Alfred Powell, model no. 3779, octagonal form, painted with a stag running past trees in purple lustre on a white ground, the rim a band of stylised foliage in purple lustre over a purple band, impressed factory marks, painted monogram and number, 20.5cm. wide. £1,000­1,500

245

244 A Wedgwood Pottery plate by Alfred Powell, painted with a goldfinch perched amongst boughs of apple blossom, painted in colours inside emerald green band and thin gilt band to rim, impressed Wedgwood mark, painted artist cipher and 4164, 24cm. diam. £150­200 245 A large Minton’s Secessionist wall charger designed by John Wadsworth and Leon Solon, model no.7, tubelined decorated with water­lily flowers, in blue, white and purple, printed factory marks, 38cm. diam. £500­700 ‡ 246 Stanley Thorogood (1873­1953) Medieval Lady on Horseback a rare earthenware sculpture on stepped octagonal base, glazed in colours incised signature to base, professional restoration, 30.5cm. high, 29cm. wide. £1,000­2,000

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247

CONTINENTAL CERAMICS 248

247 A large Art Nouveau Delphin Massier Vallauris lustre dish, shape no.3, moulded in relief with a coastal landscape, pierced waves to the rim, the top with moulded cockerel, covered in a golden and petrol lustre, incised 3, painted Delphin Massier Vallauris, AM, chips, 37cm. wide £250­350 248 A Cantagalli Pottery Dragon candlestick, modelled standing with tail scrolling forward to support flower sconce, glazed in ruby lustre on a white ground, painted cockerel mark, 17cm. high £200­400 249 Two large Cantagalli Iznik­style chargers late 19th/early 20th century, one boldly decorated with a saz leaf and stylized tulips within a rock and wave border, the other with brightly sprays of carnation and other flowers within a formal floral border, blue cockerel marks, a crack to one well, 37.3cm. (2) £1,000­1,500

249

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250 A Theodore Deck pottery Islamic bowl, shallow form with rounded base, modelled in low relief with Persian script and stylised foliage bands in blue and black, impressed TH Deck to base, minor chips, 25.5cm. diam. £200­300 251 A Theodore Deck Islamic bottle vase, ovoid with tapering, knopped neck, decorated with a band of figural and geometric roundel, between latticework bands, in cream and blue, with gilt metal mounts for electricity, stamped TD monogram to base, 32cm. high (vase), 46cm. high (total height)

250

£300­500 252 A French B & Cie plate by Charles Poyard, dated 1878, enamelled with a paisley foliate design in blue, green, yellow and white impressed B & Cie, painted marks, 30.5cm. diam. £150­200 253 A Bombay School of Art Wonderland Pottery vase and stand, the ovoid vase with everted top rim, painted with a band of flowers inside thin geometric bands, in green and white on a chestnut brown ground, the stand modelled as four seated spotted dogs painted marks to vase, minor damages 30cm. high (2)

251

£150­200 254 An Art Nouveau Rozenburg den Hag pottery vase, ovoid with knopped neck and twin­ handles, painted with a butterfly amidst stylised flowers and foliage in colours, and another similar, painted marks, 18.5cm. high (2)

252

£150­200 255 A Purmerende pottery solifleur vase, baluster form, painted with flowers and foliage in colours, a jardiniere similar and eight other similar Dutch pottery items painted marks, chip to jardiniere, 18.5cm. high (10) £150­250 253

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256 256 A Continental Art Nouveau tile plaque probably Amphora, rectangular depicting an Art Nouveau lady picking white roses in a waterside landscape, in colours, framed, impressed marks to reverse 45.5 x 16cm (plaque). £100­150 257

257 An Art Nouveau pewter mounted ceramic vase, tapering, solifleur ceramic vase glazed blue, with cast pewter mount, unsigned, small chip to vase top rim, 30.5cm. high

258

£120­180 258 An Art Nouveau Austrian pottery ewer, model. no. 4630, tall slender form modelled as a calla lily, the handle an Art Nouveau figure, glazed lavender and blue, stamped marks, chip to figure, 32cm. high £120­180 259 ‘Porteuse d’Eau’ an Art Nouveau Goldscheider pottery model of a maiden with an urn designed by Cherc, model no.4779, modelled standing on a rock, glazed in colours and highlighted with gilt, impressed marks and Cherc signature, 38cm. high

259

Literature Ora Pinhas, Goldscheider, Richard Dennis, page 63, for a comparable figure illustrated model no.3900 designed by Lavergne and page 43 for this figure with model no.2616. £120­180

260

260 A large Art Nouveau terracotta pottery model of maiden riding a wave designed by Rossi, model no.595, below her a seagull flying, glazed in colours impressed signature and model 595, plaque missing, 61cm. high (2) £200­300 261 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 262 A tall Art Nouveau Amphora Pottery figure of a maiden holding an urn, model no.5021, modelled standing in classical robe adorned with pink flowers, glazed in colours, highlighted in gilt impressed factory marks, 66cm. high £120­180 261

262

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263 264

265

GLASS 263 An Aesthetic Movement painted glass roundel window, painted with a portrait of a woman before flower stems, in colours, in lead frame with hanging chain, unsigned 26cm. diam.

267 A James Powell & Sons Whitefriars flint glass footed vase, on slender tapering stem with fluted bowl, and another similar unsigned, 15.5cm. high (2)

£100­150

£200­400

264 A stained glass panel of The Annunciation, arched rectangular panel, inside border of grotesque masks, unsigned 56 x 27.5cm. high

268 A set of five James Powell & Sons Whitefriars engraved flint glass wine glasses, shallow domed foot with twisted stem, the flaring bowl engraved with columns of stylised flowers, unsigned, small nick to rim of one, 16.3cm. high, (5)

£100­200 265 A pair of stained glass windows, rectangular, each set with central painted ruined landscape panel, inside red and amber borders unsigned, 76 x 37cm. (2) £100­200 266

266 ‘Little Boy Blue’ a stained glass window probably Scottish, rectangular, depicting a young shepherd boy, a cow grazing in the distance, painted Little Boy Blue verse to scroll bottom right, unsigned, 38 x 30.5cm.

£150­200 269 A set of six Art Nouveau wine glasses attributed to Theresienthal, the bowl engraved with a scrolling band of stylised grape vine, unsigned, 15.5cm. high (6) £200­300

£300­500

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271

270 A set of three Art Nouveau enamelled glass wine glasses the design attributed to Helen or Hannah Walton, one enamelled with cornflowers, two enamelled with cyclamen, in pink and green with gilt rim, unsigned, 21.5cm. high, (3) Literature Arts and Crafts, Woolley and Wallis 6th October 2020, lot 7 for a set of six similar glasses. £120­180 272

271 An Art Nouveau Scottish enamelled glass jug and two bowls by Hannah Walton, the jug enamelled with a mermaid holding a hand mirror, amongst flowers and fish, enamelled in colours, the bowls enamelled with fish and aquatic plants and shrimps amongst flowers, all signed HW, 15.5cm. high (3) Literature Elizabeth Cumming Glasgow 1900 Art & Design, page 155 cat. no.114 for a comparable jug illustrated. £400­600 272 A Scottish enamelled glass footed bowl by Hannah Walton, enamelled with a bird perched on berried bough, below a band of stylised foliage, in red, blue and green, a glass beaker vase enamelled with dragonflies by Hannah Walton, an enamelled glass bowl with roses, and a Limoges porcelain bowl by Hannah Walton painted with flowers, footed bowl signed HMW (4) £250­300 273 A set of six Louis Comfort Tiffany Favrile bowls and saucers, the bowls with fluted, pinched rims, the saucers lily­pad shape, covered in a golden iridescence, etched L.C.T, 11.5cm. diam (bowl), 15.3cm diam. (saucer), (12) £800­1,200

273

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WORKS ON PAPER LITERATURE & TEXTILES 274 ‘The Studio’ four volumes including for 1899, twenty one loose studio magazines, three bound scrap volumes of images from the studio and Edmund Dulac’s Picture Book for the French Red Cross, circa 1916, (29) £150­200

274

275 ‘Christina Rossetti Poems’ illustrated by Florence Harrison, a book published by Blackie & Sons, 1910, £120­150 276 A collection of ephemera relating to May Morris and George Bernard Shaw, comprising; an original inscribed and signed photograph of George Bernard Shaw, handwritten signed letters from May Morris, Jane Morris, A E Henderson, a collection of original typed letters, a William Morris Centenary Celebration flyer and a collection of various ephemera (a lot) £400­600 277 Harry Bates ARA (1850­1899) Psyche being borne away by a Zephyr, a photographic print by Frederick Hollyer, framed signed in the image H Bates 55 x 25cm.

275

£200­300

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279

278 A R Lawson Woman with a Basket of Roses, 1912 pen and ink on paper of a young lady walking before a row of trees, throwing Glasgow roses from her basket, framed signed A R Lawson 30.12.12 18.5 x 12cm . £150­200 279 Ernest Archibald Taylor (1874­1951) Figure in a Blue cape, watercolour on paper, depicting a figure in blue cape and black hat standing by a harbour wall, framed, signed E.A. Taylor 22 x 17cm. £200­300 280 George Montague Ellwood (1875­1955) Tulips, No.3 oil on canvas board, framed signed G M Ellwood to front and dated (probably 1930), painted title and address to reverse 33 x 24cm.

280

Provenance The Ellwood family. £200­400 281 William Stephen Coleman (1829­1904) Girl holding a Shell, (Water Nymph), 1874 watercolour on paper of a young girl in an exotic coastal landscape with classical domed temple in the distance, a basket of shells at her feet, holding a shell to her ear and looking forwards in contemplation, circular in gilt mount, framed signed W S Coleman, 1874 44cm. diam (image) 74cm square (frame) Provenance British and Continental Watercolours and Drawings, Christie’s South Kensington, 28th March 2002, lot 175 £300­500

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282 Robert Walker Macbeth (1848­1910) Harvest Moon, 1883 etching on paper, framed signed in pencil 86 x 32cm (image) 111 x 59cm (frame) £200­300 283 Sir Edward Maufe RA FRIBA (1882­1974) Guildford Cathedral, 502, 503, 504 three blueprint architectural plans on paper, signed in the print with architects office, 63 x 49cm. (3)

282

£300­400 284 Giovanni Rocchi Head of Thalia tempera on panel after Primavera by Sandro Botticelli in the Uffizi, framed paper label to reverse 20.5 x 19.5cm. £120­180 285 A Morris & Co Flowerpot silk embroidered panel, white, peach and green silks, framed unsigned 49.5 x 52.5cm (image).

283

Literature Linda Parry William Morris Textiles, Crescent, page 28 figure A this design illustrated. £200­300 286 A silk embroidered panel in the manner of Morris & Co, rectangular, embroidered with a border of pink flowers in scrolling foliage, in shades of pink, red and green, the centre set with a lace roundel, framed, unsigned, 59 x 55cm (image) £150­200

284

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288

287 A silk embroidered panel, depicting a medieval king meeting a maiden in a woodland setting, the maiden with flower headdress and holding a white flower stem, in coloured silks, in mahogany frame, unsigned, 49 x 47cm (image) £100­200 288 A Glasgow School silk embroidered panel the design attributed to Bessie Newberry, rectangular, embroidered with a central flowerhead, flanked by hearts and panels of geometric flowers and foliage, in colours unsigned, 47 x 22.5cm. £200­400 289 A large Morton Sundour woven wool gauze textile panel designed by Gavin Morton, woven with flag iris in purple, inter­spaced with yellow and pink wild flowers with Art Nouveau linear foliage, repeat design, in pastel colours, framed and mounted 153 x 120cm (panel) 168.5 x 136cm (frame) Provenance Kerry Taylor Auctions,4th December 2012 lot 54 Private collection Catalogue notes This semi­transparent curtain fabric was woven by the firm of Morton Sundour, an off­shoot of Alexander Morton & Co. The parent company was established in Scotland in 1867 under the direction of James Morton (1867­1943) ­ the firm that supplied Liberty’s and other leading stores with gauzes, textiles and carpets. It included amongst its designers Charles Francis Annesley Voysey, the Silver Studio and Mackay Hugh Baillie Scott.

Gavin Morton (1867­1954) was the nephew of Alexander Morton and cousin of James who became chief designer for the firm. This panel was woven for the drawing room of his own house in Carlisle. £500­800

289

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FURNITURE 290 An Aesthetic Movement Lamb of Manchester ebonised wood card table designed by Charles Bevan, model no.32173, rectangular, folding top on grooved pillar supports and flaring feet with castors, gilt highlights, inlaid leather top, stamped Lamb 32173 Manchester, 90cm wide, 73cm. high £800­1,200

290

290 open

291 An Aesthetic Movement Marsh and Jones ebonised wood occasional table designed by Charles Bevan, circular top and shelf, on four grooved pillar legs with flaring feet, on castors, gilt highlights, paper Marsh & Jones label, 53cm. diam, 72cm. high £500­800 292 An ebonised wood Sussex style chair, turned front legs and square section, back legs, ball terminals, with rush seat and back pad, and three similar chairs with strung seats unsigned, 86cm. high (4) Provenance Kelmscott House, Hammersmith. £150­200 293 Six ebonised wood Sussex style chairs, possibly retailed by Liberty & Co, with bobbin back, rush seats unsigned 87cm. high (6) Provenance Kelmscott House, Hammersmith.

291

292 88

£300­500

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294 A Morris & Co Rossetti armchair the design attributed to Dante Gabriel Rossetti, ebonised beech frame with rush seat, unsigned 89cm. high Provenance Andrew Harriss. £300­500 295 A Morris & Co Sussex armchair, ebonised wood with turned bobbin back, turned legs and stretchers, with rush seat unsigned, 86.5cm. high Provenance Andrew Harriss. £300­500 294

296 A Morris & Co Sussex armchair, ebonised wood with turned bobbin back, turned legs and stretchers, with rush seat unsigned, 85.5cm. high Provenance Andrew Harriss. £300­500 297 A Morris & Co Sussex chair, ebonised wood with turned bobbin back, turned legs and rush seat, two others similar and a Sussex ebonised wood armchair probably retailed by Liberty & Co, unsigned, 85.5cm. high, (4) Provenance Andrew Harriss. £300­500 295

296

297

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298 299

298 An oak and elm table, rectangular plank top, on H shaped stretcher, seven turned column legs and arched under­tier 153 x 57cm top 73cm high Provenance Andrew Harriss. £300­500 299 A carved oak table, square top, on square section legs, the under­tier carved with Classical scrolling foliage swags, unsigned, 72cm. high, 52.5 x 53cm. £150­200 300 A pair of fruitwood armchairs, slender frame on turned legs, rush seat unsigned, 87cm. high (2)

300

£150­200 301 A carved oak occasional table possibly Lake District, rectangular top carved with panels of berried foliage, the under­tier with carved Art Nouveau foliate panels, unsigned, 55 x 68.5cm (top), 68cm. high £300­500 302 A Secessionist oak plant stand possibly Austrian, arched square section with pierced crescent motif to each side, on tapering square section legs unsigned, 30.5cm. square, 78cm high £100­200

301

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304

303 An oak magazine rack, rectangular form, with two partitions, the rounded plank ends with pierced trefoil cut­out, unsigned, 88cm. high, 40cm wide £80­120 304 A Scottish oak cabinet probably by Wylie & Lochhead, the rectangular cabinet with slatted vent back, hinged door inlaid with ebony and boxwood square geometric panel and bands, on rectangular section legs with similar chevron inlaid bands, and a small oak jardiniere stand with pierced trefoil panels, unsigned, 78cm, 43 x 35.5cm. (2) £300­500 305 An oak hall settle, rectangular section with hinged cupboard seat, plank back below decorative pierced rail, unsigned, 108cm wide, 106.5cm. high, 41cm deep.

305

306 A mahogany sheet­music stand probably by Shapland & Petter, model no. 2434 six rectangular shelves with open top rail with patinated metal ball finials, on square section legs and flaring feet, stamped marks R2434 and 127, to back, 94cm. high, 58cm. wide, 30.5cm. deep £200­300 307 A Shapland and Petter oak sideboard, single door cupboard over low drawer, the hinged door with carved Art Nouveau pomegranate decoration, the rectangular top below a large rectangular mirror and overmantle with pierced flower motif, stamped S&P B to the door lock, 121.5cm. wide, 55.5cm. deep, 167cm. high Literature Daryl Bennett Shapland & Petter of Barnstaple, page 8 figure 1.11 for a comparable buffet, Sept 1894. £200­300

£300­400

306

307

91

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308 A Secessionist style occasional table in the manner of J & J Kohn, oval top and shelf on turned legs and cross stretcher, unsigned, 74cm. high, 58 x 45cm. (top) £200­300 309 A mahogany hall chair probably William Birch, swollen turned back supports with carved bun finial, the central splat with carved heart aperture, tapering square back legs, the front tapering with chamfered edges, upholstered seat, unsigned, 109.5cm. high 308

£120­180 310 An oak bookcase, rectangular form with shaped back­plate with three cut­out spade motif, the case with three adjustable shelves, unsigned, 133cm high, 53cm wide, 24cm deep. £200­300 311 An oak hall cupboard with shelves, two hinged door compartment under three shelves, the back­plate with cut­out ying/yang roundel, unsigned, 120cm. high, 91cm wide, 29cm deep £200­300 312 A Scottish oak towel rail possibly Wylie & Lochhead, the flaring rectangular ends inlaid with ebony and boxwood chequerboard column with square motif, unsigned 91cm high, 76cm wide Provenance David Pickup, 1998 Private collection. £120­180

309

310 92

311

312

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314

313

313 A William Birch oak sideboard, rectangular section, three shelves on tapering legs with bun feet, inlaid and stained with Art Nouveau stylised trees and cut­out heart motif, unsigned, 127cm. high, 107cm wide, 48.5cm. deep, £200­300

314 A Gothic Revival oak buffet, three rectangular shelves on chamfered legs, on castors 121 x 49cm, 96cm high

315

£200­400

315 An oak reclining armchair in the manner of Liberty & Co, with slat back and pull out seat, on castors, with upholstered seat and back pads, unsigned, 69.5cm. high, 84cm. deep. £300­500

316 A Guild of Handicrafts oak armchair designed by Charles Robert Ashbee, ladderback with rush seat, on turned legs, unsigned, 104.5cm. high £400­600

316 93

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317

318

319

317 A patinated copper and oak firescreen in the manner of John Pearson, pegged wooden oak frame set with rectangular patinated copper panel stamped with a Galleon at full sail, unsigned, 77cm high, 67cm wide. £200­300

318 A Leatho oak and embossed leather firescreen, the rectangular panel embossed with Art Nouveau fruiting foliage design, the oak frame with pegged joints and pierced decorative rail, unsigned, paper Leatho trademark label, 77cm high, 58cm wide £100­200

320

319 A wrought iron fire basket, with scroll feet and open basket terminals, unsigned, 85cm. wide, 47cm. high £300­500

320 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) £800­1,200

321 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) £800­1,200

321 94

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322

323

322 An oak and patinated copper side table in the manner of Liberty & Co, octagonal section on tapering legs, cut out decoration, the top inset with patinated copper well, unsigned, 49cm. high £150­250 323 A Hugh Birkett walnut wine table, dated 1997, square section with panelled sides and hinged panelled flat top, internally fitted with bottle rack and a tray, on castors, signed HB and dated 1997 to underside of top, 45.5cm square, 52cm. high Provenance Geoffrey H.Alpe thence by descent.

Design and Modern British and Post War Art, Mallam’s 23rd May 2019, lot 252 Private collection.

324

Catalogue notes This wine table was made to a special commission for Geoffrey Alpe (1908­2008), former Managing Director of Parker Knoll. It is thought only two of this design were made. £800­1,200 324 A Heal’s oak dressing table mirror, the articulated rectangular mirror frame on flaring, carved oak legs and feet, with rectangular cross support, unsigned, 63cm wide, 52cm. high Provenance British Art Pottery & Design, Woolley and Wallis Auctioneers, 21st November 2007 lot 429.

Private collection. £150­200 325 A pair of Liberty & Co oak chairs designed by William Neatby, tapering square seat with drop in cushion, the tapering back with cross stretcher and arched back panel, the panel with carved Art Nouveau floral panel, applied Liberty & Co paper label, 101cm. high, (2) £800­1,200

325 95

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326 A rare oak side chair designed by Charles Francis Annesley Voysey, the oak frame, back with extended uprights to the arched top, with carved grove , the back splat with carved heart­shaped motif, over square legs joined with stretchers, drop in rush seat, paper exhibition label C.18 Dining Chair (Vic Soc), 102cm. high Provenance The Victorian Society.

Exhibited Blackwell House, The Arts and Crafts House, Windermere, on loan from 2001.

Literature Wendy Hitchmough C.F.A Voysey, page 130 no.26 for a comparable example illustrated The Best of British Design from the 19th and 20th Centuries- Paul Reeves The Auction, Sotheby’s London, lot 109 for a comparable chair.

Karen Livingstone C.F.A Voysey, Arts and Crafts Designer, V&A Publications, page 197 catalogue number 251 for an example of this chair design from The Crabtree Collection illustrated. The maker attributed to F C Nielsen. Page. Catalogue number 250 for a comparable chair illustrated in the Library at Garden Corner, 13 Chelsea Embankment.

Blackwell The Arts and Crafts House, page 34 for this chair illustrated in the bedroom. £5,000­8,000 326

327 A rare oak side chair designed by Charles Francis Annesley Voysey, the oak frame, back with extended uprights to the arched top, with carved grove , the back splat with carved heart­shaped motif, over square legs joined with stretchers, drop in rush seat, paper exhibition label C.18 Dining Chair (Vic Soc), 102cm. high Provenance The Victorian Society.

Exhibited Blackwell House, The Arts and Crafts House, Windermere, on loan from 2001.

Literature Wendy Hitchmough C.F.A Voysey, page 130 no.26 for a comparable example illustrated The Best of British Design from the 19th and 20th Centuries- Paul Reeves The Auction, Sotheby’s London, lot 109 for a comparable chair.

Karen Livingstone C.F.A Voysey, Arts and Crafts Designer, V&A Publications, page 197 catalogue number 251 for an example of this chair design from The Crabtree Collection illustrated. The maker attributed to F C Nielsen. Page. Catalogue number 250 for a comparable chair illustrated in the Library at Garden Corner, 13 Chelsea Embankment. £1,000­2,000 327 97

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328 A pair of ash Clissett ladder back chairs designed by Neville Neal, with rush seat unsigned 88cm. high (2) Provenance Richard Batterham. £150­250 328

329 A pair of ash Bedale ladderback chairs by Neville Neal, stamped Neville Neal, 88cm. high (2) Provenance Richard Batterham. £150­250 329

330 Three natural ash Gimson ladderback (no.1A) chairs by Neville Neal, with rush seats, stamped Neville Neal, 106cm. high (3) Provenance Richard Batterham, purchased directly from Neville Neal March 1971. £200­300 330 98

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331

331 A natural ash rocking chair (no 10) by Neville Neal, with turned bobbin back and rush seat, and a square natural ash stool by Edward Gardinier, both waxed stamped mark to both 106cm. high (rocking chair), (2) Provenance Richard Batterham, purchased directly from Neville Neal March 1971. £150­250 332

332 A pair of natural ash LCC armchairs by Neville Neal, with rush seat, one waxed, stamped marks, 119cm. high, (2) Provenance Richard Batterham. £150­250

333 A set of seven natural ash Gimson ladderback (no.3) chairs by Neville Neal, with rush seats, waxed, stamped Neville Neal, 106cm. high (7) Provenance Richard Batterham, purchased directly from Neville Neal March 1971. £500­1,000 333 99

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334 A Scottish oak bureau the design attributed to E A Taylor, rectangular top with fold out writing surface, over single drawer, on tapering square section legs, the overmantle with angled cupboard with copper Art Nouveau floral panels, flanked by shelves, with cut­out spade motif, unsigned 149cm. high 81cm. wide 37.5cm. deep £700­1,000

335 An oak occasional table, octagonal top on flaring plank legs with cut out leaf motif, unsigned, 74.5cm. high, 48.5cm. diam. £150­200 335 336 An oak occasional table, octagonal top on flaring plank legs with cut­out heart motif and copper studs, unsigned, 60.5cm. diam., 70.5cm. high £150­200

337 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) 336

334

337 100

£2,000­3,000

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337A A large oak panelled door designed by Sir Edwin Lutyens, for the interior of Little Thakeham, ledged and braced construction, with polished steel hinges and latch handle, 91cm. wide, 199cm. high Provenance Little Thakeham, designed by Lutyens in 1902 Country House sale at Little Thakeham, Rupert Toovey, 18th October 2000 lot 17 listed as from the attics of Little Thakeham.

Arts and Crafts, Woolley and Wallis Auctioneers, 6th October 2020, lot 312.

Private collection. £5,000­8,000

338 A set of eight Liberty Arthurian oak dining arm chairs, on sleight feet, simple carved decoration, upholstered in blue, unsigned 91cm high (8) Provenance Jimmy Page The Best of British Design from the 19th & 20th Centuries, Sotheby’s/Paul Reeves, 20th March 2008, lot 79 (part of the full suite).

Private collection. £2,000­4,000

337A front and back

338

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339 A Robert Mouseman Thompson oak panelled single­bed headboard, panelled, rectangular board with carved mouse signature, 139 x 58cm. £300­500

340 An oak sideboard by Don Foxman Craven, rectangular section on turned octagonal bun feet, three central drawers flanked by shelved cupboards with hinged panelled doors, the top with adzed surface, carved rose handles, carved fox signature to one foot, 184cm wide, 82cm high 52cm deep.

Provenance 20th Century Design, Tennants Auctioneers, 25th July 2022, lot 2085A. Private collection. £600­1,000 102

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341 An Albert Owlman Harrison oak dining room suite for ten, comprising sideboard, large dining table eight chairs and two carvers, carved with owl motif, the sideboard with wrought iron hinges and latches, carved owl signature to legs, 183.5cm x 46cm (top), 81.5cm. high (sideboard) 225 x 87cm, 70cm high (table) 98cm. high (chairs) (12) £2,000­4,000

103

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342

342 A large embossed paper panel, rectangular, decorated with medieval knights on horseback, in colours unsigned 158cm wide Provenance Arts and Crafts, Christie’s South Kensington, 5th November 2002 lot 63. £300­500

343 A woven wool carpet, rectangular, floral repeat inside border, red, blue and cream, 307 x 202cm. £300­400

344 Seven Ages of Man and Seven Virtues a pair of pokerwork panels after the design by Alfred Masson, the rectangular panels decorated with individual scenes of an anthropomorphic bird, unsigned 114 x 22.5cm. (2) Literature Annette Carruthers & Mary Greensted (editors) Simplicity or Splendour, Cheltenham Art Gallery & Museums, page 72 figure 100 for a set of ceramic tiles illustrated, catalogue number 181 exhibited at Howell & James Art Pottery Exhibition 1876. £150­200

343

104

344 one of two

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345

345 Benjamin Creswick (1853­1946) The Blacksmith’s Forge patinated cast iron panel cast by Coalbrookdale Co, framed signed in the cast 45 x 22cm (panel) 346

£120­180

‡ 346 Lucy Gwendolen William (1870­1955) Queen of Dreams patinated bronze dipped plaster, on a flaring, shaped alabaster base, highlighted in gilt signed in the cast LGW 1905 23.5cm. high Catalogue notes There is a similar example held in the Victoria & Albert Museum collection. £1,000­2,000

347 Claire Jeanne Roberte Colinet (1880­1950) Egyptian Dancer, gilt patinated Art Nouveau bronze of a woman standing, balanced on one leg, in exotic headdress and flowing skirt, with cold painted jewels, on later veined black marble base unsigned 22cm. high (figure) £1,500­2,000

347 105

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349 348

348 Sir William Reid Dick KCVO RA (1878­1961) Menin Gate Lions (Ypres) a pair of plaster maquette, patinated finish, originally designed 1927 unsigned, chips to plaster and one with repair to base 30cm. wide, 17.5cm. high (2) Provenance A private collection of sculpture.

Literature Design, 7th October 2020 lot for a verdi gris bronze version of this lion. £200­300 349 Sir William Reid Dick KCVO RA (1878­1961) Menin Gate Lion (Ypres) a plaster maquette, white patinated finish, originally designed 1927, unsigned, chips, 29.5cm. wide, 17.5cm. high

350

Provenance A private collection of sculpture. £120­180 350 A patinated bronze tiger’s head wall plaque, cast with mouth open, applied wall hanging loop to reverse, unsigned, 19cm. high £200­300

351

351 Anonymous Ethel, (probably Ethel Mairet) patinated copper portrait panel, framed unsigned 49 x 34cm.

Catalogue notes Ethel Mairet (1872­1952) was a weaver and teacher who was originally a member of Charles Robert Ashbee’s Guild and School of Handicraft in Chipping Campden. £150­250 352 Theodore Ullmann (1903­1996) Buffalo standing, patinated bronze on green marble base, cast Th Ulllmann and foundry mark, 15.5cm. high, 18cm. wide Provenance Private collection, Kent.

352 106

£300­500

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353

354

METALWARE 353 A patinated brass asperges bucket designed by Augustus Welby Northmore Pugin, probably manufactured by John Hardman & Co, fluted bowl with articulated handle, on pedestal foot, unsigned, 17.5cm. diam, 12.5cm. high £150­200 354 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

355

£400­600 355 A pair of bronze candlesticks the design attributed to Eugene Emmanuel Violet le Duc, tripod foot cast with berried foliage, cylindrical stem with scroll capital, supporting floating three branch sconces with scrolling foliate decoration, unsigned, 48.5cm. high (2) Literature The Preparatory drawing for a pricket version with identical base section and differing pricket top is held in the Mediatheque de l’architecture et du patrimoine, inv nos PM043361. An example of this design was shown at the Exposition Universelle, Paris 1890. £400­600 356 A Gothic Revival Elkington & Co electroplated metal flagon, model no.

14355, with hinged cover, engraved with bands of scrolling foliage, the handle cast with foliate terminals, hinged cover with flag iris finial, and an Elkington & Co electroplated metal cruet, in the manner of Dr Christopher Dresser, model no. 16119, stamped marks, 32cm. high (7) £150­200 356 107

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357

358

359

357 An Aesthetic Movement brass wall sconce, the rectangular back­plate stamped with exotic birds flying between flowering foliage, with three scroll arm sconces, unsigned, 60.5 x 28cm. £250­350

358 A patinated metal hall lantern, scrolling foliate decoration, cylindrical frosted glass shade, and a spare glass shade, unsigned, 72cm. high (2) £200­400

359 A Gothic Revival brass low candlestick designed by Bruce Talbert, probably made by Hart, Son Peard & Co, stepped domed base with simple flowerhead panels set with central red cabochon, on four claw feet, supporting central column flaring arm supporting two circular sconces, pierced tracery flowerheads, set with red cabochon, the central set with polished white quartz finial, unsigned, 17.5cm. high Literature Metropolitan Museum of Art, for a comparable pair accession number 2015.536. £200­300

360 A pair of Hinks & Sons copper and brass adjustable floor lamps, tripod feet, scrolling foliate frame with copper flowers, extending column, with modern fabric shades, applied Hinks & Sons label, 151cm. high, (2) £400­600

360 108

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361

362

361 A large copper and brass ceiling light in the manner of WAS Benson, seven foliate arms, unsigned, 64cm. high £300­500 362 A copper and brass oil lamp in the manner of WAS Benson, tripod scrolling brass base supporting copper reservoir, with glass flume and vaseline glass shade, unsigned, 53.5cm. high £200­300 363 A WAS Benson large and impressive copper and brass wall light, three scrolling brass arms supporting copper flower reflectors, with copper foliate panels and brass wall mount, stamped mark 53cm long £200­300 364 A copper and brass extending floor lamp probably WAS Benson, tripod foot with scrolling supports, copper foliate decoration, the central adjustable stem, with copper oil reservoir converted to electricity, apparently unsigned, 174cm. high Provenance Russell Hotel, Bloomsbury, by repute. £400­600

363

364 109

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366

365 An Art Nouveau copper and brass three branch ceiling light, three copper foliate arms, with frosted glass bell shades, unsigned, 85cm high

365

£300­500 366 A pair of brass lanterns, open cylindrical form with three scroll panels, with tapering top and loop terminal, three scroll terminals, with frosted glass shades, unsigned, 45cm. high (2) £300­500 367 A pair of Art Nouveau wall lights, silvered metal, scrolling foliate form with James Powell satin glass shades, unsigned, 31.5cm. long (4)

367

£200­300 368 A set of four silvered metal wall lights, on ebonised wood shield shaped panel, the fleur de lys back­plate supporting scrolling foliate stem, unsigned, 30cm. deep, (4) £200­300 369 A WAS Benson copper and wrought iron kettle on stand, model no.790, wrought iron stand on cruciform foot, the copper and brass kettle with ebonised wood finial, stamped Benson marks to pot and stand 83cm. high 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.

368

£120­180 369

110

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369A

369A A large copper and brass ceiling light, central brass column, flanked by five radiating copper foliate arms, with light fitting terminals, unsigned, 60cm. high, 68cm wide

370

£300­400

370 A WAS Benson brass standard lamp, arched cruciform foot with claw terminal, with cylindrical, adjustable column, stamped WAS Benson mark, 157cm. high £400­600

371 A rare WAS Benson mantle clock designed by WAS Benson, model no.2090, the drum case with foliate tendrils and finial, on four column base with flaring trefoil leaf feet. stamped marks to back plate, signed WAS Benson & Co Ltd to dial, 18.5cm. high Provenance Private collection.

Literature Ian Hamerton WAS Benson Arts and Crafts Luminary & Pioneer of Modern Design, ACC Books, page 102 plate 81 for this actual example illustrated. £800­1,200

371 111

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372

374

373

372 A patinated copper hall lantern, the domed hammered top with rivet panel decoration, four straps with hook terminals supporting frosted glass cylindrical shade, unsigned, 38cm. high (2) £200­300 373 A copper and brass hall lantern, flaring square section with tapering base, the flaring overmantle with heart­ shaped cut out motif, frosted glass panels, unsigned, 55.5cm. high £300­400 374 A large patinated copper hall lantern, tapering square section with lover light, overhanging mantle and tapering top, with bands of heart aperture and inverted hearts to the top, frosted glass panels, unsigned, 49cm. high, 34cm square (top)

375

£150­250 375 A tall silvered metal oil lamp base, tripod foliate foot, knopped stem supporting oil reservoir, unsigned, 55cm. high £120­180

376

376 An Art Nouveau brass table lamp, tripod foot, central column, with fluted Holophane clear glass shade, unsigned, 47.5cm. high £150­200 377 A Dugdill brass adjustable table lamp, on stepped, circular base, with James Powell vaseline glass shade stamped Dugdill patent to side, 32cm. high £250­350

377 112

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378

379

378 A Continental Secessionist picture frame, pierced and carved with stylised berried stems, inset with brass decoration, with colour print of a medieval encounter, unsigned, 95 x 76cm. £300­500

379 A tooled leather wall mirror by Beatrice Goodwin and Madge Weeks, the rectangular frame with tooled split pomegranate panel to the top, the base with smaller band of three splitting pomegranate fruit, with bevelled rectangular mirror, applied paper label to reverse, 61 x 30.5cm. £600­800

380

380 A Cotswold’s school patinated copper candlestick, the octagonal base with central dome, cylindrical stem and flaring sconce, with stamped decorative bands unsigned, 20.5cm. £150­200

381 A pair of Cotswold’s School copper candlesticks designed by Ernest Gimson, octagonal base with domed centre supporting tapering square column, flaring circular sconce, with punched decoration, unsigned, 25.5cm. high (2) £1,000­1,500

381 113

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382 A patinated copper purdonium, tapering square section coal box with hinged cover, stamped in relief with an elliptical panel with stylised flowerhead, set with Ruskin pottery panel to front and cover, with applied handles with loop terminals, with metal liner, unsigned, 33.5cm wide, 36cm high £400­600 382

383

383 A cloisonne enamel charger by Clement Heaton, circular patinated metal body, decorated with scrolling foliage border and well, enamelled in shades of red unsigned 41cm. diam. £100­200 384 A WMF patinated brass and enamel vase, tapering cylindrical form, cast with and enamelled with a band of peacock and stylised flowerhead panels, in colours, hammered finish, stamped mark, 16cm. wide, 11.5cm high £150­200

384

385 An Art Nouveau patinated copper and enamel vase, gourd form, the rim enamelled with stylised foliate band in blue and green unsigned, painted 3373 to base, 38cm. high £150­200 386 A copper and wrought iron firescreen in the manner of John Pearson, rounded rectangular panel stamped in low relief with a stylised tree, with stylised link border, inside Art Nouveau wrought iron frame, unsigned, 78.5cm. high £150­200 385

387 A patinated copper fender possibly designed

by CFA Voysey, simple semi­circular form stamped in low relief with heart motif, 91cm. wide. £200­300

386

114

387

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388

389

388 An Art Nouveau WMF desk mirror, shaped, rectangular form, cast in relief with an Art Nouveau maiden looking at her reflection, bevelled mirror, wooden back with easel support, stamped marks to foot, 37cm. high £400­600

389 An octagonal copper mirror, hammered finish, applied with four Ruskin blue ceramic hearts set in riveted copper border, unsigned, 57cm. wide Literature Paul Atterbury & John Henson, Ruskin Pottery, Richard Dennis Publications, page 92­93 for a series of copper boxes, a coal box and a fireplace with Ruskin Pottery ceramic roundel decoration. £400­600

390 A large copper double wall sconce designed by J W Oddie and executed by J C Martin of the Lyzwick Hall Art School, the well hammered in low relief with a classical figure playing a lyre, two water nymph in the foreground playing music, inside a frame of musical instruments, the shaped top with cornucopia panel, stamped WO and JCM to well 59cm. high

390

Literature Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts, Bookcase, page 6 and notes to the text chapter 1.4 for a discussion on Mr Oddie and Lyzwick Hall. Work by Oddie & Martin were exhibited by the Arts and Crafts Exhibition Society in 1890. £1,500­2,000

391 A lacquered brass wall mirror in the manner of the Newlyn Industrial Classes, oval, stamped with a border of fruiting foliage, with oval bevelled mirror glass, unsigned, 74 x 48cm. £250­350 391

115

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392 A Fivemiletown brass tray, rounded rectangular tray with fluted rim, stamped in low relief with two peacocks perched in a fruiting pomegranate tree unsigned, 54 x 42.5cm. £300­500 393 A repoussé copper twin­handled vase, tapering cylindrical form, hammered in low relief with entwined flowers and splitting pomegranate fruit on foliage stems, applied loop handles, unsigned, 29cm. high Provenance Anne Schofield Collection. £100­150 392

393

394 An elliptical stained wood wall mirror probably Irish, the wooden frame carved with geometric decoration and textured surface, stained red and green, with bevelled mirror, unsigned 59cm wide. £120­180 395 A Glasgow School brass candlestick in the manner of Talwin Morris, tapering cylindrical base with flaring sconce, with hammered finish, stamped with simple geometric panels, with three cylindrical supports, unsigned, 15.5cm. high £200­300

394

395

396 A Glasgow School copper mounted oak travelling writing desk, rectangular with drop front, fitted interior, the cover set with rectangular panel of Glasgow flowers unsigned, 33cm wide, 24.5cm. high £150­200

396 top 396 116

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397

398

397 A Glasgow School patinated brass twin­handled tray, rectangular, stamped in low relief with Art Nouveau flowers on long sinuous stems, raised centre panel, unsigned, 57 x 17cm. £120­180 398 A Glasgow School white metal twin­handled tray, rectangular on ball feet, stamped in low relief with abstract flowerhead roundels inside entrelac border, unsigned, 54 x 21.5cm. £150­200

399

399 A Glasgow School brass planter, rectangular section on four rectangular feet, stamped to all sides with Glasgow rose panels, unsigned, 47 x 26cm, 16.5cm. high £150­250 400 A hexagonal brass box and cover by E McEwen Osborne, dated 1931, on stepped foot, the cover inset with a silk embroidered floral panel, inscribed to the foot rim To George Taylor Friend from his grateful pupil E McEwen Osborne, 1931, 17cm. wide, 9cm high Catalogue notes George Taylor Friend was an engraver and jeweller’s engraver and taught metalwork at the Central School of Art and Design. £200­300

400

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402

401

403

401 A John Pearson repoussé copper wall charger, dated 1897, hammered in high relief to the well with a central bosse inside a frieze of four stylised birds before scrolling foliage, the broad rim with a similar band of eight birds, signed J Pearson 1897 and 2347, 51.5cm. diam.

Provenance A private collection of John Pearson. £800­1,200 402 A John Pearson repoussé copper charger, dated 1903, hammered to the well with a bird holding a snake in its beak, inside stylised leaf and berry border, the rim a band of scrolling foliage, incised JP 1903, 51cm. diam. £500­800 403 A repoussé hammered copper charger probably by John Pearson, the broad rim hammered with a frieze of scrolling stylised flowers and foliage, the well with two exotic birds perched on flowerstems, a tall flower stem to the centre, hammered ground, apparently unsigned, 51cm. diam. £400­600 404 A large John Pearson repoussé copper charger, dated 2nd July 1896, hammered to the well with a war ship at full sail, with oars out, the rim a frieze of large scaly fish in turbulent waters, signed with fine etched John Pearson 2nd July 1896, 59cm. diam.

404

£500­1,000 405 A large John Pearson repoussé copper casket, dated 1906, rectangular with hinged cover, hammered in low relief with stylised exotic flowers on scrolling stems to the front, the hinged cover hammered in relief with two exotic birds flanking central flower motif, above scroll, stamped JP 1906, 26 x 17.5cm. 15cm. high £400­600

405

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406 406 A large and impressive John Pearson oak and repoussé copper wall mirror, rectangular, oak frame with central bevelled glass mirror, flanked with two repoussé copper panels each depicting a gecko climbing a stylised branch, above simple flower and foliage motif, stamped signature and date visible to left hand panel 122 x 76cm, 59 x 24cm (panels) Provenance A private collection of John Pearson.

407 A John Pearson repoussé copper wall mirror, rounded rectangular form set with four Ruskin ceramic roundels, the copper frame hammered in high­relief with four gecko like lizard creatures, on wood frame, apparently unsigned, 59 x 42.5cm.

Provenance A Private collection of John Pearson. £2,000­3,000

£3,000­5,000

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408 A Newlyn Industrial Classes copper charger by John Mackenzie worked

by P Hodder, repoussé hammered to the well with a galleon at sail, the rim a frieze of stylised fish before waterweed, incised designed by J D Mackenzie worked by P Hodder Industrial Class Newlyn, 41cm. diam. £300­500

409 A Keswick School of Industrial Arts copper Galleon charger, the well stamped and hammered with a vessel sailing on a rough sea, two dolphins, the rim with a frieze of stylised flower stems, unsigned, 57cm. diam.

408

Provenance Private collection. £500­1,000

410 A Keswick School of Industrial Arts brass Galleon charger, model H.521, hammered to the well with a galleon at full sail, the sea with waves and two dolphins, the rim a border of stylised flowers and foliage, stamped KSIA, Keswick and H.521, 57cm. diam. £500­1,000

411 An Art Nouveau William Devenport silver and glass cruet set, cast with whiplash foliage design, comprising salt with green glass liner, pepper pot with green glass liner, mustard pot and hinged cover with green glass liner and two spoons, a Keswick School of Industrial Arts silvered copper vase and a silver pepper pot, stamped marks WD Birmingham 1903, 7.5cm. high (pepper), (7) £150­200

409

410 120

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412

412 A Keswick School of Industrial Arts copper wall charger designed by Robert Hilton, circular, the rim hammered in low relief with hounds chasing deer in an oak forest, the raised well with Tudor rose, stamped KSIA mark to rim, 46.5cm. diam. £500­1,000 Literature Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts, Bookcase, page 93 figure 74.

413 A Keswick School of Industrial Arts copper twin­handled Greek bowl, shouldered form, hammered in low relief with berried laurel border, applied loop handles, stamped KSIA mark, 25.5cm. wide, 14cm. high

413

Provenance Anne Schofield Collection Literature Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts, Bookcase, page 20 figure 13. £150­250 414 A Keswick School of Industrial Arts silver Greek bowl probably designed by Harold Stabler, the shouldered bowl repoussé decorated with a band of Art Nouveau berried ivy, engraved inscription Carlisle Grammar School Cricket Challenge Cup from Dr & Mrs Maclaren 1899, with applied strap handles, stamped marks, KSIA Birmingham 1898, punched Keswick School Indust Arts to base, 24cm. high, 39cm. wide Provenance Private collection.

Literature Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts, Bookcase, page 20 figure 13.

414

£1,000­1,500 121

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415 An Art Nouveau silver hand mirror, cast in low relief with an Art Nouveau maiden holding hand pipes, inside whiplash flower and foliage stems, stamped marks, WA Birmingham 1902, 28cm. wide £120­180 416 An Art Nouveau silver Dressing table set by William Neale, stamped in low relief with kingfishers perched on sinuous Art Nouveau water lily flower stems, above lily pads, comprising shaped tray, two hair brushes, two clothes brushes and a hand mirror, stamped marks, WM Birmingham and Chester various hallmarks 30cm. wide (tray), (6)

415

£200­300 417 An A E Jones copper casket with hinged cover, rectangular form, cast strapwork decoration with applied silver flowerhead motif, and a small silver pedestal bowl, unmarked, pedestal bowl Birmingham 1928 14 x 10.5cm. top, (2) £150­250 418 A patinated copper box in the manner of A E Jones, rectangular with hinged cover, on ball feet, the cover applied with silver foliate panels to the corners, the centre applied with enamel panel, enamelled with a B in green on a mottled blue ground, and another enamelled copper box unsigned, 12cm. wide. (2)

416

£200­300 419 An A E Jones silver inkwell, circular form on dolphin feet, tapering hammered body, the hinged cover inset with coin stamped marks, Birmingham 1926, 17.5cm. wide

417

Provenance Arts and Crafts Woolley and Wallis Auctioneers 24th May 2005 lot 1099. £150­250 420 An Art Nouveau patinated bronze magnifying glass, cast with a lady issuing from foliage, and reaching up the glass rim to pick an apple, unsigned, 21.5cm. long £150­200

418

420

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421

421 A silver mounted glass tankard and cover, swollen low base on four tapering, scrolled feet, cast in low relief with geometric band and shield panel with central red enamel roundel, tapering glass body with central ropetwist band with engraved shield panel, silver top rim with hinged domed cover with radiating straps and red enamel roundels, central floral finial, stamped hallmarks, London 1901, 23cm. high

422

£800­1,200

422 An Omar Ramsden silver bowl, footed form, the swollen body with rope border, the flaring star rim with ball and scroll terminals, hammered finish, stamped Marks OR London 1928 Omar Ramsden Me Fecit 13.5cm. diam. £400­600

423 A silver mounted walnut mazer bowl by Omar Ramsden, dated 1929, the walnut bowl on stepped silver foot with ropetwist border, and flaring silver rim with bands of quatrefoil and crenulations, stamped marks OR London 1929 and Omar Ramsden Me Fecit, 20.5cm. diam, 10cm high £2,500­3,000 423

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424 425

426

424 A Connell electroplated metal and enamel casket, rectangular form on four bun feet, the hinged cover with domed centre, set with an enamel landscape panel, in colours, hammered finish, the interior lined with velvet, stamped mark, 17 x 10.5cm. £150­200

427

425 An Art Nouveau electroplated metal and glass biscuit barrel in the manner of WMF, cast in low relief with foliate panels, flaring rectangular form with twin handles, an Art Nouveau electroplated pierced metal dish, and a Mettlach Art Nouveau jardiniere painted with floral panels, biscuit barrel annotated but unmarked, 21.5cm. high (5) £150­200 426 A Roberts and Belk silver biscuit barrel and cover, cylindrical form on ball feet, stamped in low relief with Art Nouveau foliate panels, domed cover with ball finial, stamped marks, London 1925, 17.5cm. high £150­250

428

427 An A E Jones silver footed bowl, the shallow drum foot cast with strap decoration, the flaring hammered bowl with simple flower stem motif, stamped marks, Birmingham 1923, 15cm. diam.

Provenance British Art Pottery & Design, Woolley and Wallis Auctioneers, 30th November 2004, lot 963. £150­250

429

428 A Connell silver twin­handled pot and cover, model no.808, flaring conical form, with applied foliate garland handles, the shallow domed cover with ball finial, hammered finish, with glass liner, stamped Connell 78 Cheapside and 808, stamped hallmarks, Birmingham 1926, 14cm. wide £120­180 429 A silver bottle top attributed to the Artificers Guild, domed form with tall shaped finial, with wire rope bands, applied with bird and EA roundels, above a rope border, unsigned, 6.5cm. high £150­200 430 A silverplated tureen and cover attributed to the Artificers Guild, low flaring tureen with shallow domed cover, set with four roundels cast in low relief, the circular knob cast in low relief to both sides with a sheep’s head design, with rope borders unsigned, 18/5cm. diam, 7.5cm. high, (2)

430 124

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431

432

431 A rare silver mounted cloisonne enamel plaque by Harold Stabler, dated 1915, the rectangular panel depicting a faun training a hare or rabbit, holding a laurel sprig, in colours on a vivid blue ground, the silver frame with hanging loop, signed HS to the front, the reverse signed Harold Stabler London 1915, 9.5cm wide, 9cm high Literature Annette Carruthers and Mary Greensted Simplicity or Splendour The Cheltenham Museum Collection, figure 87 catalogue number 156 for a comparable framed enamel by Harold Stabler.

Catalogue notes Harold and Phoebe Stabler were often assisted by S Kato who was a Japanese enamel worker. £800­1,200 432 Mabel Penelope Sefton (1881­1957) Come Fill the Cup and in the Fire of Spring, 1908 (The Rubaiyat of Omar Khayyam) enamel on copper, framed, signed titled and dated May 1908 in gilt to reverse 10 x 8cm (panel)

433

Provenance The Blood Collection, Mellors & Kirk, 26th February 2009, lot 19.

Mellors & Kirk, 20th September 2017 , lot 608.

Private collection. £800­1,200 433 A Gothic Revival Hillard and Thomason silver gilt and enamel card case, dated 1851, shaped rectangular section engraved with stylised foliage panels and bands in the manner of AWN Pugin, set with central pale blue enamel heraldic panel to both sides, stamped mark H & T Birmingham 1951, 9.5cm. long. (2.2toz) £300­500 434 A gilt metal classical figure, retailed by Callow, Mount Street, London, cast as a standing woman in toga dress, holding a cornucopia, on shaped shagreen base, base signed Callow Mount Street, London, 12cm. high £150­200 434 125

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435 A rare Birmingham Guild of Handicraft silver jewellery casket probably designed by Arthur Stansfield Dixon, rectangular with hinged cover and latch, decorated with strap and river design, the front of the casket set with two ruby glass cabochon and a keyhole, with traces of copper gilding, internally lined with cream velvet stamped marks BMGH Birmingham 1900, finely etched 336, 24.5cm wide, 10.5cm deep, 8.5cm. high Literature Birmingham Gold & Silver 1773-1973, City Museum & Art Gallery, Birmingham, 28th July ­16th September 1973, catalogue number F8 for a comparable casket (without the keyhole), set with amazon stones dated 1900, the casket is also illustrated in a Birmingham Guild of Handicraft catalogue with Tudor rose design and with a keyhole, available in silver for 280/ and copper 105.

Provenance Property from the Estate of Roland Baker deceased. £1,000­2,000 126

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436

437 436 A modern George Hart Guild of Handicraft silver spoon designed by Charles Robert Ashbee, the slender teardrop shaped bowl on tapering stem with open terminal set with green chrysoprase, stamped GofH London 1997, 16cm. long. £400­600

437 A modern George Hart Guild of Handicraft silver cruet set designed by Charles Robert Ashbee and made by Julian Hart, comprising salt with glass liner, pepper pot with wirework handle, mustard pot with hinged cover and wirework handle and two spoons, all set with green chrysoprase cabochon, stamped marks GofH London 2004, JAH, 7cm. diam (salt), 7cm high (mustard), (6)

438 A modern George Hart Guild of Handicraft silver porringer designed by Charles Robert Ashbee, the hammered bowl with wirework handle, set with green chrysoprase cabochon, with glass liner, stamped marks GofH London, 1997, 19cm wide (2) £500­1,000

Literature C.R. Ashbee Modern English Silverwork, plate 58 for a comparable jam dish. £1,000­2,000

438

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439

441

440

JEWELLERY 439 A Guild of Handicraft silver and amethyst pendant necklace, pierced and chased with a briar rose inside scroll border, set with central amethyst above amethyst drop, unsigned, 6.5cm. long Literature Elyse Zorn Karlin Jewellery & Metalwork in the Arts and Crafts Tradition, Schiffer, page 40 this exact piece illustrated.

Provenance Tadema Gallery.

A private collection of Guild of Handicraft silver and jewellery. £1,000­1,500 440 A Newlyn Industrial Classes silver and enamel necklace, five pierced oval wirework frame panels each set with teardrop multi­coloured enamel, on simple chain, unsigned, 3cm long (each panel) £400­600 441 A silver and enamel brooch, pierced circular form, the rim with a band of red and green enamel, set to the centre with moonstone cabochon, unsigned, 3.5cm. diam. £150­200

442

442 A Child and Child silver and enamel pansy brooch, cast flowerhead design enamelled green and pale blue, in velvet lined Child & Child presentation box, stamped maker’s mark, 2.5cm. wide £200­300

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Get to love your stones, handle them, finger them, play with them, dip them in the water and get to know them intimately in various lights...the fairy carbuncle, which nobody will wear because it is so cheap.. the prismatic olivine and the glorious opal of a thousand tints....

Charles Robert Ashbee, The Art Journal, 1894.

443 A fine Guild of Handicraft gold, silver and opal necklace the design attributed to Charles Robert Ashbee, the gold wire frame supporting large elliptical white opal, above smaller drop, the chain with three natural pearls in claw setting, unsigned, 4.5cm. long Exhibited Cockneys in Arcadia, C.R. Ashbee in Chipping Campden Court Barn, August 10th to November 19th 2016, catalogue number 25.

Provenance A private collection of Guild of Handicraft silver and jewellery.

Catalogue notes The critic Aylmer Vallance in Modern Jewellery and Fans, Studio publication, 1902, claimed of Ashbee’s contribution to British jewellery design ‘He stood almost alone in the beginning’. £1,800­2,200 443

444 A silver and enamel brooch the design attributed to the Guild of Handicraft, rectangular form with scrolling foliate panels to each end, set with rectangular green and blue panel, unmarked, 3.5cm. wide.

Provenance A private collection of Guild of Handicraft silver and jewellery. £600­700

444

445 A Guild of Handicraft silver and enamel brooch, rectangular form with wirework frame of berried foliage, with central green and blue enamel panel, stamped GofH Ltd, London marks, 3cm. long Literature The Guild of Handicrafts Ltd, undated catalogue page 10 this design illustrated priced at 12s. 6d.

Provenance A private collection of Guild of Handicraft silver and jewellery. £1,000­1,500

445

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446 A Jugendstil Heinrich Levinger silver belt buckle, cast and pierced with stylised foliage, set with five red cabochon, stamped marks, 11cm. wide (2) £200­300 446

447 A Continental Jugendstil silver belt buckle, cast in low relief with Art Nouveau foliage, set with pink cabochon, unsigned, 10cm. wide, (2) £150­200

447

448 An Edgar Simpson silver belt buckle, rectangular, pierced and cast with two swimming fish amongst turbulent water, on black silk belt, stamped ES hallmark once, 13.5cm. wide Provenance Victor Arwas The Art Nouveau Buckle with Arts and Crafts Christie’s South Kensington, 27th November 2007 lot 12 (mark incorrectly listed as CES.) A private collection of Guild of Handicraft silver and jewellery.

Catalogue notes Edgar Gilstrap Simpson (1867­1945)

448

449

Born in Basford, Nottingham, was the son of Henry Simpson a lace manufacturer and Elizabeth Gilstrap. He initially worked in the lace industry before setting up his own studio to concentrate on craft and silver making in Nottingham. He exhibited work at both the Arts and Crafts Exhibition in 1900 and also the Vienna Secession exhibition of 1902. His designs are a blend of the English Arts and Crafts and the continental Art Nouveau and Secessionist styles. Although his marked jewellery is rare, he is believed to have supplied additional designs to Charles Horner, this design of leaping scaly fish or dolphins can be considered typical be it for a waist clasp, bell push or even as a decorative key. £1,000­1,500

450

449 A rare early Liberty & Co Cymric silver belt buckle designed by Oliver Baker, cast foliate form with scrolling border, hammered finish, set with two fire opals and central amethyst cabochon, stamped marks, L & Co, Birmingham 1899, 8cm. wide.

Literature Modern Design in Jewellery and Fans, The Studio Special, 1901­1902, plate 35 this design illustrated.

Provenance A private collection of Guild of Handicraft silver and jewellery. £350­450 450 A Liberty & Co Cymric silver belt buckle designed by Oliver Baker, cast scrolling foliate form with hammered finish, set with three turquoise matrix stones, stamped marks, L & Co, Cymric Birmingham 1900, 9cm. wide.

Literature Victor Arwas Art Nouveau in Britain From Mackintosh to Liberty, Papadakis, page 96 this example illustrated.

Alan Crawford By Hammer and Hand The Arts and Crafts Movement in Birmingham, Birmingham Museums, 1984, page 111 plate 90 for a comparable example.

Provenance Victor Arwas The Art Nouveau Buckle with Arts and Crafts Christie’s South Kensington, 27th November 2007 lot 109 (part).

A private collection of Guild of Handicraft silver and jewellery. £350­450 451 A Liberty & Co Cymric silver belt buckle designed by Oliver Baker, cast scrolling foliate form with hammered finish, set with four turquoise matrix cabochon, stamped marks, L & Co, Birmingham 1906, 10.5cm. wide.

Literature Victor Arwas Art Nouveau in Britain From Mackintosh to Liberty, Papadakis, page 96 for a comparable example illustrated.

Alan Crawford By Hammer and Hand The Arts and Crafts Movement in Birmingham, Birmingham Museums, 1984, page 111 plate 90 for a comparable example.

Provenance Victor Arwas The Art Nouveau Buckle with Arts and Crafts Christie’s South Kensington, 27th November 2007 lot 109 (part).

A private collection of Guild of Handicrafts silver and jewellery. £350­450

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The Poor Peacock of the Arts and Crafts with his proud tail exploding in fireworks Charles Robert Ashbee, 1892.

452 A fine Guild of Handicraft silver and enamel peacock brooch designed by Charles Robert Ashbee, wirework feathers with enamelled blue and green eyes, set on mother of pearl shell back, the bird set with demantoid garnet eye, holding a mother of pearl drop, stamped marks to side and back, GofH Ltd mark, London 1907, 7.5cm. high Provenance Duke’s Auctioneers 27th April 2006 lot 820 Private collection Literature Modern Design in Jewellery and Fans, The Studio Special, 1901­1902, plate 20 for a comparable peacock brooch by C.R. Ashbee illustrated.

Alan Crawford C.R. Ashbee Architect, Designer and Romantic Socialist, Yale, page 360 plate 178 for a variation of the Peacock design.

Michael Jeffery Christie’s Arts and Crafts Style, Pavilion, page 159 for another example of a Guild of Handicraft peacock brooch illustrated.

Catalogue notes.

This example is probably number 10, dated 1907, listed by Alan Crawford in C.R Ashbee Architect Designer and Romantic Socialist (page 456 footnote number 55 in a private collection). The Peacock, along with the galleon was one of Ashbee’s favourite subjects and he used as the basis for some dozen individual brooches in the early 1900s. he wrote ‘I hold the Peacock a most fitting symbol of the Arts and Crafts.

It started with a splendid tail, all eyes and pride but that the tail subsequently came off in fireworks.

However too the peacock is a symbol of the resurrection’. £5,000­6,000

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453 A Liberty & Co silver and moonstone pendant necklace designed by Jessie M King, model no.9259, the silver frame cast with foliage sprays enamelled sky blue and pink, set with two moonstones, on link chain, stamped patent to chain clasp, 3cm long Provenance Didier Antiques, London Private collection.

Literature This design is illustrated in a Liberty catalogue as number 9259. £800­1,200

453

454 A Liberty & Co silver and enamel brooch designed by Archibald Knox and made by W H Haseler, cast stylised foliage design, enamelled in blue, green and red, stamped marks, W.H.H, silver, 2.8cm. wide Literature Stephen Martin Archibald Knox, page 260 for a comparable example illustrated. £500­800 455 A set of four Liberty & Co silver napkin rings, elliptical, hammered finish each set with stone cabochon inside rope border, stamped marks, L & Co Birmingham 1924,1927, 1924 and 1928, 6cm wide, (4) £300­400

454

456 A set of six Liberty silver and enamel teaspoons, cast with Art Nouveau foliate terminal and blue, green and orange enamel panel, in fitted silk lined case, stamped Marks L C & C Ltd, Birmingham 1902, 11cm. long (6) £200­300

456

455 456 part 132

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457 A good Liberty & Co Cymric silver and enamel carriage clock designed by David Veasey, model no.50039, rectangular, footed form with flaring, slightly domed mantle, cast with Art Nouveau tulip stem columns, and panel of a stylised tree in a landscape, enamelled in shades of blue and green, the circular dial enamelled green and blue, with Roman numerals, stamped marks, L & Co Cymric, Birmingham 1903, 12cm. high Provenance Applied Arts, Sotheby’s Bond Street, 25th October 1991 lot 307.

Property from the Estate of Roland Baker deceased. £8,000­12,000

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458

459

458 A Liberty & Co silver trefoil serving dish, three circular hammered bowls on ball feet, with central scroll handle with ball terminals, stamped marks, L & Co Birmingham, 1911, 16.5cm. wide 460

£200­300 459 A Liberty & Co mahogany overmantle shelf, shaped rectangular form with box shelf, inset with a print of two young Dutch children on a cart drawn by donkeys in the manner of John Hassall, with some hand colouring, applied Liberty ivorine label, 91.5cm. wide, 70cm. high £120­180

461

460 A Liberty and Co English Pewter hot­water jug and cover designed by Archibald Knox, model no.0280, cast in low relief with Art Nouveau foliage on whiplash stems, and a Liberty & Co hammered form set with green stone cabochon, stamped marks, 20cm. high £150­250 461 A pair of Liberty polished pewter candlesticks designed by Archibald Knox, model no.023, domed base cast in low relief with radiating foliate motif, cylindrical stem with flaring quattro­lobed sconce, stamped 023, 12cm. high, (2) Literature Liberty & Co Including the Collection of the late Keith Carpenter, Christies South Kensington, 24th September 2003, lot 5 a comparable pair illustrated. £200­300

462

462 A Liberty & Co English Pewter sugar basin designed by Archibald Knox, model no. 0375, cast in low relief with Art Nouveau whiplash foliage design, a Liberty & Co pewter and enamel napkin ring designed by Archibald Knox, model no.0920, a Liberty pewter vase model no.029, and a pair of pewter vases model no.0763, stamped marks, 9cm wide (sugar basin), 20.5cm. high (tallest vase) (5) £120­180 463 A Liberty & Co English Pewter jug designed by Archibald Knox, model no.0958, tapering cylindrical form with hinged cover, cast in low relief with Art Nouveau whiplash foliage with enamelled blue and green heart­shaped leaves, stamped marks, 13cm. high £120­180

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464 A Liberty & Co copper wall mirror designed by Archibald Knox, tapering rectangular form with stamped Celtic entrelac panel, with rived and hammered finish decoration, applied ivorine label, 72cm. high, 42cm wide Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 229 for a comparable mirror illustrated. £1,500­2,000

464

465 A Liberty & Co Cymric silver and enamel footed bowl designed

by Archibald Knox, tapering circular form on three looped feet, the body cast in low relief with Celtic entrelac panel with blue and green enamel to the rim, stamped marks, Cymric, Birmingham 1902, 16.5cm, diam, 9.5cm. high, approx. weight 13.5oz.

Provenance A private collection. £1,500­2,000 465 135

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466 A Liberty Tudric Pewter and enamel tray designed by Archibald Knox, model no.0357, rounded, rectangular form, cast in low relief with Art Nouveau Ivy leaf panels, with central arched handle, the well enamelled blue stamped 0357 and regd number, 30.5cm. wide £150­200

467 A Liberty & Co English Pewter and enamel Bollelin dish designed by Archibald Knox, model no. 044, circular, cast in relief with a border of scrolling foliage, the central shield shaped panel enamelled blue, inscribed to Mr & Mrs Arthur E Jalland, 1914, with applied hanging loop to reverse, stamped marks to back. 25.8cm. diam.

466

Provenance Private collection. £400­600

468 A large Liberty & Co English Pewter twin­handled tray designed by Archibald Knox, model no.0231, rounded rectangular form, cast in low relief with stylised Art Nouveau foliage, stamped marks, 48.5cm. wide.

Provenance The Estate of David Coachworth and Peter Myers. £150­250

END OF SALE 467

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DESIGN WEDNESDAY 19TH OCTOBER 2022 CLOSING DATE FOR ENTRIES 24TH AUGUST

interior detail

A rare Wedgwood Boat Race bowl, designed by Eric Ravilious Estimate £3,000 ­ 5,000* Provenance A private collection of Eric Ravilious ceramics

ENQUIRIES Michael Jeffery | +44 (0)1722 424505 | mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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FURNITURE, WORKS OF ART & CLOCKS WEDNESDAY 29TH AND THURSDAY 30TH JUNE 2022

THE SALE WILL INCLUDE SELECTED CONTENTS OF REDLYNCH HOUSE, DOWNTON, SALISBURY

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

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SILVER & OBJECTS OF VERTU TUESDAY 12TH & WEDNESDAY 13TH JULY 2022

By Otto Prutscher for the Weiner Werkstätte, an Austrian silver box and cover, executed by Alfred Mayer,1908, height 14cm Provenance: From a private collection Ivory Act Registration Reference: BADP857C Estimate £10,000 ­ 15,000*

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

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.

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 (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

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.

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.

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

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing.

This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

ARTIST’S RESALE RIGHT / DROIT DE SUITE 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).

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.

• 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 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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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

FINE ARTS AND CRAFTS

Lot Number

Brief Decription

Price Excluding

in numerical

buyer’s premium

order

& VAT

WEDNESDAY 15TH JUNE 2022 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

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