Woolley & Wallis Auctioneers

ARTS AND CRAFTS INCLUDING THE DAVID COACHWORTH AND PETER MYERS COLLECTION TUESDAY 24TH AUGUST 2021

DESIGN INCLUDING THE KATE CATLEUGH COLLECTION WEDNESDAY 25TH AUGUST 2021

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

20TH CENTURY DESIGN

VALUATIONS FOR INSURANCE & PROBATE

Michael Jeffery Zoe Smith

424505 446955

AFRICAN & OCEANIC ART ANTIQUITIES 339752

ASIAN ART 424506 +44 (0)7812 601098

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards

Clare Durham Sarah Stone

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

Sally Litherland

MARKETING 424507 446964

Sally Trench

ACCOUNTS FURNITURE, WORKS OF ART & CLOCKS 411854 339161 446974

JAPANESE ART Alexandra Aguilar

424583

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell

341469

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Sharon Ringwood Anna Gentleman

BOARD OF DIRECTORS John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director

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

424500

CASTLE GATE RECEPTION 424589

ENGLISH & EUROPEAN CERAMICS & GLASS

Mark Yuan­Richards Jim Gale Suzy Becsy

424598 424509 424509

GENERAL OFFICE

Will Hobbs

John Axford MRICS ASFAV Jeremy Morgan

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

424501 424594

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

446959

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TUESDAY 24TH AUGUST 2021 | 10.00AM

ARTS AND CRAFTS INCLUDING THE COLLECTION OF DAVID COACHWORTH & PETER MYERS WEDNESDAY 25TH AUGUST 2021 | 10.00AM

DESIGN INCLUDING THE COLLECTION OF KATE CATLEUGH at our Castle Street Salerooms, SP1 3SU

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

VIEWING Saturday 21st August Monday 23rd August Tuesday 24th August

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

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

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

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

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COLLECTION OF LOTS BY APPOINTMENT

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Collection by appointment from Tuesday 1st September from our Old Sarum Warehouse, Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX

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ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a ‡ symbol which sell for more than €1000 are subject to the levy, payable by the bidder. Please refer to page 221 for full details.

ILLUSTRATIONS Cover: Lot 413 Inside cover: Lots 210­214 Catalogue £10.00 (£15.00 by post)

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DAVID COACHWORTH & PETER MYERS David joined the Victoria & Albert Museum’s Department of Circulation in the late 1950s as a Museum Assistant, the lowest curatorial grade, (the then entrance grade). Previously he had worked as a display designer at a top London department store (Derry & Toms). At the Museum, he was part of the team working on the soon to be opened Victorian Primary Gallery – led

by Hugh Wakefield as Keeper, with Barbara Morris, Elizabeth Aslin and Shirley Bury, and this set a course for much of David’s future interests. He was promoted to Research Assistant level in the early 1960s with a continuing responsibility for some 19th century material, but also for the growing area of studio ceramics.

David Coachworth

Peter Myers

The department assembled exhibitions, generally of six cases although occasionally rather bigger, which were travelled around the country to regional museum and galleries. Each Research Assistant was responsible for the annual programme of loans to venues within a designated area of the UK. David’s area was museums in the west, and the midlands to west Scotland. Of these travelling exhibitions, he assembled Ruskin Pottery, Moorcroft, Martinware, and 6 Studio Potters among others.

The Department was also responsible for some major V&A exhibitions which involved David, such as International Ceramics, 1972 (which he worked on with Hugh Wakefield), on Collingwood/Coper and Liberty a Centenary Exhibition, 1975, which was instigated by Circ., the catalogue edited by Shirley Bury. Other contributions to this important exhibition came from Barbara Morris, Elizabeth Aslin as well as David and curators from the textiles department. He never did a solo exhibition on either Lucie Rie or Bernard Leach, although both were included in the 1972 exhibition, and so it seems likely that his close friendship with Lucie came about over his work on the International Ceramics exhibition. He used to go to tea in her apartment on his way home to St John’s Wood from South Ken. He was on first name terms with her, she dedicated several books to him (lot 216) of course, also with Coper, Baldwin and others.

David contributed on many exhibitions organised by the Circ department from Claud Lovat Fraser to The Thirties and Keith Murray in 1976 and these interests are all reflected in the diverse collection offered for auction. He was a very private individual ands his loans to exhibitions were always listed as a private collection, often they have his personal DRC paper label and some have loan labels.

Peter and David first met when they attended Marylebone Grammar School as 11 year olds and so began a 70 year friendship. Peter, who was fluent in French, had graduated from Exeter University and then began his career in teaching eventually becoming Head of Modern Languages at Christ College Finchley. In the early ‘70s Peter and David moved in to their flat in Maida Vale which became their home for the next 50 years and the repository of their eclectic collection much of which was sourced by their extended visits to the local markets of Church Street and Portobello Road.

Peter was also extremely knowledgeable concerning the Arts and Crafts Movement and was supportive of David in helping to find items as well as loaning some from his personal collection for use in the Exhibitions that David had helped to organise especially the Liberty’s Exhibition.

Michael Jeffery

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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 DAVID COACHWORTH & PETER MYERS COLLECTION 1 ‘Don Juan by Lord Byron, illustrated by John Austen, published

by John Lane The Bodley Head, 1926, ‘The Beggars Opera’ by John Gay, limited edition, published by Daniel O’Connor, and a collection of nineteen books, (21) Provenance The David Coachworth and Peter Myers Collection. £120­180 2 A Collection of books and ephemera relating to art and design, including Seven Golden Years, exhibition catalogue 1974, International Exhibition of Modern Jewellery 1890­1961, 1961, Wendy Ramshaw, exhibition catalogue, 1988, and a collection of books, (a lot)

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Provenance The David Coachworth and Peter Myers Collection. £150­250 3 A collection of books illustrated by Claud Lovat Fraser, including; The Woodcutter’s Dog, The Luck of the Bean­Rows, Gay’s The Beggar’s Opera 1728, and a small collection of ephemera relating to Claud Lovat Fraser, The Works of Rabelais illustrated by William Heath Robinson, and a collection of books, (a lot)

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Provenance The David Coachworth and Peter Myers Collection. £150­250 4 The Illustrated Catalogue for the Great Exhibition 1851, dedicated to His Royal Highness Prince Albert, published by The Art Journal, The Paris Exhibition 1900, The Art Journal, 1901, and a collection of reference books including The Studio and The Studio Yearbook 1927, (a lot) Provenance The Peter Myers Collection. £150­250 5 Craftsmanship in Competitive Industry a book by Charles Robert Ashbee, 1908, Truth, Beauty Power by Christopher Dresser, published by Cassell Peter & Galpin, ‘The Work of Walter Crane with Notes by the Artist’, Art Journal, 1898 ,’Under the Hill’ by Aubrey Beardsley’, The Bodley Head, 1904, and Country Matters written and engraved by Claire Leighton, Victor Gollancz, 1937, four books, (5)

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Provenance The Peter Myers Collection. £150­200 6 Walter Crane (1845­1915) Queen Summer or The Tourney of the Lily & The Rose, large, numbered edition book published by Cassell & Co. 1891, lithographs in colour by Walter Crane, The Work of Walter Crane, Easter Art Annual, 1898, Shakespeare The Merry Wives of Windsor published by George Allen, 1894 and illustrated by Walter Crane, The Tempest, eight illustrations by Walter Crane published by J M Dent 1893, Echos of Hellas, two volumes published by Marcus Ward, 1888, and a collection of books illustrated by Walter Crane, (a lot) Provenance The Peter Myers Collection. £150­250

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7 A pair of press moulded glass urn shaped vases, marbled white, green and blue glass, cast on tripod base modelled as three classical birds, chained to an urn, a clear and frosted glass vase modelled as a hand offering up a flower, a purple marbled glass vase cast in low relief with figures, a pair of cut glass decanters, a Poison bottle and stopper, five other chemists bottles, and a large collection of glass mainly press moulded, various marks, minor damages, 17.5cm, high (a lot) £120­180 8 A James Powell & Sons Whitefriars flint glass decanter and stopper, shouldered ovoid body on applied foot, the cylindrical neck with pulled trefoil rim and ovoid stopper, an engraved glass ewer, an engraved glass goblet by N Davidson, dated 1976 and two others similar, unsigned, 31cm. high (6)

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Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 109 plate 53 for a comparable engraved example of the decanter. £120­180 9 A Viennese glass vase the design in the manner of Josef Hoffmann, footed form with flaring bowl, cut with geometric star and crescent design, and a Steuben taller, fluted green glass vase main unsigned, green vase signed Steuben, 15.3cm. high (2) Catalogue notes There is a similar shaped vase designed by Josef Hoffmann, circa 1923 made by Johann Oertel & Co, decorated by Julius Zimpel in the Vienna Kunst Historisches Museum. £120­180

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PARIAN WARE

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LOTS 10-33 Provenance: The Peter Myers Collection 10 The Parian Phenomenon a reference book edited by Paul Atterbury, published by Richard Dennis Publications, The Parian Ware Phenomenon exhibition catalogue and a collection of books on late nineteenth century design, (a lot) £120­180 11 ‘The Reading Girl’ a J & T Bevington Parian Ware figure, after Pietro Magni, modelled as a young girl seated sideways reading a book resting on the chair back, unsigned, 30cm. high Literature The Parian Phenomenon, Richard Dennis Publications, page 241 figure 800 for a comparable example illustrated. £120­180 10

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12 ‘Beatrice’ a Copeland Parian Ware figure after a sculpture by Edgar Papworth impressed factory marks and title to base, small under chip to base rim, 57cm. high £120­180 13 ‘Dancing Girl Reposing’ a Copeland’s Art Union of London Parian Ware figure after the engraving by Calder Marshall, modelled standing holding a tambourine, stamped Art Union of London to front of base, 45.5cm. high 45.5cm. high Literature Parian Phenomenon Richard Dennis Publications, page 33 figure 43 for a comparable example illustrated. £120­180 14 A Copeland Parian Ware jardinière and stand, cast in low relief with Bacchanalian children collecting grapes from a grape vine, two graduated Parian Ware trumpet vases cast with sea nymphs, a Parian Ware plaque of Prince Albert from a plaque

by Megret, another plaque and two Parian Ware jugs, stamped Copeland 40.5cm. high (8)

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£120­180

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15 ‘Theseus’ a Minton Parian Ware figure probably modelled by A Carrier­Belleuse, modelled riding a rearing horse, incised Ermine mark, stress hairlines to base, 41.5cm. high Literature Paul Atterbury (editor) The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, Richard Dennis Publications, page 71 figure 103 for this model illustrated.

Catalogue notes This figure is the companion to the Amazon figure and was shown at the Great Exhibition of 1851. It was probably modelled by Carrier­Belleuse after an alabaster

by Benjamin Cheverton copied from the Elgin collection in the British Museum. £200­300 16 ‘The Dying Gladiator’ a Bates Brown Westhead Moore & Co Parian Ware figure, made for the Crystal Palace Art Union, based on the antique marble in the Capitoline Museum, Rome, impressed Art Union marks, 35.7cm. wide Literature Paul Atterbury (editor), The Parian Phenomenon, Richard Dennis, page 240 figure 793, this model illustrated.

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£120­180 17 ‘Naomi and Her Daughters in Law’ a Minton Parian Ware figure, shape no.183, cast title to base, makers mark and incised model number to base rim, 35cm. high Literature Paul Atterbury (editor), The Parian Phenomenon, Richard Dennis, page 67 figure 91, this model illustrated. £120­180 18 ‘Cupid and Psyche’ a J Ridgway Bates & Co Art Union of London Parian Ware sculpture after J Wilson RA, dated 1858, impressed Art Union of London 1858 to base, 49cm. high £150­250 16

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19 ‘Emily and The White Doe’ a Copeland Parian Ware figure designed by F M Miller, cast Copeland mark and facsimile signature, chip to side of base, 48cm. high Literature Paul Atterbury (editor), The Parian Phenomenon, Richard Dennis, page 169 figure 557, this model illustrated. £120­180 20 A Parian Ware figure of an allegorical woman probably Copeland or Minton, modelled standing her hand raised up to her chest, unsigned, 44cm. high £120­180 21 ‘Faust & Margret’ a Worcester Parian Ware sculpture of a young couple by William Boynton Kirk, modelled standing on naturalistic base, another figure group of a floating maiden and another Parian Ware figure of a young Victorian boy with a box and two mice, impressed artist facsimile to main, 33cm. high, (3)

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Literature Paul Atterbury (ed) The Parian Phenomenon, Richard Dennis, page 210 figure 689 for a comparable figure illustrated. £120­180 22 ‘Maria’ a Turner & Co Art Union of Great Britain Parian Ware figure, modelled as a woman resting with a goat, and another Parian Ware figure group model 156, impressed marks, damages, 35cm. high, (2) £120­180 23 ‘Waste Not Want Not’ a Copeland Parian Ware charger, modelled in low relief with radiating foliage, two other plates, a Parian Ware bread bowl, a three spout cornucopia vase, a bust of Rubens and four other items, printed factory mark, 34cm. diam. (10) £120­180

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24 ‘Daphne of Clitie’ a Parian Ware bust, on waisted socle, and another large Copeland Parian Ware Ceramic and Crystal Palace Art Union bust of a woman casting a downward gaze, on waisted socle, main unsigned, Copeland bust old museum restoration to her little finger, 29cm. high (2) £120­180 25 ‘Apollo’ a Parian Ware bust probably Worcester, on waisted socle, another Worcester Parian Ware bust of Professor Wilson by James Fillons, and a bust of a classical male unsigned, 28cm. high (3) Literature Paul Atterbury (ed) The Parian Phenomenon, Richard Dennis, page 207 for an illustration of a comparable bust of Apollo. £150­200 26 ‘Love’ a Copeland Crystal Palace Art Union Parian Ware bust after R Monti, dated Sept 1871, on waisted socle, and Miranda a Copeland Crystal Palace Art Union bust after W C Marshall RA, impressed factory marks, 33cm. high (2) Literature The Parian Phenomenon, Richard Dennis Publications, page 186 figure 618 for a comparable bust illustrated. £120­180 27 ‘Flora’ a Copeland Parian Ware bust, on waisted socle, and another Parian Ware bust of a woman on waisted socle mounted on pedestal with moulded floral garland, unsigned, 28cm. high (flora) (2) Literature The Parian Phenomenon, Richard Dennis Publications, page 183 figure 600 this model illustrated.

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28 ‘Queen Victoria’ and ‘Prince Albert’ a pair of Copeland Crystal Palace Art Union Parian Ware bust after W Theed, dated 1864, impressed factory marks and dates, 33cm. high, (2) Literature Parian Phenomenon Richard Dennis Publications, page 182 figure 596 these designs illustrated. £120­180 29 ‘William Shakespeare’ a J & T Bevington Parian Ware bust, model no. 311, cast marks 37.5cm. high

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£120­180 30 ‘Clytie’ a J Ridgway Bates & Co Parian Ware figure after C Delpech, on waisted socle, and a Copeland Art Union of London Parian Ware bust of Alexandra by Mary Thornycroft, on a base, unsigned, small chip to base, 28.5cm. high (3) Literature The Parian Phenomenon, Richard Dennis Publications, page 240 figure 798 this model illustrated.

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£120­180 31 ‘William Shakespeare’ a Copeland Crystal Palace Art Union Parian Ware bust designed by R Monti, on waisted socle, and another Parian Ware bust by E W Wyon, on waisted socle, stamped marks, 35cm. high, (2) £120­180 32 ‘Apollo’ a Copeland Art Union of London Parian Ware bust after C Delpech, dated 1861, cast marks to base rim, 34cm. high £120­180

£120­180 32

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33 33 A large collection of Victorian press­moulded jugs, various makers factory marks, (a lot) Provenance The Peter Myers Collection. £200­400

LOTS 34-38 Provenance: The David Coachworth and Peter Myers Collection 34 A large Brown Westhead and Moore wall charger, painted with a finch bird flying towards an orchid flower, in colours on a green ground, impressed marks, chip to back of rim, 48cm. diam. £120­180 35

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35 An Aesthetic Movement portrait wall plaque

by Julia C Smith, painted with a portrait of a woman with blue pearls, in colours, in ebonised wooden frame, signed Julia C Smith Copyright to front, marks to back concealed, 30cm. diam. (charger) £120­180 36 A Victorian pottery moonflask, printed in colours with Temple Bar and Houses of Parliment vignettes, four jugs a beaker and a collection of Aesthetic movement plates, impressed and printed marks, 25.5cm. high (a lot)

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£120­180

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37 ‘The World’ a set of twenty Wallis Gimson & Co plates, octagonal, printed in colours with a Japoniste design inset with a landscape picture, titled, printed factory marks, 24cm. wide, (20) £120­180 38 ‘Ivanhoe’ a pair of Wedgwood plates, printed in black with scenes, inside a border of portraits, animals and fish, on a green ground, ‘Alfred’ a wall plate in the manner of John Moyr Smith, and a collection of ceramics with designs by John Moyr Smith and W.S. Coleman printed factory marks, 26cm. diam. (a lot) £120­180 39 A Doulton Lambeth Queen Victoria salt­glaze stoneware commemorative jug, with applied portraits of Queen Victoria, inscribed in slip, She wrought her people lasting good, another Doulton Lambeth Queen Victoria jug and a collection of commemorative pottery and china, and Doulton Ware impressed marks, 18cm. high (a lot)

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£120­180 12

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Provenance The David Coachworth Collection.

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40 ‘Bo Peep’ a quattro­lobed dish after a tile design by Walter Crane, printed and painted with Bo Peep looking for her sheep to the well, after a tile design by Walter Crane, the border honeysuckle, a large Copeland Late Spode platter decorated with Yorick & Hamlet scene and a collection of plates many with Japoniste designs, painted BB 1881 mark to back, 29.5cm. wide, (a lot).

43 A Royal Doulton Brangwyn Ware small tureen and cover designed by Frank Brangwyn, decorated in low relief with bands of stylised foliage in blue, on a cream ground, two Royal Doulton vases designed by Frank Brangwyn covered in a green glaze, a Royal Doulton Titanium Ware pieces, a Royal Worcester Sabria Ware vase, a Royal Doulton Kings Ware jug, a Royal Doulton Sampler Series Ware large plate, Lady With a Pearl Necklace a Beswick wall plaque, and a collection of ceramics including Doulton, Bullers and Denby Danesby Ware, printed factory marks, V&A paper label, 14cm. high, (a lot),

Provenance The Peter Myers Collection. £120­180 41 An unusual Minton & Co oval wall plaque, painted to the well with a classical figure holding a tambourine, inside a scrolling foliage border, painted in colours on a mustard yellow ground, impressed factory marks, painted Minton &Co panel to the front, 33cm. long Provenance The David Coachworth and Peter Myers Collection.

42 44 ‘Pavlova (Swan Song)’ HN.676 a rare Royal Doulton figure, painted in colours impressed and printed marks, painted Pavlova H.N.676, 17cm. wide Provenance The David Coachworth and Peter Myers Collection.

Literature 20th Century Design, Woolley and Wallis Auctioneer’s, 14th October 2009, lot for another example.

Catalogue notes Anna Pavlova came to Europe in 1908. she was described by Diaghilev as ‘the greatest ballerina in the world,... she does not dance, but floats’.

This figure, created by an unknown designer, was introduced in 1921, and re­introduced after Pavlova’s death in 1931.

Provenance The David Coachworth and Peter Myers Collection.

Exhibited The Doulton Story Victoria & Albert Museum, 1979, catalogue number M.17 (317) (Brangwyn tureen) the Series Ware plate also has loan labels (310) suggesting it was included in this exhibition also.

£150­250

£120­180

£120­150 42 A Minton’s majolica wall charger designed by A W N Pugin, circular, slip moulded with radiating white lily flowers, inside a band of chevrons, in colours on a green ground, impressed marks to back, 36cm. diam.

Provenance The David Coachworth and Peter Myers Collection.

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£200­300

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45 A Theodore Deck Iznik pot and cover, circular form, painted with panels of flowers and foliage in colours on a pale blue ground, impressed mark, hairline to top rim, 14.5cm. diam.

Provenance The David Coachworth and Peter Myers Collection. £120­180 46 A rare Craven Dunhill & Co ruby lustre wall plate, painted with a monkey amidst scrolling Art Nouveau flowers and foliage, and a single­handled vase similar, painted C D & Co Jackfield no.60, 23.5cm. diam. (2)

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Provenance The David Coachworth Collection. £120­180 47 A William De Morgan Iznik ewer, covered in a red lustre glaze impressed tulip mark, 22cm. high Provenance The David Coachworth and Peter Myers Collection. £150­250 48 A Morris & Co Bough tile designed by William Morris, the trimmed tile painted with panels of foliage and berried foliage in orange on a tin­glaze, and four Dutch Persian Flower tiles unsigned, 15 x 14.5cm. (5) Provenance The David Coachworth Collection.

Literature Richard and Hilary Myers William Morris tiles, Richard Dennis Publications, page 101 figure 151 for the Bough tile illustrated, and page 140 figure 242 for the Dutch Persian Flower tiles.

Catalogue notes The Persian Flower Dutch tiles were probably commissions for Murray Marks and/or Thomas Elsley and were used in the fireplaces in the Tapestry Room and Panelled Room at Kelmscott Manor.

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£150­200

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49 A pair of Morris & Company Poppy tiles designed by William Morris, painted with single flower stem in shades of pale yellow and green, and a poster for the Morris & Company Tiles exhibition, unmarked, minor rim chips, 13cm. square, (3)

52 A Morris & Co Peony tile the designed by Kate Faulkner, painted with flower stems in yellow and green on a white ground, unmarked, minor glaze frits, 15.2cm. square

Provenance The David Coachworth Collection.

Literature Richard and Hilary Myers William Morris Tiles, Richard Dennis Publications, page 96 plate 40l for two comparable Peony tiles illustrated.

William Morris, Victoria & Albert Museum, page 194 catalogue K.20 for a comparable tile illustrated,

Exhibited Morris & Company Tiles William Morris Gallery, 14th September 1996­5th January 1997.

Literature Richard and Hilary Myers William Morris Tiles, Richard Dennis Publications, page 96 figure 40h for two Poppy tiles illustrated £300­500 50 A Morris & Company Peony tile the design attributed to Kate Faulkner, painted in shades of green and yellow, unmarked 15cm. square Provenance The David Coachworth Collection.

Literature Richard and Hilary Myers William Morris Tiles, Richard Dennis Publications, page 96 figure 40l for a comparable pair of Peony tiles illustrated Linda Parry William Morris, Philip Wilson/V&A Exhibition catalogue, 1996, page 194 catalogue number K.20 for a comparable tile illustrated.

Exhibited Morris & Company Tiles, William Morris Gallery, 14th September 1996­5th January 1997, catalogue number 122 this actual tile exhibited. £150­250 51 A pair of Morris & Co Bough tiles, painted with simple leaf fronds in orange on a tin­glaze, unmarked 15.5 x 14cm. (2) Provenance The David Coachworth Collection.

Exhibited Morris & Company Tiles, William Morris Gallery, 14th September 1996­5th January 1997, catalogue number 122 and K12B

Provenance The David Coachworth Collection.

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Exhibited Morris & Company Tiles, William Morris Gallery 14th September 1996­5th January 1997, catalogue number 122 this tile exhibited. £150­250 53 A Morris & Co Lily tile the design attributed to William Morris, painted with flower design in blue on a white ground, stencilled price 2/ to reverse and painted Lily, 12.7 x 13cm.

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Provenance The David Coachworth Collection.

Exhibited Morris & Company Tiles William Morris Gallery, 14th September 1996­5th January 1997, catalogue number 118 this actual tile exhibited. £150­200 54 Three Morris Marshall Faulkner & Co Longden tiles probably designed by Philip Webb, painted with flower panels in blue on a white ground one printed Morris & Co mark, minor rim chips, 15.5cm. square, (3)

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Provenance The David Coachworth Collection.

Exhibited William Morris 1834­1896, Victoria & Albert Museum, 9th May­1st September 1996, catalogue K15b & K15c.

Literature Linda Parry (editor) William Morris V&A page 191 catalogue number K15b & 15c illustrated. £200­300

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£150­250

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55 56 55 ‘Night’ and ‘Noon’ two Minton Hollins & Co large tiles designed by Walter Crane, printed in black and blue, ‘Aestas’ a large Maw & Co tile designed by Walter Crane, and a large collection of tiles, impressed marks, Noon museum restored, 20.5cm. square, (a lot) Provenance The David Coachworth and Peter Myers Collection. £200­300 56 A Minton’s Aesthetic Movement tile plaque, painted with a pair of white birds flying amongst a flowering prunus bough, in colours on a vivid blue ground, framed, marks concealed by frame, 46 x 25cm.

Provenance The David Coachworth and Peter Myers Collection. £120­180

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57 A Carter’s Poole Pottery portrait tile, made in a limited edition of 500 for the Poole Borough League of Hope, covered in a blue glaze, a Carter’s tile painted with a medieval sailing vessel, a Sherwin & Cotton Queen Victoria portrait tile designed by George Cartlidge, a Minton’s tile designed by Dr Christopher Dresser, printed with flying cranes, and a large collection of tiles including designs by Moyr Smith applied paper label, 15 x 10.5cm, (a lot) Provenance The David Coachworth and Peter Myers Collection. £200­400 58 An Aesthetic Movement W B Simpson & Sons three tile panel, on large Minton’s blank tiles, printed in black, grey and ochre highlighted in white with a young boy holding a robe, in an architectural alcove setting, and four W B Simpson tiles with geometric decoration and an en suite spacer tile, cast Minton’s marks and painted inscription, chips, 23.5 x 23cm (each large tile), (8) Provenance The David Coachworth and Peter Myers Collection. £120­180

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59 A large Minton & Co Encaustic Heraldic tile, the design attributed to Godfrey Sykes, inlaid with two seated heraldic lions back to back, under a crown and central V and heart motif in black and tan, impressed marks, 23cm, square Provenance The David Coachworth and Peter Myers Collection.

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£120­180

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60 An Art Nouveau Della Robbia Pottery single­handled vase by Cassandia Annie Walker, dated 1903, the cylindrical body painted with panels of heart motif in blue, yellow and rust red, on a white ground, incised mark, date and monogram, 21.5cm. high Provenance The David Coachworth and Peter Myers Collection.

62

£150­250 61 A Della Robbia Pottery vase by Hannah Jones, shouldered ovoid form with flaring cylindrical neck, incised and painted with stylised foliage in green and yellow, highlighted with brown on a white ground, incised Della Robbia marks, painted HJ monogram, 25.5cm. high Provenance The David Coachworth and Peter Myers Collection. £150­200 62 A Della Robbia Pottery Irish Clay bottle vase by J Delahunt, dated 1902, the pear shaped body with knopped neck and flaring top rim, modelled in low relief with two Art Nouveau maidens holding diaphanous scarves, dancing before the rising sun, inscribed to lower band Who Teaches Beauty Teaches Holiness, glazed in colours, incised DR Irish Clay, dated 1902 and incised signature, paper US import label and DRC collection label, restoration to top rim and knop of neck, 38.5cm. high Provenance The David Coachworth and Peter Myers Collection. £500­1,000 63 A Della Robbia Pottery bottle vase by Cassandia Annie Walker, the pear shaped body with knopped neck and flaring rim, incised and painted with three ships sailing on a calm sea before a rising sun, glazed in colours incised mark, CAW monogram and 99, DRC paper label, professional restoration to knop, 40cm. high Provenance The David Coachworth and Peter Myers Collection. (DRC) £500­1,000

63

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65 64 64 Ian Gregory (born 1942) The Martin Brothers Potters, a salt­glaze stoneware invite to David Coachworth to the Exhibition held by Richard Dennis, 1978, modelled as the Martin brothers Brownlow Street pottery, impressed marks, 25cm. high Provenance The David Coachworth and Peter Myers Collection. £80­120 65 A Minton’s jardinière and saucer designed by William S Coleman, tapering square section, printed and painted in colours with butterflies, moths and wildflowers, and four Mintons plates designed

by W.S. Coleman, printed and painted with japoniste animal and flora motif, impressed and printed marks, 16.5cm. high (6) 66

Provenance The David Coachworth and Peter Myers Collection. £150­250 66 A Potters Art Guild Compton Pottery box and cover, rectangular section, cast in low relief with grape vine panels, in shades of green, purple and red, two others smaller and a smaller circular pot and cover, unmarked, flat chip to base of largest box, one smaller pot stamped Compton, 12cm, wide, (8) Provenance The David Coachworth and Peter Myers Collection. £120­180 67 A Sunflower Pottery vase by Sir Edmund Elton, ovoid with tapering cylindrical neck, modelled in low relief, in colours on a streaked dark blue green ground, painted Elton signature, 31.5cm. high

67

Provenance The David Coachworth and Peter Myers Collection. £120­180 68 A Sunflower Pottery vase by Sir Edmund Elton, shouldered form with three applied handles, slip decorated with a fruiting bough, in colours on a streaked green and blue ground, a Sunflower Pottery jug with three handles, a candlestick, a mug and a pot, painted Elton, minor glaze chips, pot missing a cover 23.5cm. high (5) Provenance The David Coachworth and Peter Myers Collection.

68

18

£150­200

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‡ 69 Alfred Powell (1865­1960) Red Poppies painting on silk signed Alfred Powell, annotated 1949 in pencil to reverse of mount 36 x 25cm. £120­180 70 A Wedgwood Pottery vase and cover painted by Grace Barnsley, swollen cylindrical form, the cover with ball finial, vase and cover painted with flower stems in blue and red on a white ground, and a Wedgwood bowl dated 1912, painted with green ivy borders, impressed Wedgwood painted GB monogram and 187, bowl painted G F M monogram, 12cm. high, (3) Provenance The David Coachworth and Peter Myers Collection.

Catalogue notes The Grace Barnsley monogram incorporates the ‘D’ denoting her married name of Davies, following her marriage to Oscar Davies in 1926. £150­200 71 A Wedgwood jug and cover painted by Louise Powell, model no.4036, shouldered, ovoid form, painted with a band of alternating berried laurel frond, in green black and red impressed marks, painted monogram and number 4036, 17cm. high, (2) 69

Provenance The David Coachworth and Peter Myers Collection.

Literature Maureen Batkin Wedgwood Ceramics 1846­1959, Richard Dennis Publications, page 152 plate 369 for a comparable jug and cover illustrated. £200­300

70

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LOTS 72-78 Provenance: The David Coachworth and Peter Myers Collection 72 A C H Brannam Barum Ware jug by Frederick Braddon, dated 1904, slender, waisted cylindrical form, slip decorated with Glasgow Rose and bird motif in green and ochre on a yellow ground, a Lauder vase with applied scroll handles painted with a hummingbird amidst flowers, two Brannam vases covered in a purple glaze and a collection of ceramics, incised marks, damages 26cm. high (a lot) £150­200 73 A C H Brannam candlestick and sconce by Frederick Braddon, dated 1895, modelled as a heron wading beside a giant bamboo stem, the sconce a flower head, in shades of green, blue and cream, a Brannam pottery griffin candlestick and a Brannam grotesque modelled as a pug dog wearing a head scarf, incised marks, damages, 25cm. high, (4)

72

£120­180

73

74

74 A C H Brannam Barum Ware vase by William Baron, 1892, ovoid with tall cylindrical neck and applied scroll handle, and everted top rim, painted with fish swimming amidst waterweed, in green, tan and blue on a pale yellow ground, a Brannam plate tubeline decorated with Art Nouveau flowers and a collection of Brannam Pottery and a vase by Horace Elliot, , incised marks, restored neck, 25cm. high, (a lot) £120­180 75 A C H Brannam Pottery vase , slender, pear shape with applied handles, incised and painted with birds amongst stylised foliage in shades of blue, green and brown, and a collection of Brannam Pottery, main vase unsigned, 38.5cm. high (a lot) £150­250

75

76

76 A C H Brannam Barum Ware vase by Frederick Braddon, dated 1907, shouldered form with three applied handles, slip decorated with Art Nouveau flower stems, in shades of blue, green and brown on a graduated ground, a Brannam vase decorated with a similar flower on blue ground, and another Brannam vase similar, incised marks, 28.5cm. high (3) £150­250 77 A C H Brannam Pottery jug made for Liberty & Co, tapering cylindrical form, slip decorated with foliate roundel sin white and ochre on a green ground, and a collection of C H Brannam pottery, impressed marks, applied Liberty paper label, 20.5cm. high (a lot) £150­250

77

78 A C H Brannam Fish jug made for Liberty & Co, the handle and spout modelled as a fish, incised and painted to the swollen body with a leaping scaly fish, glazed green, another C H Brannam jug decorated with flowers, a C H Brannam bowl with pierced rim and a collection of Brannam Pottery, impressed marks, 26cm. high, (a lot) Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum Museum, page 82 D223 (main jug).

20

78

£150­200

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79

80

79 An Art Nouveau C H Brannam Barum Ware vase made for Liberty & Co, tapering cylindrical form with everted, fluted top rim, incised and slip decorated with stylised flower stems, another Brannam jug made for Liberty & Co slip decorated with foliate roundels on a yellow ground, and a Brannam twin­handled vase made for Liberty stamped marks, 30.5cm. high (3) Provenance The David Coachworth and Peter Myers Collection.

Exhibited Liberty’s 1875­1975 An Exhibition to Mark the Firm’s Centenary, V&A Museum, page 83, D225A, D225G and D222K. £150­200 80 A C H Brannam jug by Horace Elliott, dated 1898, swollen form, slip decorated with a rotund fish in blues and green on a brown ground, another larger Brannam Fish jug and four other Brannam items decorated with fish motif, impressed Elliott and tfleur de lys mark, incised CHB 1898, (6) Provenance The David Coachworth and Peter Myers Collection.

Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, page 82, D224C (small vase). £120­180 81 An Art Nouveau C H Brannam plate by Frederick Braddon, dated 1905, slip decorated with three radiating flowers, in blue, green and brown on a green ground, two Brannam Owl pots made for Liberty & Co, three other vases and a Lauder vase decorated with scaly fish, incised marks, 27.5cm. diam. (7) Provenance The David Coachworth and Peter Myers Collection. £150­250

81

82

82 An Art Nouveau C H Brannam Barum Ware vase by Frederick Braddon, dated 1904, baluster form with twin strap handles, slip decorated with stylised Art Nouveau tulip flowers, in green and white on a green ground, and two Brannam motto tygs incised marks, 18.5cm. high (3) Provenance The Peter Myers Collection.

Exhibited Liberty’s 1875­1975 An Exhibition to Mark the Firm’s Centenary, V&A Museum, page 82, cat. no.D.225D (main vase) £120­180 83 A C H Brannam Grotesque wall pocket, dated 1900, modelled as a woman holding an umbrella which is being blown inside out by the wind, glazed in shades of green, ochre and blue incised C H Brannum, Barum 1900, min or old professional restoration to umbrella rim, 25cm. high

83

£120­180 84 An Art Nouveau C H Brannam vase by Frederick Braddon, dated 1910, slender, shouldered form, pieced and modelled in low relief with a scaly fish in turbulent water, in shades of green and black on a blue ground, incised C H Brannam, Barum, 1910, FB, PFM paper label, 39cm. high Provenance The Peter Myers Collection.

Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, July­October 1975, catalogue number D226 Literature Liberty 1875­1975, Victoria & Albert Museum, page 83 catalogue number D226 this vase illustrated. £200­300

84

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LOTS 85-91 Provenance: The David Coachworth and Peter Myers Collection 85 A Liberty & Co vase and candlestick garniture, probably made

by Gouda, painted with a band of heart­shaped foliage in yellow and blue on a green ground, and a collection of art pottery, incised marks, painted Liberty, 28cm. high (a lot) £120­180

85

86

86 A Mortlake Pottery stoneware vase by George J Cox, dated 1913, shouldered form with collar rim, covered in a mottled puce glaze with sky blue running glaze from the neck, another smaller Mortlake Pottery vase dated 1912 and a Frances Richards stoneware vase incised Mortlake 1913 and artist monogram, hairline to top rim, 24.5cm. high (3) £120­180 87 Denise Wren (Oxshott Pottery) (1891­1979) an Oxshott Pottery plate, simple form with irregular spot decoration to the rim, glazed blue and turquoise, five Oxshott Pottery mugs, two jugs and nine Upchurch Pottery pieces, incised Oxshott, glaze loss to plate, 16.5cm. diam. (17) £120­180 88 Nelson Dawson (1859­1941) a rare Chiswick Mall vase, dated 1917, cylindrical form with flat, lug handles, cast in low relief with a coat of arms, covered in a crackled off­white glaze, and a Charles Vyse porcelain bowl dated 1931, incised mark and date, 15cm. high, (2) £120­180 89 Alfred G Hopkins (1884­1948) a pair of Stairs Pottery stoneware Church vases, dated 1936, swollen rectangular form, cast in low relief with a chrismon flanked by stylised peacock birds, covered in a translucent lavender glaze, incised signature and date, impressed pottery mark, minor chips, 29cm. high (2)

87

£120­180 90 A Pilkington’s Lancastrian vase, dated 1911, shape no.2085, shouldered form, covered in a pale lavender glaze over turquoise, two other matt glaze Pilkington’s vases and a Pilkington’s Royal Lancastrian vase, and a bowl covered in a matt blue glaze, a vase moulded in relief with flower petal design, covered in a pale mint glaze, and two matt glazed vases, impressed factory marks, 27.5cm. high (5) 88

89

£120­180 91 Agatha Walker (1888­1980) Polly Peachum, 1922 a plaster and wax figure, Lucy Lockit another plaster and wax figure and a Wedgwood white glaze figure of Lucy Lockit dated 1921, monogram, title and date cast in base, Lucy Lockit wax figure repaired to neck, 27cm. high (Polly Peachum), (3) Catalogue notes Claud Lovat Fraser designed the set for The Beggar’s Opera at the Lyric Theatre in 1921. Wedgwood list models of Polly Peachum and Kate Hardcastle being made circa 1929 in small numbers. £120­180

90 22

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LOTS 92-97 Provenance: The David Coachworth and Peter Myers Collection 92 A Foley Intarsio vase designed by Frederick Rhead, model no.3015, pear shaped with single scroll handle, printed and painted with columns of flowers and foliage, in colours, another Foley Intarsio vase, model no.3441, and a Foley Intarsio vesta model no. 3089, printed factory marks, chip to base rim of second vase, 30.5cm. high (3) Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, July­October 1975, catalogue number D221CLiterature Liberty 1875­1975, Victoria & Albert Museum, page 81 catalogue number D221C this vase illustrated.

93 92

£150­200 93 A Late Foley Shelley Intarsio vase designed by Walter Slater, model no.3639, compressed form, printed with scrolling foliage panels in colours, four other Intarsio vases and a Foley Intarsio jug, various printed marks, crocus vase handles restored, 10cm. high (main vase), (6) £150­200 94 ‘Keep Time’ a Foley Intarsio mantel clock designed by Frederick Rhead, model no.3331, printed and painted in colours with a medieval musician playing a horn, circular dial with Arabic numerals, printed factory mark, painted inscription to reverse, DRC paper label and Loan 33 paper label 28cm. high Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, July­October 1975, catalogue number D221DLiterature Liberty 1875­1975, Victoria & Albert Museum, page 81 catalogue number D221D this clock illustrated.

94

95

£150­200 95 A Foley Intarsio vase designed by Frederick Rhead, model no.3343, shouldered form, printed and painted with a frieze of medieval maidens on a bridge, in colours, and a Shelley Late Foley Intarsio vase decorated with Art Nouveau flowers and foliage, printed factory marks, 29cm. high (2) £150­200 96 John Selwyn Dunn (1895­1978) a pottery charger, painted to the well with a stylised bird inside radiating foliate band, the rim with a band of stylised leaves, in blue, turquoise, purple and green, the reverse painted with green and blue painted flower stems, a plate painted with a flowerhead to the well, a Scottish heart­shaped dish by Ann Macbeth, and a bowl decorated with flowers, signed J Selwyn Dunn, hairline crack to rim,33cm. diam. (4)

96

£120­180 97 A John Pearson pottery bowl, painted to the well with three radiating fish, in blue, green, purple and silver lustre, and another smaller twin­handled bowl, painted JP mark to base rim, 21.5cm. diam. (2) £120­180 97 23

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98

99

98 ‘Powder Blue’ a Moorcroft Pottery vase designed by William Moorcroft, cylindrical form, with flaring rim, covered in a speckled blue glaze, a pair of Moorcroft ‘Powder Blue candlesticks, a pot and cover, tray similar, a small orange glazed bowl, and a small collection of ceramics impressed marks, 15.5cm. high (a lot) Provenance The David Coachworth and Peter Myers Collection.

Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, page 100 E27 £120­180 99 A James Macintyre & Co Aurelian Ware vase designed by William Moorcroft, shouldered form, printed with Art Nouveau flower stems in blue and iron red, highlighted in gilt on a white ground, and a Macintyre Gesso Faience Ware jug, printed factory marks, 21.5cm. high (2) Provenance The David Coachworth and Peter Myers Collection. £120­180

100

100 ‘Flamminian Ware’ a Moorcroft Pottery tray designed by William Moorcroft, rectangular, painted with four Art Nouveau roundels in blue and pink on a green ground, a Flamminian Ware pot and cover, a Leaf and Berry flambe saucer and a Macintyre miniature vase printed i n green with cornflower motif, painted green signature, hairline to the pot, 12.8cm. wide (5) Provenance The David Coachworth and Peter Myers Collection. £120­180

101

101 A Moorcroft Pottery ginger jar and cover designed by William Moorcroft, covered in an apple green lustre glaze, a bowl similar, six vases covered in green lustre glazes, a small baluster vase and a Ruskin Pottery orange lustre miniature ‘Elephant’s Foot’ vase and a bowl, impressed factory marks, 11cm. high (13) Provenance The Peter Myers Collection.

Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, page 100 E29 F (bowl) and E (vase). £150­200

102

24

103

102 A Moorcroft Pottery vase designed by William Moorcroft, shouldered, flaring cylindrical form, covered in an orange lustre glaze, a jardinière, a candlestick and five other vases by Moorcroft covered in orange lustre glazes, impressed factory marks, factory pierced to base, stress crack to top rim, 37.5cm. high (8) Provenance The Peter Myers Collection.

Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, page 100 E29D and E29H £120­180 103 A Moorcroft Pottery vase designed by William Moorcroft, tall flaring cylindrical form with inverted top rim, with factory hole to base, covered in a yellow lustre glaze, two other yellow lustre vases, two ribbed vase with blue lustre glazes and two white vases impressed marks, stress cracks to top rim, 37.5cm. high (7) Provenance The Peter Myers Collection.

Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, page 101 E29A (one vase), E29G (bottle vase). £120­180

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104 ‘Flamminian Ware’ a Moorcroft Pottery vase designed by William Moorcroft for Liberty & Co, waisted, ovoid form with swollen neck, incised and tubeline decorated with an Art Nouveau foliate roundel in green and blue on a streaked green ground, incised signature and printed Liberty mark, paper labels PEM Loan 10, museum restored stress hairlines to top rim, 32cm. high Provenance The David Coachworth and Peter Myers Collection.

Exhibited Liberty’s 1875­1975 An Exhibition to Mark the Firm’s Centenary, Victoria & Albert Museum, London 1975, page 86 catalogue number D.238B. £120­180 105 A Moorcroft Pottery vase designed by William Moorcroft, slender baluster form covered in a purple glaze, and four other Moorcroft Pottery purple lustre vases impressed marks, 30cm. high (5) Provenance The Peter Myers Collection.

104

Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, page100 E29I (tall vase) £120­180 106 A small Ruskin Pottery vase designed by Howson Taylor, baluster form, stencilled to the shoulder with a fruiting vine band, in green on a blue ground, an Ashby Guild miniature vase, a Royal Doulton Titanium vase and a collection of ceramics, painted scissor mark to Ruskin vase, hairlines, 10.5cm. high (a lot) Provenance The David Coachworth and Peter Myers Collection. £150­250 107 A Ruskin Pottery trumpet vase, dated 1920, tapering cylindrical form with everted foot and top rim, covered in a mottled deep blue glaze, impressed factory marks, 30cm. high Provenance The Peter Myers Collection.

105

£120­180

106 107

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108

109

108 ‘Simpson’s Choice an essay on the Future Life’

by A Clutton­Brock, illustrated by Roald Kristian and published by the Omega Workshops, a rare book, 28.5 x 22.8cm.

Provenance The Peter Myers Collection. £150­200

110

109 Walter Richard Sickert ARA (1860­1942) Hotel Royal Dieppe, etching on paper, framed signed in the print 19 x 13.5cm.

Provenance Michael Parkin Fine Art, Harold Barkley (Victoria & Albert Museum) The David Coachworth Collection.

Literature Robert Emmons, The Life and Opinions of Walter Richard Sickert, Faber & Faber, page 93 for a comparable print illustrated. £200­300 110 Mortimer Menpes (1855­1938) Timber Shores of the Adriatic, Venice etching on paper, framed and ‘Grand Union Canal, Brentford’ another etching by Mortimer Menpes, signed in pencil, paper gallery labels to reverse, 27 x 17cm. (image), (2) Provenance Venetian Etchings, Abbott & Holder, 1996, (Timber Shores).

The Peter Myers Collection. £120­180

111 26

111 Eugen Kirchner (1865­1938) Buildings on a river bank, 1901 etching on paper, framed signed Kirchner in pencil and annotated EK 1901 16 x 12cm. image Provenance The Peter Myers Collection. £120­180

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113

112

114

112 William Holman Hunt OM (1827­1910) Lady of Shalott an engraving published by Arthur Tooth & Sons, 1909, framed impressed blind stamp, signed W Holman Hunt and John Miller in pencil, printed printers details, copyright 1909 Tooth & Sons, 68 x 52cm. (image) Provenance The Peter Myers Collection.

114 Edward Gurden Dalziel (1849­1889) The Ugly Duckling watercolour on paper, framed monogram bottom left, applied paper label to reverse 27 x 20cm. (image) Provenance The Peter Myers Collection.

£120­180

115 William Stephen Coleman (1829­1904) Portrait of a girl with a Sitar dry­point etching on paper, framed signed in the print W S Coleman, 40.5 x 28.5cm. (image) Provenance The David Coachworth and Peter Myers Collection.

113 Eleanor Fortescue­Brickdale (1872­1945), attributed Portrait of a Lady watercolour on paper, framed mount titled 37 x 25cm. (image) Provenance The David Coachworth and Peter Myers Collection. £150­250

£300­500

£120­180

115

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116 H Schmidt Girl’s Head and Shoulders watercolour on paper, framed, ‘The Forsaken Merchild’ a watercolour by Mathew Arnold, and a landscape in oil, painted monogram, paper label with title to reverse, 35 x 24cm. (image), (3) Provenance The David Coachworth and Peter Myers Collection. £120­180 117 Elsie Wright Still life studies with pots Royal Drawing Society entrance, from Maida Vale High School, pencil on paper drawing with vases by Aller Vale of Brannam, mounted, ‘Utrecht’ an engraving by Margery Alexander, ‘Esther’, 1924 an engraving by Christopher Hughes, a photographic portrait and two other prints, original label to front, 58 x 42cm. (frame), (6) Provenance The David Coachworth and Peter Myers Collection.

116

£120­180 118 Walter Crane (1845­1915) Scottish Widow’s Fund lithograph in colours, designed by Walter Crane and printed by R & R Clark, framed signed in the print with the monogram, dated 1888 72 x 49.5cm.

Provenance The Peter Myers Collection. £120­180 117

119 Cyril A Wilkinson, attributed Galleon lithograph on paper, published by Vincent Brooks, framed signed in the print 58 x 46cm. (image) Provenance The Peter Myers Collection. £150­200

118 28

119

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120

121

120 Anon All Abroad lithograph in colours, printed by David Allen & Sons, framed unsigned 76 x 50.5cm. (sheet) Provenance The Peter Myers Collection. £120­180 121 Georges de Feure (1868­1943) Paris Almanach lithograph in colours on paper, published by Imp. Bourgerie & Cie, framed signed De Feure in the print, remains of an exhibition paper label to reverse, 79 x 61.5cm.

Provenance The Peter Myers Collection. £150­250 122 Georges de Feure (1868­1943) Retour (return), 1897 lithograph in colours, printed for L’Estampe Moderne, framed printers blind stamp, signed in the print, title details to reverse 54 x 40cm. (sheet) Provenance The Peter Myers Collection. £120­180

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123 A Rowley Gallery marquetry panel, oval decorated with two silhouetted lovers standing in a garden setting with tall fountain, in gilt gesso frame, and a Rowley Gallery wall mirror, stamped Rowley to panel, remains of paper label, 54cm. high, (2) Provenance The David Coachworth and Peter Myers Collection. £120­180 124 A Rowley Gallery marquetry wall mirror, rectangular, two mirror panels flanking central oval marquetry panels of figures in a landscape, and another wall mirror smaller, applied paper label, 80.5 x 35,5cm.(2) Provenance The David Coachworth and Peter Myers Collection. £120­180

123

125 ‘Clipped Yews’ a Rowley Gallery marquetry panel, and five other Rowley Gallery panels, applied paper labels, 34cm. square (6) Provenance The David Coachworth and Peter Myers Collection. £150­250 126 A Rowley Gallery marquetry panel, rectangular in gesso wood frame, the rectangular panel decorated with dancing figures, another two similar, and a small screen applied paper label, 79cm. wide (4) Provenance The David Coachworth Collection. £150­250

124

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

Provenance The David Coachworth and Peter Myers Collection. £120­180

125

126 30

127

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128 A small ebonised wood stool possibly retailed by Liberty & Co, turned legs with strung seat, and two mahogany occasional tables, unsigned, 32cm wide, 39cm. high, (3) Provenance The David Coachworth and Peter Myers Collection. £120­180 129 An oak sideboard, rectangular with back rail, over three drawers and shaped rectangular shelf, turned legs and bobbins, unsigned, 106cm wide, 43cm. deep, 103cm. high Provenance The David Coachworth and Peter Myers Collection. £120­150 128

130 An Aesthetic Movement ebonised wood table in the manner of E W Godwin, square section top and shelf on turned legs, unsigned, 40.5cm square (top), 68cm. high Provenance The David Coachworth and Peter Myers Collection. £120­180 131 A set of six Aesthetic Movement walnut chairs, with turned legs and bobbin backs, unsigned, 90cm. high (6) Provenance The David Coachworth Collection. £120­180 132 An Aesthetic Movement mahogany table, fluted circular top on shaped legs, above small shelf, unsigned Provenance The David Coachworth and Peter Myers Collection. £120­180 133 A marble topped mahogany table, octagonal, on turned legs, with flaring lower section, and turned stretchers, unsigned, 67cm. high, 57cm. wide.

Provenance The David Coachworth and Peter Myers Collection.

129

130

£120­150

131

132

133 31

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135

134 A Morris & Co silk embroidery, mounted in a carved mahogany fire screen, unsigned, 89cm. wide, 86cm. high Provenance The David Coachworth Collection.

134

£400­600 135 ‘The Six Swans’ an embroidery by Miss Blackwell after the design by Walter Crane, in ebonised wooden frame, six lengths of Sanderson’s Willow pattern wallpaper originally designed by William Morris, paper label to reverse 73 x 26.5cm. (7) Provenance The Peter Myers Collection. £120­180 136 An Art Nouveau Chesterfield settee possibly retailed by Liberty & Co, horse hair padding, with Art Nouveau tapestry upholstery possibly by Harry Napper, decorated with tulip flowers unsigned 192cm. wide Provenance The David Coachworth and Peter Myers Collection.

136

Literature Daryl Bennett Liberty’s Furniture 1875­1915 The Birth of Modern Interior Design, ACC books, page 281 for comparable upholstered chairs illustrated. £150­250 137 A large Templeton Arran seamless Wilton square carpet, machine made, central floral panel in red, blue, turquoise and yellow on a cream ground, applied label, 412.5 x 322cm.

Provenance The David Coachworth and Peter Myers Collection. £120­180

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LOTS 138-143 Provenance: The Collection of David Coachworth and Peter Myers 138 W Hering an Art Nouveau patinated spelter table lamp, modelled as an Art Nouveau maiden standing behind a large flower stem, on red, veined marble base, signed in the cast, 48cm. high Provenance Fine Art Nouveau, Christie’s 7th July 1970, lot 194. £120­180 139 Rene Thenot (1893­1963) a patinated bronze plaque of two fighting gazelle, and a collection of bronze plaques stamped R Thenot 8.3cm wide (a lot) 138

£120­180

139

139A An Italian oval micromosaic panel of the Coliseum Rome, in rectangular blue glass mount, 4.3 x 3.5cm. £120­180 140 Albert Toft (1862­1949) Sir Henry Irving a patinated bronze medallion, framed, and a bronze ‘Beethoven’ plaque by another artist, a ‘Gloria in Excelsis Deo’ patinated bronze roundel, and two smaller plaques, signed in the cast 18cm. diam. (5) 139A

£120­180 141 A patinated steel ceiling light, circular frame with radiating scrolled arms, with semi­circular sconce and fittings, on chains, unsigned 63cm, wide £120­180 140 142 A repoussé copper plate probably Newlyn Industrial Classes, hammered in low relief with three scaly fish swimming amongst waterweed, a Keswick School of Industrial Arts copper box and cover, two dishes and candlestick probably KSIA, a single handle copper vase and a collection of metalware, unsigned, 23cm. diam. (a lot) £120­180

141

143 A Yattendon copper twin­handled vase designed by Mrs Alfred Waterhouse, tapering cylindrical from with applied handles, hammered in low relief with stylised flowers and foliage and scroll inscribed Benevolentia, another larger brass vase with foliate design, a Newlyn Industrial Classes plate decorated with fish, a Keswick School of Industrial Arts brass box and cover, pair of Aesthetic Movement brass planters and a collection of various metalware, main item unsigned, various maker’s marks, 22cm. high, (a lot) Literature Liberty’s 1875­1975 Victoria & Albert Museum, July­October 1975, page 40 catalogue number C27 for a comparable Yattendon vase illustrated.

142 34

143

£200­300

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144 A Tiffany Studios bronze hand mirror, model no.895, the pierced circular body decorated with abstract pine needle design over verdi gris bronze plate, with wirework handle, stamped Tiffany Studios New York 895, 29.5cm. long.

Provenance The Peter Myers Collection. £300­500 145 A pair of enamelled bronze candlesticks, tapering octagonal bases each set with four flowerhead panels, with circular drip tray, with similar band of foliage with enamel, in shades of green and white and blue and white unmarked, DRC paper collection label, 12.5cm. high, (2) Provenance The David Coachworth and Peter Myers Collection.

144

£150­250 146 A Hukin & Heath electroplated metal letter rack designed by Dr Christopher Dresser, model no. 2555, arched rectangular base on bun feet, set with articulated rod and ball dividers, stamped Hukin & Heath marks, 12.5cm. high Provenance David Coachworth and Peter Myers collection.

Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A page 145 plate 178 for a comparable letter rack illustrated. £150­250 147 A repoussé copper twin­handled vase probably Yattendon and designed by Mrs Alfred Waterhouse, tapering cylindrical form with applied strap handles, hammered in low relief with a stylised flower, inscribed Amor, to both sides, unsigned, 21cm. high Provenance The David Coachworth and Peter Myers Collection.

Literature Liberty Centenary Exhibition 1875­1975 Victoria & Albert Museum, page 40 catalogue number C27 for a comparable vase illustrated. £120­180

145

146

148 A W A S Benson copper and brass tureen and cover on stand, elliptical with slightly domed cover on twin­handled tray, on ebonised wood feet, a WAS Benson vacuum flask, a WAS Benson copper pot and cover and two similar, and a KSIA muffin dish and cover, stamped marks, 30cm. wide (12) Provenance The David Coachworth and Peter Myers Collection. £120­150 149 A copper panel of a dragon, stamped in low relief with a stylised dragon, in wooden frame, unsigned, 70 x 30cm (panel) Provenance The David Coachworth and Peter Myers Collection. £120­180

147

148

149

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150 A John Pearson repoussé copper casket, dated 1900, rectangular form, with hinged cover, the cover hammered in relief with two stylised birds forming a roundel, the front panel of the box hammered in relief with two stylised flying birds, punched JP monogram and 1900, 17 x 13cm.

Provenance The David Coachworth Collection. £120­180

150 two views

151 two views 151 A John Pearson repoussé copper box with hinged cover, dated 1904, rectangular, the cover hammered in relief with a pair of birds either side of a stylised tree, the front with scrolling foliage stems, cedar lined, hammered JP 1904, 23.5cm. wide.

Provenance The David Coachworth Collection. £150­250

152 A John Pearson repoussé copper casket, dated 1899, cedar lined rectangular form with hinged cover, hammered in relief with a foliate roundel to the cover, the front of the box with stylised flower stems, stamped JP 1899 to back, 15cm. deep, 20.5cm. high Provenance The David Coachworth Collection. £120­180 152 36

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153 A repoussé copper charger in the manner of John Pearson, possibly Guild of Handicrafts, hammered to the rim with a frieze of waterlily flowers and scrolling foliage, the well a roundel of similar flower buds and foliage, unsigned, 41cm. diam.

Provenance The David Coachworth and Peter Myers Collection. £150­200 153 154 A John Pearson repoussé copper wall charger, dated 1903, hammered in low relief with a bird with a snake in its beak to the well, inside a simple laurel leaf and berry border, the rim with a broader band of stylised flowers and foliage, incised JP 1903 and 3064 number, 51cm. diam.

Provenance The David Coachworth and Peter Myers Collection. £500­1,000

155 A John Pearson repoussé copper jardinière, dated 1892, shouldered form with everted top rim, hammered in relief with stylised flowers and foliage panels, with bamboo tripod stand with metal caps, hammered JPearson 1892 and numbered 574, 22cm. high, 112cm. high (on stand), (2) Provenance The David Coachworth and Peter Myers Collection.

154

£300­400

155

155 on stand 37

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156 part 156 An Aesthetic Movement Anglo­Indian bamboo planter with Minton’s tiles, possibly retailed by Liberty & Co, the rectangular frame set with eight large Minton’s press­moulded tiles modelled in low relief with fruiting foliage boughs, covered in a sepia glaze, two faux bamboo occasional tables, four plant stands and a bookshelf similar, stamped marks to tiles, 73cm. wide, 79cm. high (8) Provenance The David Coachworth and Peter Myers Collection.

Literature The Liberty Bazaar, catalogue page 34 for a range of comparable Anglo­Indian furniture illustrated. £150­200

157 A pair of Liberty Otley oak bellows, the heart shaped panels carved with Celtic knot design, unsigned, 75cm. long Provenance The David Coachworth and Peter Myers Collection.

Literature Daryl Bennett Liberty’s Furniture Design 1875­ 1915, The Birth of Modern Interior Design, ACC Books, page 224 and 225 this design illustrated. £120­180 158 An Art Nouveau Liberty & Co Romsdal oak mantle clock, the tapering body carved with entrelac motif, circular dial with Arabic numerals unsigned, 33.5cm. high Provenance The David Coachworth Collection (DRC paper label).

Literature Daryl Bennett Liberty’s Furniture Design 1875­ 1915, The Birth of Modern Interior Design, ACC Books, page 223 this design illustrated. £300­500

157

38

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159 160

159 A Pair of Richard Perry Son & Co Kardofan chambersticks designed by Dr Christopher Dresser, domed tin base, cylindrical column and flaring drip pan japanned blue metal, with wood handles, applied Perry label, stamped Dr C Dresser mark to handle, 14.5cm. high, (2) Provenance The David Coachworth and Peter Myers Collection.

Exhibited Liberty 1875­1975 An exhibition to mark the firms centenary, V&A museum, July­October 1975, page 40 C25 for a comparable pair, possibly this pair, painted in turquoise. (Loan 1A and cat no.74 labels).

Literature Michael Whiteway Christopher Dresser a Design Revolution, V&A, page 181 plate 245 for a comparable Kardofan illustrated. £200­300 160 A copper wall mirror possibly retailed by Liberty & Co, rectangular with rivet and roundel decoration on hammered finish, two Hugh Wallis metal dishes, another similar hammered in relief with flowers, three smaller Hugh Wallis dishes and a small collection of Arts and Crafts metalware, mirror unsigned, 41 x 29.5cm. (mirror), (a lot).

161

£120­180 161 A Liberty & Co hammered copper wall mirror, tapering rectangular form, stamped in relief with Art Nouveau tulip stems to each side, unsigned, 53 x 36.5cm.

Provenance The David Coachworth and Peter Myers Collection.

Literature Liberty Xmas Gifts catalogue (circa 1885), page 43 this design illustrated No.7, listed as available in hammered brass (or copper), at£4.7.6. £200­300 162 A Liberty & Co Ostade patinated brass wall mirror, rectangular, stamped in relief with three heart­shaped leaf motif, hammered finish with rivets, unsigned, 81 x 44.5cm.

Provenance The David Coachworth and Peter Myers Collection.

Literature Daryl Bennett Liberty’s Furniture 1875­1915 The Birth of Modern Interior Design, ACC Books, page 216 Liberty & Co Yuletide catalogue reproduced showing this design. £300­500 162 39

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163 A Jugendstil pewter and glass vase, twin­handled footed frame, pierced and cast in relief with Art Nouveau foliate design, with green glass liner, an Osiris pewter tray, cast in low relief with berried foliage design an Orivit pewter tray, model no 2178 cast with bell flowers, two other dishes similar and an ink blotter, unsigned 23cm. wide. (6) Provenance The David Coachworth and Peter Myers Collection. £120­180

163

164 An Art Nouveau WMF figural dish, model no.246, modelled as a classical maiden holding a dove, before two large lily pad trays, and water­lily flowers, and a WMF Secessionist bottle stand, model no.47, cast and pierced with Art Nouveau flower stems, and an Art Nouveau WMF centrepiece, stamped marks to main, cast number to second, 21.5cm. high (3) Provenance The David Coachworth and Peter Myers Collection. £150­250 165 Archibald Knox Manx Fairytales by Sophia Morrison, second edition published by L Morrison, 1929, with illustrations by Archibald Knox, Liberty’s A Biography of a Shop by Alison Adburgham, The Designs of Archibald Knox for Liberty by Adrian Tilbrook and a collection of books on Arts and Crafts design, (a lot) Provenance The David Coachworth and Peter Myers Collection.

164

£120­180

165

166 A Liberty Tudric Pewter inkwell designed by Archibald Knox, model no. 0162, circular form with hinged domed cover, cast in low relief with simple foliate design, a Liberty pewter tray with arched handle designed by Archibald Knox, a tripod vase base, a sugar basin and two other plain pewter items, stamped marks, 11.5cm. diam, (6) Provenance The David Coachworth and Peter Myers Collection. £150­200 167 A Liberty Tudric Pewter preserve pot and cover designed by Archibald Knox, cylindrical cast in low relief with Art Nouveau foliate stems, a Liberty & Co Tudric pewter tray with overslung handle designed

by Archibald Knox, a Liberty Tudric pewter cigarette box and cover with cedar lining, model 0125, another Tudric cigarette box and cover, stamped marks, cover replacement, 10.5cm. high (5) Provenance The David Coachworth and Peter Myers Collection.

166

£120­180

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168 169 170

168 A Liberty Tudric Pewter inkwell designed by Archibald Knox, model no.0141, square section tray with tapering drum well and hinged square section cover, cast in low relief with foliate panels, with glass liner, stamped marks, 15.5cm. square base Provenance The David Coachworth and Peter Myers Collection. £120­180 169 A Liberty & Co Tudric Pewter crumb scoop designed by Archibald Knox, model no.0509, cast in low relief with berried ivy panel, a Liberty Tudric Pewter dish designed by Archibald Knox, model no.0316, a footed dish, model no.01137, and a candlestick, stamped marks, 25.5cm. wide (4) Provenance The Peter Myers Collection. £120­180 170 A Liberty Tudric Pewter composite three piece tea set designed by Archibald Knox, model no.0231, comprising teapot and cover, milk­jug and hot­water pot, each with different cast Art Nouveau foliage on whiplash stems, a similar Liberty English Pewter jug model 0967, another hammered pewter Tudric jug and three pewter napkin rings, stamped marks, 22.5cm. high (hot­water pot), (8) Provenance The David Coachworth and Peter Myers Collection.

Exhibited Liberty's 1875­1975 Victoria & Albert Museum, July­October 1975, page 40 catalogue number C120.

171

£150­200 171 An unusual Liberty & Co Tudric Pewter tray probably designed by Archibald Knox, pierced triangular form, cast in low relief with Art Nouveau foliage, set with three green roundel, a pair of Liberty & Co Tudric Pewter vases, model no.030, and a twin­handled bowl, stamped marks, 25cm. wide. (4) Provenance The David Coachworth and Peter Myers Collection. £120­180 172 A Liberty English Pewter vase designed by Archibald Knox, model no.0927, bombe form on tripod foot, cast in low relief with a band of scrolling, entwined foliage stamped marks, 29cm. high Provenance The David Coachworth and Peter Myers Collection. £200­300

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175

174 173 A Carter’s Poole Pottery vase designed by James Radley Young, swollen form, the tapering neck with modelled vertical ribs, covered in a red lustre glaze incised Carter’s Poole 1905 to base, DRC paper label, hairline crack to top rim, 28cm. high 173

Provenance The David Coachworth Collection. £150­250

Provenance The Peter Myers Collection.

174 An early Carter’s Poole Pottery vase possibly designed by James Radley Young, flaring beaker form with modelling in low relief, covered in a black glaze, another vase probably Carter’s painted with simple daisy flower motif and a Carter’s Poole single handled vase, impressed factory marks, 15.5cm. high (3)

£120­180

Provenance The Peter Myers Collection.

176

178 A Carter Stabler and Adams Poole Pottery Portuguese Stripe twin­handled vase originally designed by James Radley Young, pattern BW, painted with a band of green dots to the shoulder above blue columns, a bowl similar an early Carter’s Poole jug and two vases impressed and painted marks, 18.5cm. high (5)

£120­180

Provenance The Peter Myers Collection.

175 A Carter’s Poole Pottery vase possibly designed by James Radley Young, flaring form, painted with a simple band of dot and square panels, in green and blue on an off­white ground, another similar, a Carter, Stabler & Adams bowl and a jug, impressed mark, hairline to top rim of main vase, 12.5cm. high, (4)

Literature Jennifer Hawkins The Poole Potteries, Barrie & Hawkins, page 72 for a comparable vase illustrated.

Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 31 for comparable examples illustrated.

Provenance The Peter Myers Collection. £120­180 176 A Poole Pottery honey­pot and cover by Anne Hatchard, pattern /CL, square section with flat lid, the finial modelled as a bee gathering nectar from flowers, painted in colours on a white ground, a vase shape no.695 painted by Anne Hatchard, another vase, a large mug and a collection of Poole Pottery impressed and pained marks, 12.5cm square (honeypot), 20.5cm. high (vase), (a lot)

177

177 An early Carter Stabler and Adams Poole Pottery Portuguese Stripe vase by Anne Hatchard originally designed by James Radley Young, pattern EK, painted with simple line design in pink, yellow and blue on an off white glaze, another Poole Portuguese Stripe vase, and six other Poole items impressed and painted marks, 19cm. high (8)

Provenance The Peter Myers Collection.

Exhibited Vase and bowl (P stripe) loan exhibition. £120­180 179 A Carter Stabler and Adams floating bowl possibly designed by James Radley Young, painted with simple brush design in brown on an unglazed ground, another smaller bowl pattern /MO, a jug, two Poole Pottery Sylvan Ware vases, a Poole Pottery Magnolia White vase and a later Poole plate impressed and painted marks, 26cm. diam. (7) Provenance The Peter Myers Collection. £120­180

£120­180

178 42

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180 A Poole Pottery Contemporary vase designed by Alfred Read, pattern X/YCS, tapering form with inverted rim, painted with columns of stylised foliage in grey and yellow, highlighted in black on a white ground, two small Poole Pottery Contemporary jardinière, a centrepiece, an Atlantis vase and a Olympus bowl, 17.5cm. high (6) Provenance The David Coachworth Collection (DRC paper label).

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 102 for comparable pieces illustrated.

183 A Susie Cooper Carved Ware vase, footed, cylindrical form with inverted top rim, incised with geometric petal design, covered in a pistachio green glaze, another Susie Cooper vase, a side plate, two Wilkinson’s octagonal vases, a pair of Clarice Cliff vases moulded with flowers, a Clarice Cliff shell wall pocket and a Cornucopia vase, a Wedgwood jug, and a Minton’s Solano vase designed

by John Wadsworth, incised marks, hairline to second Susie Cooper vase, 15.5cm. high (11) Provenance The Peter Myers Collection.

180

£120­180

£120­180

181 A Poole Pottery Contemporary vase designed by Alfred Read, waisted cylindrical form, pattern X/PQB, painted with bands of mushroom squares, linked with turquoise bands, on a white ground, impressed 700, printed Poole mark and painted pattern number, 27.5cm. high

184 A Susie Cooper Productions Kestrel part tea for two, painted with simple brown rings on a cream ground, comprising teapot and cover, milk­jug and sugar basin, two cups and saucers, a pair of Susie Cooper ‘Lion’ and ‘Unicorn’ side plates, three others similar, two Carved Ware beakers and a collection of Susie Cooper and tableware made for Heal’s printed factory marks, 12.5cm. high ( a lot) Provenance The David Coachworth and Peter Myers Collection.

Provenance The Peter Myers Collection.

Exhibited The Poole Potteries, Victoria & Albert Museum, February to April 1978, catalogue number 202. £120­180 182 Houses of Parliament a rare Carter’s Poole tile designed by Harold Stabler, moulded in low relief with the Palace of Westminster, two crowns and a bowler hat, and painted in colours, a Water Birds Carters tile designed by Harold Stabler, two Carter’s Dutch Scenes tiles, and another similar, and four Carter’s Poole Pottery Sporting tiles designed by Edward Bawden, cast S to front of main tile, chips, 15cm square (9)

£120­180 185 An Ashtead Pottery jug, model J16, painted in bands, two beakers, a mug, a bowl, three vases and three covered pots, and a collection of Ashtead Pottery table ware, printed factory marks, hairline to jug, 19.5cm. high (a lot) Provenance The David Coachworth and Peter Myers Collection.

181

£120­180

Provenance The Peter Myers Collection.

Literature Jennifer Hawkins The Poole Potteries, Barrie & Hawkins, page 133 for comparable tiles by Harold Stabler, commissioned by Frank Pick, designed for the London Underground, illustrated. £120­180

182

183

184

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186 187 186 A Wedgwood Pottery vase designed by Keith Murray, ovoid fluted body, covered in a Matt White glaze, a Wedgwood candlestick designed by Keith Murray, an ashtray, and nine mugs, printed factory marks and KM monogram, small glaze chip to side of vase, 15.5cm. high (12) Provenance The David Coachworth Collection. (DRC) label £200­300

189

187 A Wedgwood Pottery vase designed by Keith Murray, shouldered ribbed form, covered in a Matt White glaze, and another Wedgwood Pottery vase by Keith Murray, printed factory marks, KM monogram to shouldered vase, small chip to foot rim, hairline to bucket vase, 28.5cm. high (2) Provenance The David Coachworth and Peter Myers Collection.

190

£200­300

191

188

LOTS 188-192 Provenance: The David Coachworth and Peter Myers Collection 188 ‘Original Bizarre’ three early Clarice Cliff plates, impressed mark for 1926, each painted to the well with a radiating star in purple, outlined in red on a purple ground, inside blue and purple bands, impressed marks, printed factory mark, painted red Bizarre mark, hairline to rim of one, 21.5cm. diam. (3) £120­180 189 A Boch Freres Keramis vase designed by Charles Catteau, ovoid with tapering neck, painted with panels of Art Deco flowers and foliage in mushroom and black on a crackled white ground, a Longwy Primavera tile stand decorated with stylised flowers a box and cover and a collection of continental ceramics, printed and incised marks to vase, filled chip to base of vase, 21cm. high (a lot) £120­180 190 A Nuutajarvi small glass bird designed by Oiva Toikka, white with aubergine tail and applied grey glass head, an Iittalla blue glass bowl designed by Timo Sarpaneva, four Lemington cylindrical vases designed by R Stennett­Willson, a Riihimaen glass jug and vase designed by Nanny Still, a pair of Orrefors clear glass candlesticks, a clear glass vase and two other glass items. etched signature and factory mark, 19cm. wide (11) £150­200 191 Richard Pannett Lady Reclining in a Chair, 1903 oil on silk, framed, and another similar, signed and dated top right 61 x 50cm. (2) £150­200

44

192

192 A Danish silver handled tea strainer, the handle cast with foliate terminal, a silver pill box cast in low relief with a horse rider, King George IV Coronation dish, silver dish by WB, a small silver beaker by D&F, a ‘Green Label Chutney’ pickle fork, a cake slice, three napkin rings, a small cast metal seal, an Art Deco spelter and marble mantle clock and a Fornasetti matchbox, stamped marks, 13.5cm. long £120­180

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194

193 193 Mortimer Menpes (1855­1938) Portrait of a Woman, etching on paper, framed, and ‘Middle Eastern Scene’ and ‘Duke of York Steps’ signed in pencil 27.3 x 17.5cm (main image), (3) Provenance The David Coachworth and Peter Myers Collection.

Abbott & Holder (Duke of York Steps) Dowmunt Galleries (Middle Eastern Scene) £150­250 ‡ 194 Romain de Tirtoff (Erfe), (1892­1990) Robe du Soir, (evening dress) Harper’s Bazaar, No.579 serigraph on paper with white highlights, framed signed in ink Erte, printed mark and annotations to reverse, 30.5 x 25.5cm.

Provenance Possibly purchased at Erte, Grosvenor Gallery exhibition, 19th September­14th October 1967.

The Peter Myers Collection.

195 An Art Deco limed oak bookcase, three stepped banks of shelves with a hinged, drop down compartment, with green bakelite handle, unsigned, 109cm. high, 73cm. wide Provenance The David Coachworth and Peter Myers Collection. £120­180 196 A Race Furniture Sheppey chair designed

by Ernest Race, ash frame with stove­enamelled steel, and a pair of ebonised wood ladderback chairs in the manner of Gio Ponti, possibly retailed by Liberty & Co, unsigned, 85cm. high (Sheppey Chair), 84cm. high, (ebonised chair), (3)

195

Provenance The David Coachworth and Peter Myers Collection. £120­180

£120­180

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LOTS 197-205 Provenance: The Peter Myers Collection 197 A Moncrieff’s Monart Ware vase, shouldered. tapering form, mottled green glass graduating to yellow, with aventurine inclusions, cased in clear, two smaller green vases and three bowls, applied paper label, loan label PEM Loan 28, main vase cracked, 31cm. high (6) Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, page108 F28K (one vase) 197

£150­250 198 A Moncrieff’s Monart Ware vase, ovoid with cylindrical neck, mottled red glass graduating to black with aventurine and air bubble inclusions, cased in clear, and another Monart Ware vase, and a flaring beaker vase similar, unsigned, applied paper exhibition label PEM Loan 24 20cm. high (3) Exhibited Liberty's 1875­1975 An Exhibition to Mark the Firm's Centenary, Victoria & Albert Museum, page108 F28H (main vase) £120­180

198

199 A Moncrieff’s Monart Ware glass vase, baluster form, mottled orange with green mottled shoulder and aventurine inclusions, cased in clear and two other similar unsigned, 22.5cm. high, (3) £120­180 200 A Moncrieff’s Monart Ware vase, shouldered, swollen cylindrical form mottled red glass graduating to brown with aventurine, cased in clear, another flaring vase similar, a Monart Ware blue vase and a collection of glass, remains of paper label, 29cm. high ( a lot) £150­250

199

201 A Moncrieff’s Monart Ware vase, shouldered form with inverted rim, green ribbon design with regular air bubble inclusions, cased in clear, unsigned, 27.5cm. high £120­180

200 46

201

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202 A Moncrieff’s Monart Ware vase, shouldered form, lime green glass with columns of green and aventurine, the shoulder with a band of large air bubbles, cased in clear, unsigned, 17cm. high £120­180

203 A Moncrieff’s Monart Ware vase, model BA ovoid with swollen neck and everted top rim, mottled pale blue glass graduating to darker blue neck, with aventurine inclusions, and another Monart glass vase taller, unsigned, 18cm. high (main vase), (2) £120­180

204 An unusual Monart Ware vase and cover, model VI SD 342, shouldered ovoid vase with cylindrical neck, with shallow domed cover with circular finial, mottled green glass with silver aventurine, cased in clear, and two other Monart glass vases applied labels to two, stress cracks to main vase, 23cm. high (4)

202

Catalogue notes the inner rim of the vase’s neck and the outer rim of the cover have been polished to create a sound fitting, £150­200

205 A Moncrieff’s Monart Ware vase, model FZ 351, shouldered ovoid form, mottled green and purple rim, graduating to blue body with small air bubble inclusions, cased in clear, applied paper label to base, 17cm. high £120­180

203

204

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206 Peter Layton (born 1937) a shouldered ovoid glass vase dated 1980, green lustre surface decoration with petrol blue lustre bands, another Peter Layton ovoid vase with blue and red circular panels, a tall Peter Layton vase clear glass with orange top rim, internally decorated with aubergine thread design, and five other Peter Layton glass vases, etched Peter Layton 1980 to main vase, etched signature to other vases, 14cm. high (main vase), (8) Provenance The David Coachworth and Peter Myers Collection.

206

£150­250 207 Dillon Clarke (born 1946) a hand­blown glass vase, organic tapering, cylindrical form with wide flaring rim, aubergine with blue and yellow splashes, cased in clear, three glass vases by Demaine and another lustre glass vase, etched Dillon Oct 74, 21.6cm. high, (4) Provenance The David Coachworth and Peter Myers Collection.

Catalogue notes There is a comparable vase, dated 1979, in the Victoria & Albert Museum collection (cat. C115­1996). £120­180

207

208 Peter Layton (born 1957) a glass vase, cylindrical form with pinched rim with trailed decoration, covered in a lustrous finish, a glass vase by Jane Gilchrist, another by Jane Gilchrist and another vase, etched marks, 10cm. high (4) Provenance The David Coachworth and Peter Myers Collection. £120­180

208

209 Wayne Filan (born 1946) an early glass bottle vase, dated 1970, ovoid with swollen cylindrical neck, lime green and yellow streaked glass, cased in clear, surface decorated with iridescence, and a glass vase with pulled arms by Pauleen Solven, dated 1971, etched Wayne D Filan, London 1970, 29cm. high, (2) Provenance The David Coachworth and Peter Myers Collection. £120­180

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‡ 210 Samuel J Herman (1936­2020) a glass vase dated 1971, tapering shouldered form with everted top rim, mottled white with yellow splashes and air bubble in inclusions, cased in clear etched Samuel J Herman, 1971, applied paper label 28.5cm. high Provenance The David Coachworth and Peter Myers Collection. £150­200 ‡ 211 Samuel J Herman (1936­2020) an ovoid vase with solifleur neck, dark blue cased with amber and and orange, cased in clear, and a lobed glass vase with knopped neck, dated 1970, blue glass surface decorated with marvered band etched Samuel J Herman, 1970 to David many thanks, DRC paper collection label, internal crack to main Sam Herman vase, 17.5cm. high (2) Provenance The David Coachworth Collection.

211

210

£150­200 ‡ 212 Samuel J Herman (1936­2020) a glass bottle vase dated 1969, ovoid with knopped neck, surface decorated with trails and purple iridescence incised Samuel J Herman, 1969, 18.5cm. high Provenance The David Coachworth and Peter Myers Collection. £120­180 ‡ 213 Samuel J Herman (1936­2020) a glass bottle, dated 1971, tapering shouldered cylindrical form, graduated blue with air bubble and white streak inclusions, cased in clear, the top[ rim with applied blue band etched Samuel J Herman, 1971, To David All The Best Sam, applied DRC paper label, 22cm. high

212

213

Provenance The David Coachworth Collection. £150­200 ‡ 214 Samuel J Herman (1936­2020) a glass bottle with solifleur neck, elliptical section, shouldered vase purple glass internally decorated with yellow pulls with air bubbles, cased in clear etched Samuel J Herman, 1970, 17.5cm. high Provenance The David Coachworth and Peter Myers Collection. £120­180

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215 The Retrospective Exhibition of Shoji Hamada, The National Museum of Modern Art, Tokyo, 1977, and a collection of books on art and design including studio pottery, ( a lot) Provenance The David Coachworth and Peter Myers Collection. £150­250 215

216

216 Lucie Rie by Tony Birks dedicated to David Coachworth, a book published by Alphabooks, Lucie Rie by Houston/Cripps and Hans Coper by Tony Birks, both dedicated to David by Lucie Rie, Lucie Rie’ a signed thank you note by Hans Coper, 16th June 1976, a note to David from Lucie Rie and various ephemera, relating to Lucie Rie and Hans Coper (a lot) Provenance The David Coachworth Collection. £150­250 217 ‘Collingwood/Coper’ an advertising poster for the Victoria & Albert Museum exhibition, 29th January­2nd March and a collection of posters and ephemera relating to exhibitions organised or supported by David Coachworth, (a lot) Provenance The David Coachworth Collection. £120­180

217

218 Edwin Beer Fishley (1832­1912) a Fremington Pottery jug, ovoid with collar rim, resist decorated and painted with simple flower design in blue and terracotta on a pale yellow ground, a Fishley jug, a Sidney Tustin slip decorated bowl and a collection of studio pottery incised marks, chips to top rim of Fishley jug, 11.5cm. high (a lot)

‡ 219 Katharine Pleydell­Bouverie (1895­ 1985) a rare Cole Pottery stoneware dish, twin­ handled, footed form, partially covered with a pitted ash glaze, the handles and well decorated in resist with a grape and vine motif, and a footed dish with celadon glaze by Katharine Pleydell­ Bouverie, impressed artist seal and Cole mark to dish, applied DRC paper label, 18cm. wide, (2) Provenance The David Coachworth Collection.

Literature Oliver Watson British Studio Pottery The Victoria & Albert Museum Collection, Phaidon, page 227 catalogue number 475 for a similar Cole Pottery footed bowl illustrated, late 1920s. £120­180 ‡ 220 Bernard Leach CBE (1887­1979) a Leach Pottery stoneware tile, painted with a snail on a thin leaf, in tenmoku on a mottled brown ground, painted BL monogram, impressed pottery marks to reverse, corner off and re­stuck, 10cm. square Provenance The David Coachworth Collection (DRC paper label), £120­180 ‡ 221 David Leach OBE (1911­2005) a Lowerdown Pottery porcelain bowl, flaring form, painted with bands of lines and spots in rust brown and blue on a matt white Dolomite glaze, and another smaller bowl by David Leach with simple dash motif, impressed seal mark, 7.5cm. high, 13.5cm diam, (2) Provenance The David Coachworth Collection.

Provenance The David Coachworth and Peter Myers Collection.

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

£120­180

£120­180

218

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219

220

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‡ 222 Michael Cardew CBE (1901­1983) a Winchcombe Pottery charger, painted with a cross of combed decoration to the well, the rim a chevron border, two jugs and two tankards similar, impressed seal marks, indistinct paper label 30.5cm. diam. (5) Provenance The David Coachworth Collection £120­180 ‡ 223 Alan Caiger Smith MBE (1930­2020) an Aldermaston Pottery tin­glazed flagon, dated 1971, swollen from with loop handle, painted in ruby lustre with stylised flowers and foliage, with cork stopper and wooden tap, a cylindrical vase dated 1963, mug and goblet, painted monogram and marks, 34.5cm. high (4) Provenance The David Coachworth Collection (DRC label to three pieces). £150­250 ‡ 224 Alan Caiger Smith MBE (1930­2020) an Aldermaston Pottery tin­glaze bowl, dated 1976, painted with panels in copper lustre on ruby and violet on a white ground, and another smaller Aldermaston Pottery bowl by Alan Caiger Smith dated 1976, painted marks, exhibition paper numbers, 27.5cm. diam, (2)

227 Eileen Lewenstein (born 1925) a stoneware vase, shouldered form with cylindrical neck and flaring top rim, covered to the neck and top half of the body with a lavender and pale blue glaze, a stoneware vase by Pierre Culot (1938­2011), a tankard with modelled dragon handle by Peter Allen, and a collection of ceramics including work

by Robin Welch, Andrew Richardson and Chris Lewis,impressed seal mark, 14.5cm. high (a lot) Provenance The David Coachworth Collection.

228 Dora Lunn (1881­1955) A Ravenscourt Pottery stoneware vase, shouldered form, covered in a crystalline blue glaze, a Ravenscourt Pottery dish with chequered border, a smaller dish with an orange tree motif and a vase, a Stella Crofts Pottery dish modelled with a sea lion, a plaque modelled in low relief with a goat by Sylvie Nisbet, a Minton’s panther covered in a matt black glaze, three other animals and two other pots, impressed Ravenscourt 27cm. high, (13) Provenance The David Coachworth Collection.

Provenance The David Coachworth Collection.

Literature Oliver Watson British Studio Pottery The Victoria & Albert Museum Collection, Phaidon, page 215 catalogue number 475 for a comparable Ravenscroft vase, catalogue number 414.

£150­200

£120­180

225 Ray Finch MBE (1914­2012) a Winchcombe Pottery vase, shouldered form with knopped neck, decorated to the shoulder with a tenmoku and glaze over speckled grey, the body with simile incised column design, a stoneware jug by Ray Finch decorated with a scrolling combed design, a charger, two beakers, two tankards and a jug by various potters, impressed seal mark, 28cm. high (8)

‡ 229 Rosemary Wren (1922­2013) Blue Tit an Oxshott Pottery stoneware model of a blue tit, and an Oxshott Pottery mouse, impressed and incised marks, 6.5cm. high (2)

Provenance The David Coachworth Collection

222

£120­180

223

224

Provenance The David Coachworth Collection. £120­180

£120­180 225

226 Bernard Leach CBE, (1887­1979), attributed a Leach Pottery porcelain vase, ovoid with cylindrical neck, painted with simple brushed fish design in tenmoku on a blue ground, two similar vases, a bowl and four tankards, a Yelland Pottery tyg by Michael Leach and an Leach Pottery plate by Shigeyoshi Ichino, impressed seal marks, 8.5cm. high (vase), ( 10) Provenance The David Coachworth Collection

226

£120­180

227

228

229

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‡ 230 Reginald Fairfax Wells (1877­1951) Mother and Child a stoneware figure, covered in a matt green and chestnut brown glaze, impressed signature, 38cm. high Provenance The David Coachworth and Peter Myers Collection (no label).

Literature Reginald Wells Sculptor, Potter, Designer, 1877­ 1951, 10th October­22nd November 1998, Luton Museum Services, page 9 catalogue number 100 for a comparable stoneware figure illustrated. An example of a bronze figure, titled Peasant Woman and Child, was exhibited at the Society of Sculptors, Painters and Gravers in 1904. £200­300 ‡ 231 Reginald Fairfax Wells (1877­1951) a Soon Pottery stoneware vase, ovoid with collar rim, covered in a streaked blue and turquoise glaze, impressed Soon, applied DRC paper label, 20cm. high 230

Provenance The David Coachworth and Peter Myers Collection. £120­180

‡ 232 Reginald Fairfax Wells (1877­1951) a Soon Pottery vase, ovoid with collar rim, covered in a streaked sand yellow glaze with rust spots to the top rim, , impressed Soon, 18.5cm. high Provenance The David Coachworth and Peter Myers Collection. £120­180 ‡ 233 Reginald Fairfax Wells (1877­1951) a Coldrum Pottery stoneware vase, ovoid from with tapering cylindrical neck and twin lug handles, covered in a textured and pitted silver­ grey glaze, the neck with running pale pink, impressed Coldrum, 18cm. high Provenance The David Coachworth and Peter Myers Collection. £120­180 ‡ 234 Reginald Fairfax Wells (1877­1951) a Coldrum Pottery vase, rectangular section with applied cylinder lug handles, covered in a running mottled blue glaze, and two other pottery vases by Reginald Wells covered in mottled blue glazes one Coldrum Pottery the other Soon, impressed Coldrum Chelsea (main vase), 15.5cm. high, (3) Provenance The David Coachworth and Peter Myers Collection. £120­180 ‡ 235 Frances Richards (1903­1985) a stoneware vase dated 1912, shouldered ovoid form with collar rim, covered with a blue mottled glaze, incised monogram and date mark, 18.5cm. high Provenance The David Coachworth and Peter Myers Collection.

231

233 52

232

234

£120­180

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236 236 O J Dawson a modern pottery bowl after the original painted by Vanessa Bell, footed form, painted with comma motif in red on a blue ground, the foot with a band of brown dots, the interior with a band of yellow dot motif, a fluted vase

by Phyllis Keyes glazed white, the interior glazed pale blue, a large shell dish dated 1942

by Phyllis Keyes, a smaller flaring vase, two troughs, and two fish dishes by Phyllis Keyes, and a jug by Caroline Gray, incised signature, 20cm. diam.

Provenance The David Coachworth and Peter Myers Collection.

Catalogue notes The original bowl was thrown by Quentin Bell and decorated by Vanessa Bell in the 1940s and is in the Bloomsbury collection at Charleston house. Phyllis Keyes donated a similar vase to the Victoria & Albert Museum in 1934. £150­250 ‡ 237 Michael Casson (1925­2003) a stoneware footed bowl, painted to the interior and exterior with a scrolling blue design on a speckled ash grey glaze, another floating bowl by Michael Casson, a footed dish and a jug by Michael Casson with chequerboard design to neck, painted MC monogram, collection labels, 25.5cm. diam (bowl), 30.5cm. diam. (floating bowl), (4) Provenance The David Coachworth Collection. £150­250 ‡ 238 Sheila Fournier (1930­2001) a flaring conical bowl with pierced rim, the rim incised and inlaid with manganese oxide thin bands and foliate terminals, impressed SF 4 to base, exhibition label number 60, 11.5cm. high, 24.5cm. diam.

Provenance The David Coachworth Collection.

238

237 ‡ 239 Geoffrey Swindell (born 1945) a miniature porcelain vase with wing, covered in a matt black glaze, and two other miniature porcelain vessels by Geoffrey Swindell, and a small porcelain vase by Aniv James, incised S, two paper exhibition labels, 10cm. wide (main vase), (4)

239

Provenance Geoffrey Swindell Porcelain and Stoneware British Crafts Centre, 21st November to 1st December 1972 catalogue number 37 (main vase) and catalogue numbers 102 and 103.

The David Coachworth Collection.

Aniv James vase with paper label dated 1972.

Literature Ceramic Forms Recent Work by Seven British Potters, Crafts Advisory Committee, 1974 page 26 for a comparable porcelain form. £200­300 ‡ 240 Mary Rich (born 1940) a porcelain vase, shouldered cylindrical form with everted top rim, covered in a mottled pink and pale blue glaze, the rim with a border of speckled mint green, another solifleur vase by Mary Rich and a porcelain box and cover, impressed seal mark, 16cm. high (4)

240

Provenance The David Coachworth Collection. £120­180 ‡ 241 Ian Godfrey (1942­1997) an early platter, dated 1957, rounded, rectangular form slip decorated in mushroom on a burnt umber ground, and a footed vase decorated with a geometric frieze, platter incised Ian Godfrey 6.12.57, 24.3cm. wide, (2) Provenance The David Coachworth Collection.

Catalogue notes Godfrey went to Camberwell School of Art in 1957 to study painting, where he began to study pottery. £200­400

Literature Peter Lane Studio Porcelain Pitman House, page 158 for a comparable bowl illustrated, dated to 1979. £120­180 241

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‡ 242 Gwyn Hanssen Pigott (1935­2013) a porcelain box and cover, swollen cylindrical form pale grey glaze with tan spots to the top, the interior glazed chestnut, and another cylindrical box and cover by Gwyn Hanssen Pigott impressed seal mark, 10.5cm. high (grey), 7.5cm. high (brown)

242

Provenance The David Coachworth Collection., probably purchased at Gwyn Hanssen, British Crafts Centre.

£120­180

‡ 243 Emmanuel Cooper OBE (1938­2012) a white glaze stoneware jar and cover, impressed seal mark flooded with glaze, 13cm. high

‡ 247 Andrew Richardson (born 1949) Castle Sculpture, 1971 stoneware sculptural vessel and cover with impressed decoration, the cover with six small loose buildings, impressed seal mark to side, 19cm. high, (8)

£120­180 ‡ 244 Michael Casson (1925­2003) a porcelain stem cup, cast in low relief with geometric panels, covered in a pale celadon glaze, another smaller and another resist decorated in tenmoku over celadon, impressed seal marks to first two, applied paper labels, 8.5cm. high, (3)

244

Provenance New Ceramics, British Crafts Centre, August 1974, cat no.

33 and 34, probably the main two pieces in this lot.

Literature Peter Lane, Studio Porcelain Pitman House, page 82 for a comparable stem bowl illustrated.

245

Provenance The Crafts Centre of Great Britain, 1971, The David Coachworth Collection. £150­250 ‡ 248 Andrew Richardson (born 1949) Townscape fifteen stoneware buildings, partially glazed with metallic glazes unsigned 10.5cm. high (15) Provenance The David Coachworth Collection.

£120­180

£120­180

‡ 245 Victor Margrie (born 1929) a porcelain footed bowl form, with pierced and modelled flower stem rim, covered in a pale speckled celadon glaze, incised artist mark, 9.5cm. diam., 8.5cm. high

‡ 249 Tony Hepburn Phone off the Hook, 1942­2015 stoneware sculpture, glazed in tan and brown, unsigned, sold with the original receipt of purchase 35cm. wide, 23cm high

Provenance The David Coachworth Collection.

246

Provenance The David Coachworth Collection.

£120­180

Provenance Emmanuel Cooper’s Pottery, Longman/British Craft Centre, 23rd October­3rd November, 1972 catalogue number 15.

The David Coachworth Collection.

243

‡ 246 Bryan Newman (1935­2019) Landscape an Aller Pottery stoneware sculpture, another stoneware sculpture and a vase unsigned 18.5cm. wide, (3)

Literature Craftsmen of Quality, Crafts Advisory Committee, 1976, page 106 for this footed bowl illustrated next to Artist’s biography.

The Craftsman’s Art, CAC, page 59 figure 156 for this actual bowl illustrated.

Oliver Watson British Studio Pottery, The Victoria & Albert Museum Collection, Phaidon, page 217 catalogue number 420 and 421 for comparable pieces, purchased 1969.

Provenance The Crafts Centre, 16th October 1969 purchased by David Coachworth for £15.

The David Coachworth Collection. £120­180

£100­150

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250

251

‡ 250 Gordon Baldwin OBE, (born 1932) Fragments as a Complete Form,1974 a porcelain sculpture the semi­ circular base supporting hemispherical form with slit aperture, glazed white painted GB 74 to base, 9.7cm. high

‡ 252 Gordon Baldwin OBE, (born 1932) a rare stoneware teapot and cover, circa 1974, ovoid with short spout and over­slung handle, covered in a mottled matt brown glaze, painted GB monogram, 23cm. high

Provenance Crafts Centre, April 1974 catalogue no.22, probably this vase.

The David Coachworth Collection.

Provenance Teapots, The British Crafts Centre, October 1974, catalogue number 109.

The David Coachworth Collection.

£200­300

252 both sides

£150­250 ‡ 251 Gordon Baldwin OBE, (born 1932) Bowl on base with graphics 1974 porcelain, glazed to the interior signed GB dated 74 17cm. diam, 12.3cm high Provenance The David Coachworth Collection, (number 5), probably purchased from Gordon Baldwin & Peter Simpson British Crafts Centre, 43 Earlham Street, April 1974.

Literature Oliver Watson British Studio Pottery The Victoria & Albert Museum Collection, Phaidon, page 148 catalogue number 14. £150­250

‡ 253 Gordon Baldwin OBE, (born 1932) a rare stoneware teapot and cover, circa 1974, ovoid with short spout and over­slung handle, covered in a matt grey glaze, painted GB monogram, 22.5cm. high, (2)

253 both sides

Provenance Teapots, The British Crafts Centre, October 1974, catalogue number 108.

The David Coachworth Collection. £150­250 ‡ 254 Gordon Baldwin OBE, (born 1932) Object from a Beachbox, 1970 a porcelain sculpture, glazed signed, titled and dated to base, 18cm. high, 24.5cm. wide.

Provenance The David Coachworth Collection. £200­300

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256

‡ 255 Ian Godfrey (1942­1992) Bowl with pierced rim stoneware, footed form with geometric rim, covered in a buff glaze, another footed cup form by Ian Godfrey and a footed bowl with broken handles by Walter Keeler, main two unsigned, black bowl impressed WK 16cm. diam. (main bowl), (3) Provenance The David Coachworth Collection. £120­180 ‡ 256 Ian Godfrey (1942­1992) Antelope bowl on foot stoneware covered in an off white glaze, a peep­hole Antelope beaker by Ian Godfrey, and a black glaze bowl unsigned 12cm diam (Antelope bowl on foot) 257

Provenance The David Coachworth Collection. £120­180

‡ 257 Ian Godfrey (1942­1992) black pedestal bird bowl stoneware glazed brown graduating to black, unsigned 14.5cm. high, 20.5cm. wide Provenance The David Coachworth Collection (DRC label). £150­200 ‡ 258 Ian Godfrey (1942­1992) House Casket, 1974 a stoneware box and cover, glazed in black and white, another smaller casket and cover by Ian Godfrey and a larger Box Landscape by Ian Godfrey, unsigned, catalogue number 128 label to house casket, Box Landscape lid broken and re­stuck, 8cm. high Provenance Ian Godfrey British Crafts Centre, 1974, catalogue number 128. £150­250

258

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‡ 259 Ian Godfrey (1942­1992) Village bowl with handle, stoneware footed bowl, with bird handle and modelled village interior, applied flowerheads to the side, glazed blue and brown, unsigned 8cm. high, 16cm. wide Provenance The David Coachworth Collection. £120­180

‡ 260 Ian Godfrey (1942­1992) Phoenix with village a stoneware sculpture, glazed mottled grey­green unsigned 14cm. long

259

£150­200

‡ 261 Ian Godfrey (1942­1992) Blue Casket, (large Fox Casket)1974 a stoneware box and cover, covered in a matt blue glaze unsigned 17.5cm. diam, 19.5cm. high (2) Provenance Ian Godfrey British Crafts Centre, 1974, catalogue number 91.

The David Coachworth Collection. £200­400 260

261 open

261

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‡ 262 Colin Pearson (1923­2007) Winged Pot a porcelain vase, waisted cylindrical form with applied wing handles, covered in a pale celadon glaze, impressed seal marks, exhibition number 82 label, 16cm. high Provenance The David Coachworth Collection. £300­500

‡ 263 Colin Pearson (1923­2007) Winged Pot, (large) a stoneware vase, elliptical section with applied, pierced handles, covered in a mottled grey glaze impressed seal marks, applied Colin Pearson paper label, 23.5cm. high Provenance The David Coachworth Collection. £700­1,000 262

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‡ 264 Hans Coper (1920­1981) Bottle with Disc top, circa 1973 stoneware with layered slips and engobes over a body with textured and incised linear design, and manganese disc impressed seal mark, applied number 53 exhibition label, 19cm. high Provenance The David Coachworth Collection.

Literature Tony Birks The Art of the Modern Potter, Country Life, page 42 catalogue number 24 for two related, larger vases.

Tony Birks, Hans Coper, Collins, page 67 for a contemporary photograph of work by Hans Coper and Peter Collingwood, including three comparable vases, exhibited at the Victoria & Albert Museum in 1969, (the right hand vase possibly this example). £8,000­12,000

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‡ 265 Dame Lucie Rie (1902­1995) a porcelain footed bowl, low conical form covered to the foot in a white pitted glaze, impressed seal mark, 24cm. diam. 8cm high Provenance The David Coachworth Collection. £2,000­4,000

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‡ 266 Dame Lucie Rie (1902­1995) porcelain footed bowl, covered in an ‘American’ yellow glaze to the foot, impressed seal mark, applied DRC collection label, 13.5cm. diam, 8cm. high Provenance The David Coachworth Collection. £2,000­4,000

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‡ 267 Bimini Glass Ltd A set of three glass buttons, oval with cast decoration and gold highlights, with brass mount, a glass tortoise and a fish, and four ceramic roundels each cast in low relief with a creature, glass buttons stamped with Bimini factory mark, 3.3cm. wide (glass buttons), (9) £200­400

‡ 268 Dame Lucie Rie (1902­1995) and Hans Coper (1920­1981) a stoneware bowl, circular section, covered in a pitted, white glaze impressed seal marks, fine hairline to rim, 14cm. diam, 5cm. high £500­1,000

267

‡ 269 Dame Lucie Rie (1902­1995) a small sgraffito porcelain beaker, flaring conical form, glazed off white, the exterior with manganese broad band and narrow band of sgraffito, impressed seal mark, collection paper label, old restoration to small chips to top rim, with hairlines, 6cm. high Provenance The David Coachworth Collection (DRC paper label). £700­1,000

268 62

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‡ 270 Dame Lucie Rie (1902­1995) a small sgraffito and inlaid porcelain bowl, footed elliptical form, the interior glazed manganese with incised sgraffito lines, the exterior glazed white with inlaid purple lines, impressed seal mark, applied DRC paper label, two filled chips to inside top rim, 8cm. wide, 3.6cm. high Provenance The David Coachworth Collection (DRC Paper label). £500­1,000

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‡ 271 Dame Lucie Rie (1902­1995) a stoneware elliptical bowl, footed form, glazed with a pitted white glaze with manganese rim, impressed seal mark, DRC paper label, 16.5cm. wide, 8.5cm. high Provenance The David Coachworth Collection (DRC paper label). £800­1,200 271

‡ 272 Dame Lucie Rie (1902­1995) a stoneware pouring bowl, white glaze with tan specks to the exterior, the interior and base glazed cobalt blue, impressed seal mark, small glaze nick to the top rim, 12.5cm. wide Provenance The David Coachworth Collection (no label). £500­800 272

END OF COLLECTION

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ARTS & CRAFTS GLASS 273 A Goddard and Gibbs stained glass panel designed by Arthur E Buss, dated 1971, arched rectangular panel, decorated with fish swimming amongst waterweed, in colours, in later wooden frame signed Arthur E Buss, 1971, 120 x 47.5cm.

Literature Clarice Cliff, Art Deco & Design, 29th March 2017 lot 319 for another en suite panel. £400­600

274

274 Anon Half Oure Half Outer To ABerdour Its Fifty Fathom Deep design for a stained glass window on paper later annotated to reverse Burne Jones and mount annotated William De Morgan 53 x 46cm. £200­300 275 A Thomas Webb Burmese butterscotch glass vase, decorated by the Jules Barb workshop, ovoid with tall cylindrical solifleur neck, opaque glass cased in pale yellow, surface decorated with a butterfly flying amongst prunus stems in gilt, unsigned 27cm. high £300­500 276 A Thomas Webb Bronze glass vase in the manner of Dr Christopher Dresser, shouldered ovoid form, covered in an iridescent finish to the surface, and another similar, one with impressed factory mark to the side, 7.5cm. high, (2)

275

273

£250­350 277 A Stevens & Williams cut glass vase, swollen cylindrical form, cut with water lily pads and flowers, unsigned, 30cm. high £200­300

276

277

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278 A James Powell & Sons flint glass flute designed by Harry Powell, applied with four sea green tears, unsigned, 21cm. high £200­300 279 A James Powell & Sons Flint glass decanter with silver stopper designed by Harry Powell, shouldered, square section glass the silver stopper cast as two wings, stamped marks to stopper JP & S, London 1908, 18.5cm. high Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 113 plate 77 for a comparable decanter illustrated. £250­300

279

278

280 A James Powell & Sons Whitefriars straw opal glass wine glass designed by T G Jackson, and a James Powell & Sons straw opal tazza, unsigned, 14.3cm. high, (2) Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 97 plate 5 for examples of this wine glass illustrated. £200­300 281 A James Powell & Sons Whitefriars flaring wine glass probably designed by Harry Powell, the flaring bowl etched Prodesse Quam Conspici (to accomplish without being conspicuous) below a band of laurel, unsigned, 18.5cm. high Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 105 plate 34 for comparable glasses illustrated. £250­300 282 A James Powell & Sons Whitefriars flaring wine glass probably designed by Harry Powell, the flaring bowl etched Omnia Bona Bonis, (All Things Good to the Good), below a band of scrolling ivy, unsigned, 18cm. high

280

Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 105 plate 34 for comparable glasses illustrated. £200­300

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281

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283 A James Powell & Sons Whitefriars glass vase designed by Barnaby Powell, model no. M105, sky blue vase with mauve tears, unsigned, 19.3cm. high Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 124 plate 113 for a comparable vase. £250­350 283

284 A pair of James Powell & Sons Whitefriars flint glass embedded gold goblets probably designed by Harry Powell, flint glass with double knopped stem, unsigned, one with cracked lower knop, 18cm. high, (2) Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis, page 113 plate 76 for comparable examples. £500­800

284

285 A James Powell & Sons Whitefriars dark green glass, flaring conical form with applied large prunts, on a stepped foot, unsigned, 11cm. high £150­200 285

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CERAMICS 286 A large Minton Hollins & Co Moses tile, printed and painted in colours with Moses seated holding a tablet, framed, impressed factory marks, 20.4cm. square £150­200 287 Charles Dickens a large Douglas Ceramic Portrait roundel tile, painted in colours, in ebonised wood frame carved with foliate corner panels, painted Douglas Ceramic Portrait, 98 Cheapside at Piccadilly, 30cm. diam (plaque), 60cm. square (frame) 286

287

£200­300 288 A set of twelve Mintons Rural Scenes tiles designed by L T Swetnam, each printed in sepia, including Old Gateway Winchelsea, Conway Castle, Old Houses Rouen, West Gate Warwick, framed, and Tennyson’s Idylls of the King five Mintons China Works tiles designed

by John Moyr Smith, a Minton tile Ruins of Hougemeont and a collection of Mintons tiles, 15cm. square (alot) Literature Annamarie Stapleton John Moyr Smith 1839­ 1912 A Victorian Designer, Richard Dennis Publications, page 74­75 for comparable tiles illustrated. £150­200

288

289 Six Minton’s large tiles designed by John Moyr Smith, each printed in brown on a tan ground, individually framed, marks concealed in framing, 19.5cm. square (tiles), (6) £300­400

289

290 A set of three Aesthetic Movement tile plaques either Minton’s Hollins or Copeland, painted in blue and white on a cream ground, the tall panel with a standing maiden holding a flaming torch, the landscape panels, a reclining maiden before fish and waterweed, and with a bird perched on her hand, painted marks, impressed Minton’s mark concealed, minor rim chips, 46 x 15.5cm (largest panel), 30.5 x 15.2cm (smaller panels), (3) £300­500

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291 292 291 A MInton Hollins & Co tile, painted with an ass collapsing under the weight of overloaded panniers, inscribed now an ass although he had a good master prayed to Jupiter for a better but got a works, in colours on a white ground, in metal frame, cast marks, 14.5cm. square £200­400 292 Henry Stacy Marks (1829­1898) Seven Ages of Man a large Minton’s Art Pottery Studio tile plaque, dated 1874, painted with two medieval young men delivering a note to a nobleman on a formal terrace setting, in colours highlighted with a gilt sky, in oak frame, impressed and painted factory marks, 52 x 25.5cm.

Catalogue notes The scene from As you Like it by William Shakespeare depicts Jacques being petitioned by two beggars. £1,000­1,500 293 A pair of Art Nouveau Flaxman five tile panels, each dust­press moulded with Art Nouveau tulip flowers in turquoise and aubergine on a blue ground, painted marks, 15cm. square (each tile), (10) 293

£500­600 294 ‘Age of Birds’ a Mintons tile, printed in black on a sand ground titled The Justice, with an owl perched in a tree, a Minton’s Aesop’s Fable tile, a large Aesthetic tile printed with a seated maiden pouring from a jug, and three other tiles impressed factory marks, 15.5cm. square (6) £150­200 295 ‘Ages of Animals’ four Minton Hollins & Co tiles, printed in black on a sand ground, comprising; ‘The Scholar’, ‘The Lover’, ‘The Infant’ and ‘The Pantaloon’, impressed factory marks, 15.3cm. square, (4) £300­400 294

295

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297

298

296 A Doulton Lambeth stoneware salt, dated 1877, square section, cast in low relief to each side with a vase of flowers and column corners, the bowl with a stylised flowerhead design in shades of green, brown and blue impressed factory marks, Hasrriman Judd paper label, 8.5cm. high Provenance Harriman Judd collection, Sotheby’s Online auction. £120­180 299

297 A Doulton Lambeth stoneware ewer with silver mount, by Emily Edwards, dated 1878, ovoid, footed form with knopped cylindrical neck, incised with panels fo stiff leaf foliage in shades of blue, green and brown highlighted in white, impressed mark, stamped hallmarks Percy Holland and George Gibson rubbed, London 1877, 24cm. high £80­120 298 A set of six Wedgwood creamware twin­handled covered cups made for James Powell & Sons, pattern A4933, painted with a frieze of fruiting vine, in green and purple, comprising, six cups, covers and saucers and a sandwich plate, and a pair of Royal Doulton Natural Foliage Ware stoneware impressed factory marks, printed Powell mark to the plate, 23cm. diam. (plate), (21) Provenance Property of a lady with title. £120­180 299 A pair of Royal Doulton cabinet cups and saucers by John H Plant, painted in colours with Caerlaverock and Farbel castle, in colours printed and painted factory marks, fine hairline to one saucer, 6.5cm. high (4) £120­180 300 A large Doulton Lambeth Silicon Ware Owl lamp probably by Mark V Marshall, dated 1883, with applied blue, brown and white feathers, mounted on domed brass foot, with brass fittings, and glass flume, impressed factory marks and date, 38cm. high, (3) Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 249 for a comparable example illustrated. £800­1,200

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301 A Martin Brothers stoneware bird jar and cover

by Robert Wallace Martin, dated 1890, modelled standing, with large claw feet the talons clutching the domed base, with broad beak and forward stare, painted in matt green and brown with white and blue highlights, painted 1890 Martin Bros London & Southall to base, 25cm. high, (2) Provenance Antiques and Fine Art Sale, Henry Adams, 12th July 2012, lot 306 Private collection. £10,000­15,000

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303

304

302 A Martin Brothers stoneware Tyg by Robert Wallace Martin, dated 1880, tapering cylindrical form, incised with hounds chasing a deer, inside scrolling foliage, in shades of brown on a buff ground, incised R W Martin, London & Southall, 24.3.80, 16.5cm. high Provenance British Art Pottery Woolley and Wallis, 25th November 2015, lot 87 Private collection. £700­1,000 303 A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1910, shouldered form, with modelled vertical ribs, covered in a dark brown pitted glaze, incised 11­1901 Martin Bros London & Southall, 11cm. high £300­500 304 A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1882, tapering form with applied fin handles, incised and painted with a martin bird flying past grasses, in green and blue on a buff ground, incised 12.5.82 Martin London, applied Harriman Judd and W&W auction labels 12.5cm. high

305

Provenance Harriman Judd Collection, Sotheby’s Online British Art Pottery Woolley and Wallis Auctioneer’s, 25th November 2009, lot 16.

Private collection. £250­300 305 Seven Ages of Man a rare Martin Brothers stoneware frame by Robert Wallace Martin, dated 1901, circular modelled in low relief with seven portraits of man from new born baby to old age, incised R W Martin & Bros, Southall to rim, the reverse incised R W Martin Bros 3­1901, Southall, professional restoration, 27cm. diam.

Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 28, figure 24 for an identical mirror illustrated. £700­1,000 306 A Martin Brothers stoneware face jug, cylindrical, modelled in low relief to both sides with a smiling face, covered in a grey glaze, incised R W Martin & Bros London & Southall, 12cm. high £600­1,000

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307

307 An impressive Martin Brothers stoneware grotesque vase, dated 1911, compressed ovoid form, modelled with two grotesque lizard handles, the vase with incised ware ripples, matt brown and tan glazed highlighted with green incised 11­1911 Martin Brothers London & Southall, 21cm. high Provenance Samuel Avery, purchased directly from the Martin Brothers.

Private collection.

Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 144, figure 226 for an identical example illustrated. £6,000­10,000

308 A Martin Brothers stoneware face jug by Robert Wallace Martin, modelled in relief to both sides with a smiling face, painted white and black highlights on a matt tan glaze, incised R W Martin & Bros Southall, 18.5cm. high £2,000­4,000

308

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309 A C H Brannam Pottery spoon warmer, dated 1908, modelled as a seated cherub with gaping mouth, painted in shades of blue, green and brown 12cm. high £150­200 310 A C H Brannam Pottery model of a comical dog, modelled seated, wearing a head scarf, in shades of blue, green and black, with applied glass eyes, impressed marks, small glaze chip to foot, 15.5cm. high £150­200

309 310

312

311 A C H Brannam pottery grotesque ewer and cover, modelled as a coiled dragon, glazed blue, cream and ochre, incised C H Brannam Barum, 1891, minor restoration to spout rim and base rim, 21cm. high (2)

311

£150­200 312 A C H Brannam pottery grotesque candlestick, dated 1897, modelled as a stylised fish, its tail raised to form a handle, its gaping mouth holding a sconce, incised marks, 20cm. wide £150­200 313 An Art Nouveau C H Brannam Barum Ware pottery charger by Frederick Braddon, dated 1905, incised and slip decorated with radiating chrysanthemum flowers in green and ochre on a blue ground, incised marks and monogram, firing cracks to rim, 39cm. diam. £250­350

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314 A William De Morgan Persian bottle vase, ovoid with tall solifleur neck, painted with berried foliage stems in green and white on a turquoise ground, impressed De Morgan tulip mark, 21.5cm. high £800­1,200 314

315 An early William De Morgan Chelsea Period large tile, painted with two birds perched in flowering foliage, in blue, aubergine, yellow, green and brown on a white ground, impressed marks, chips to glaze, 20.7cm. square £200­300

315

316 A William De Morgan Pottery Persian bowl by Charles Passenger, painted to the exterior with a frieze of walking griffin creatures, in turquoise, aubergine and blue, before scrolling green foliage, on a white ground, the interior boldly painted with radiating carnation stems in white and green on a turquoise ground, Painted W DE Morgan & Co Fulham, CP monogram and 2085, minor glaze chips, hairline to rim, 22.5cm. diam. £800­1,200 316 75

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318

317 A William De Morgan lustre Python tile, painted with a snake on foliate ground, in ruby lustre, framed, and another William De Morgan tile decorated with a porcupine, and nine Mintons Waverley Novels tiles designed by John Moyr Smith, De Morgan marks concealed, heavy wear to design, impressed Mintons marks and facsimile signature, 14.5cm. square, (11) Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 124 catalogue number 1010 (porcupine) original design illustrated.

Page 126 catalogue number 960 (python) original design illustrated.

319

£200­300 318 A pair of Continental tin­glaze wall brackets, rectangular, each cast in relief with a grotesque mask between foliage borders, in blue, yellow and green on a white ground, unsigned, minor frit chips, 37cm. long.

320

£150­200 319 A Cantagalli Persian small pedestal bowl, painted with a band of scrolling carnation, in shades of blue, turquoise, green and red on a white ground, painted Cantagalli mark, small glaze chip to top rim, 12cm. high, 13cm diam. £400­600 320 A Renaissance revival Copeland plate, painted with a profile portrait of an Italian man, inscribed to a scroll Cosmo Pde Da Patra 1464, inside entwined foliate border, in colours on a blue ground, impressed Copeland mark, painted LF monogram and 6.2.76, 24.3cm. diam. £120­180 321 A pottery Hispano­Moresque charger probably Cantagalli, circular with raised well, modelled in low relief and painted with stylised flower forms in silver lustre on a blue lustre ground, unsigned, 37cm. diam. £500­800

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322 A good William De Morgan Pottery Persian twin­handled vase, swollen, shouldered form with applied looped handles, painted with stylised foliage panels in blue, turquoise , green, yellow and aubergine, impressed Merton Abbey mark, painted EP artist cipher, minor restoration to rims, 23.5cm. high Provenance Private collection. £3,000­5,000 77

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A PRIVATE COLLECTION OF WILLIAM DE MORGAN TILES 323 A William De Morgan Early Fulham Period Bedford Park Anemone tile, painted with flowers in shades of green and aubergine on a turquoise ground, impressed factory mark, museum restored glaze loss, 15.5cm. square 323

324

Provenance A private collection. £120­180 324 A William De Morgan Merton Abbey tile, painted with five flowers in yellow, brown, blue and green on a white ground, impressed factory marks, 15.5cm. square Provenance Private collection £200­300 325 A William De Morgan Late Fulham Period Persian tile, painted with a flower motif in blue, turquoise, aubergine and green on a white ground, impressed factory marks, 15.3cm. square Provenance Private collection £200­300

325

326

326 A William De Morgan Late Fulham Period tile, painted with a flower in yellow and green on a white ground, impressed factory marks, 15.5cm. square Provenance Private collection £200­300 327 A William De Morgan Sand’s End Pottery Four Inch Rose (variant) tile, painted with a rose in green on a white ground, impressed factory marks, 15.3cm. square Provenance Private collection £250­350 328 A William De Morgan Sands End Pottery Four Inch Rose tile the design attributed to Halsey Ricardo, moulded in low relief, painted in green on a blue ground impressed factory marks, 15.3cm. square

327

328

Provenance Private collection Literature Jon Catelugh William De Morgan Tiles, Richard Dennis, page 100 colour plate X this design illustrated.

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329 A William De Morgan Sands End Pottery Owl tile, painted with a mouse, its tail in the talons of the owl, in blue on a green ground, impressed mark, small repaired glaze chip, 15 x 15.3cm.

Provenance Private collection £800­1,200 329

330 A William De Morgan Early Fulham Period Ornate Bird tile, painted with a bird, in blue on a green ground, impressed factory marks, 14.8 x 15cm.

Provenance Private collection Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 128 figure 956 this design illustrated. £500­1,000

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331 331 A pair of William de Morgan Late Fulham Period tiles, painted with fruiting foliage in green on a white ground, impressed factory marks, hairline to one, 15.5cm. square, (2) Provenance Private collection £300­500

332 A William De Morgan Tulip and Trellis tile, painted with flower and foliage panels in green and blue on a white ground, unsigned, 15.3cm. square Provenance Private collection £150­200 332

333 A William De Morgan Sands End Pottery tile, painted with a clump of daisies, in aubergine, green and turquoise on a green ground, impressed factory marks, 15.5 x 15cm.

Provenance Private collection £300­500

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334 A William De Morgan Bird tile, painted with an exotic bird displaying on a grass clump background,, in green on a white ground, indistinct marks, old museum restoration to corner, 15.5cm. square Provenance Private collection £500­800 334

335 A William De Morgan Sands End Pottery Fantastic Bird tile, painted in green on a turquoise ground, impressed marks, corner off and re­stuck, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 130 figure 964 for this design illustrated.

Provenance Private collection £500­800 335

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336 A William De Morgan Sands End Pottery Dodo tile, painted in shades of blue on a green ground, impressed factory mark, 15.3cm. square Provenance Private collection £800­1,200 336

337 A William De Morgan Chelsea Period Dodo tile, painted in shades of blue on a white ground, impressed factory mark, 15.3cm. square Provenance Private collection Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 129 figure 1019 for this design illustrated. £1,000­1,500 337

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338 A William De Morgan Sands End Pottery Galleon tile, painted in full sail, in green on a white ground, impressed factory marks, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 120 figure 817 for a comparable galleon tile illustrated. £1,000­1,500

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339 A William De Morgan late Fulham Period Pegasus tile, painted in shades of green on a white ground, impressed mark, 15.5cm. square Provenance Private collection £800­1,200

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340 A good William De Morgan Late Fulham Period triple lustre Strutting Peacock tile, painted displaying in shades of blue, ruby and gold lustre on a white ground, impressed factory mark, 15.3cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 128 figure 1051.

Provenance Private collection £1,500­2,000

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342

343 341 An Aesthetic Movement Royal Worcester moonflask, flattened disc form on simulated wood stand, twin­ stepped handles, painted with a robin perched on a flowering tree bough, in colours on a vivid yellow ground, impressed factory mark, feint hairline to top rim, 20.5cm. high £150­200 342 A large Aesthetic Movement pottery jardinière, printed and painted with a bird flying past a yellow butterfly amidst peony flower stems, in colours, highlighted in gilt, indistinct factory marks painted numbers, star glaze crack to interior, 30cm. high £150­200

344

345

343 A Shelley lustre vase designed by Walter Slater, model no.8306, baluster form, painted with fish leaping from turbulent water, in white on a blue lustre ground, printed factory marks, facsimile signature, 25.5cm. high £200­300 344 A Ruskin Pottery stoneware solifleur vase designed by William Howson Taylor, shouldered Mei Ping form, covered in a streaked royal blue souffle glaze, impressed WHT monogram, applied paper labels, 20cm. high £150­250 345 A Minton Secessionist vase designed by John Wadsworth and Leon Solon, shape no.3509, tapering form with knopped neck, cast in low relief with Art Nouveau flower stems in blue and white, highlighted with green, and a plate, impressed and painted marks, 32cm. high (2) £200­300 346 A large Iznik wall charger, flat with shallow raised rim, painted with stylised Persian flowers in shades of blue, red and green inside a band of turquoise flowerheads to the rim, impressed factory marks, painted artist monogram, 51.5cm. diam. £300­500

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347 347 A pottery vase probably Dunmore and after a design by Dr Christopher Dresser, compressed disc form with cylindrical neck, angled foot, covered in a streaked aubergine, yellow and brown glaze with turquoise interior, apparently unsigned, small bruise to top rim, 21cm. high

348

£150­200 348 A large pottery Propellor vase designed by Dr Christopher Dresser, probably Ault Pottery, twisted form with flaring trefoil rim, covered in a streaked olive green and yellow glaze, unsigned, crack to neck, 32.5cm. high Literature Michael Whiteway Christopher Dresser, A Design Revolution, V&A, page 216 catalogue number 289, for a comparable pair illustrated. £300­500 349 A Bretby Pottery jardniere designed by Dr Christopher Dresser, shouldered ovoid form with pulled handles, cast in low relief with geometric design glazed red, yellow and tan, impressed marks, 23cm. high

349

£150­200 350 A large Ault Pottery jardniere designed by Dr Christopher Dresser, shouldered ovoid form with fluted rim and pulled handles, geometric bands, streaked green and yellow glazes, impressed marks, hairline to top rim, 66cm wide, 36cm, high £300­500

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351

352

351 A Pilkington’s Lancastrian vase by Gladys Rogers, shape no.2974, shouldered form with loop handle, painted with a band of rose flowers on a scrolling, entwined stem, in golden lustre on mottled red and yellow lustre ground, streaked red interior, impressed marks, painted artist cipher, 11cm. high £150­250 352 A Pilkington’s Royal Lancastrian Pottery vase by William S Mycock, dated 1929, shape no.2582, shouldered form, painted with a band of scrolling foliage in gold and orange lustre on a red lustre ground, impressed mark, painted artist cipher and date code, 15cm. high £200­300 353 A Pilkington’s Lancastrian box and cover by Gladys Rogers, circular with low domed cover, painted with scrolling foliage design in brown on a mustard yellow ground impressed marks, painted artist cipher, professional restoration to cover, 15cm. diam. (2) £200­300

354

355

354 A Pilkington’s Royal Lancastrian vase, shouldered form, cast in low relief with a frieze of prowling lioness’ covered in a matt cream­white glaze, impressed factory marks, 24cm. high £200­250 355 A Pilkington’s Lancastrian vase by William S Mycock, dated 1934, shape no.3253, ovoid with flaring neck, cast in low relief with a frieze of lions, covered in a matt grey glaze, impressed factory marks, incised cipher and date mark, 19.5cm. high £180­220

356

356 A pair of Pilkington’s Royal Lancastrian Pottery bookends, each modelled as a duck swimming before reeds, covered in a mottled matt grey glaze with yellow highlights, impressed factory marks, 14cm. wide, (2) Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 72 plate 121 for a comparable pair of bookends illustrated. £150­250 357 A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1935, shape no.197, compressed form, cast in low relief with a frieze of fish, covered in a matt grey glaze, impressed and incised factory marks and artist cipher, 15.5cm. high £200­250

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358 A Pilkington’s Lancastrian vase by Charles Cundall, dated 1910, tall shouldered form, painted with a frieze of fruiting grape vine in gold and ruby lustre. impressed factory marks, painted artist cipher and date code, 25.5cm. high £500­800

358

359 ‘Rhinemaidens’ a rare Pilkington’s Lancastrian vase designed by Walter Crane, compressed form, cast in low relief with three mermaids joining hands around the neck of the vase, covered in a graduated matt blue glaze, impressed factory mark to base and artist monogram to the side of the vase, 10.5cm. high Provenance Private collection Literature Greg Smith, Walter Crane, Artist, Designer & Socialist, Lund Humphries/Whitworth Art Gallery, K18 for an example, from The collection of Peter Rose & Albert Gallichan Collection, illustrated.

Brian Coleman The Best of British Arts and Crafts, Schiffer Books, page 216 for a comparable, possibly the same example, from the collection of Peter Rose and Albert Gallichan collection.

Victoria & Albert Museum for an identical vase covered in a matt olive glaze, (accession number C138­1980). £500­700 359

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360 An Art Nouveau Della Robbia pottery vase by Liz Wilkins, dated 1898, pear shaped with slender solifleur neck and knopped rim, incised and painted with a band of stylised foliage in green, yellow and brown, painted Della Robbia mark, painted monogram, 29.5cm. high £700­900

360

361 An Art Nouveau Della Robbia pottery vase by Cassandra Annie Walker, slender shouldered form, painted with columns of stylised leaves in green, yellow and brown on a cream ground, incised Della Robbia mark and painted CW monogram, minor over painting to paint flakes to both rims, 29.5cm. high

361

£700­900

362 An Art Nouveau wall charger probably Della Robbia Pottery, incised to the well with an angel flying above clouds, the rim with roundels of stylised flower stems in green, sand and terracotta on a cream ground, unsigned, 45.5cm. diam. £300­500

363 A Sunflower Pottery ewer by Sir Edmund Elton, shouldered cylindrical from with angled spout and loop handle, covered in a crackled gold glaze over green painted Elton signature, 18.5cm. high 362

363

£300­400

364 An unusual Sunflower Pottery wall plaque by Sir Edmund Elton, circular, modelled in low relief with a scaly fish roundel, in silver and golden lustre on a crackled white ground, painted Elton signature, 33.5cm. diam. £600­700

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366

367

365

CONTINENTAL CERAMICS 365 A large Gouda Pottery earthenware vase, shouldered twin­handled form, painted with Art Nouveau flowers stems in colours on a pale green ground, painted and impressed marks, 43cm. high £300­500 366 A pair of Gouda Pottery twin­handled vases, shape no.132, ovoid with twin loop handles, painted with Art Nouveau flowers and sinuous foliage in colours on a celadon ground, incised and painted marks, 28cm. high, (2) £300­400 367 A Gouda Pottery Ivora mantel clock, domed rectangular form on stepped base, painted with stylised flowers and foliage, circular dial with arabic numerals painted marks 14cm. high

368

369

£150­200 368 An Art Nouveau Zsolnay Pecs pottery miniature vase, cast with an Art Nouveau maiden sitting on the ovoid body her arms wrapped around its knopped neck, covered in a flambe glaze feint Zsolnay mark to base, 8cm. high £120­150 369 A Chelsea Bahamas pottery Owl jar and cover, modelled in relief, painted with panels of exotic birds and stylised foliage in colours on a buff ground, incised Chelsea Bahamas, 29.5cm. high (2) Catalogue notes The owl has an invoice 1964 for the shipping of the owl from the Bahamas to Belgrave Square, London. David Rawnsley opened a chance of the Chelsea Pottery in the Bahamas in 1958 with the help of two Europeans and two Bahamians. £250­350 370 A large pair of Clement Massier vases, compressed ovoid body with tapering cylindrical neck, each painted with white mice amongst grasses, the top rim with pendulous ears of corn, in colours, highlighted in gilt on a cream ground, impressed and painted marks, 37cm. high, (2)

370

£700­1,000 91

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371

WORKS ON PAPER 371 The Mosaic Pavement of Cork Cathedral by William Burges, architectural design reproduced in the Building News, January 30th 1880, mounted, together with Mosaic Pavement of Chancel, two mounted pages, a Photograph of Burges’ Tower House, American Architectural and Building News, 1895, four other pages relating to William Burgess and Sir G Gilbert Scott and ‘Life of St Margaret Queen of Scotland, published by William Paterson,, (9) £120­180 372 ‘Sidney Ansell Gimson’ two wood block book­plates designed by Ernest Gimson, 1898, in common mount, framed 6.5cm. square 33 x 22cm. (frame) Literature Annette Carruthers, Mary Greensted & Barley Roscoe Ernest Gimson Arts and Crafts Designer & Architect, Yale, page 137 catalogue number 124 for a trial design and catalogue number 125 for this, the actual design illustrated. £120­180 372 373 Jessie M King (1875­1949) Butterflies All Blue, Pray You Here My Song, The Lambs Play Always, The Garden, four prints with silver highlights, on paper, published in The Studio Christmas supplement, December 1913, framed signed in the print Jessie M King 21 x 14cm. (image), (4) £150­250

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374 Anon Lady Resting in a Garden, watercolour on board, the reverse with a drawing of a mother and child, unsigned 36.8 x 27cm. £100­150 374

375 Sir Frank Brangwyn RA (1867­1956) Pollard’s Storefitters a pair of lithographic posters, depicting a men sawing and planing, printed by The Avenue Press artists monogram in the print, Avenue Press mark to base, 73 x 47.4cm. (2) Literature Clarice Cliff, Art Deco & Design, Woolley and Wallis Auctioneer’s, 18th March 2020, lot 544, for a comparable pair of posters. £500­800

375

376 Alphonse Mucha (1860­1939) Byzantine Heads (Rennert/Weill 40) Tete Blonde and Tete Brunette, lithographs in colour on paper, in octagonal pewter frames, signed in the print Mucha 45.5cm. (frame), (2) £800­1,200 376

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377

378

FURNITURE 380 An Aesthetic Movement ebonised wood stand, stepped octagonal form, two shelves above cupboard, with pierced, gilded panels, unsigned, 123cm. high

377 An Aesthetic Movement Druce & Co oak hall table, rectangular top on four flaring, tapering square section legs, low shelf, with carved panel under tiers, applied Druce & Co label, 132 x 53cm (top) 92cm. high

£150­250 380A An oak partners desk the design attributed to John Pollard Seddon, rectangular top inlaid with leather, over three drawers, on two bands of three graduated drawers, panelled sides, with polished brass furniture, unsigned, 138 x 136cm (top) 76cm. high

£300­500 378 A Lamb of Manchester mahogany writing table the design attributed to Alfred Waterhouse, rectangular section, two drawers with brass handles, with turned bobbin stretcher unsigned, 106 x 55cm, 74cm high

Provenance Private collection, Philadelphia 2018 Paul Shutler Private collection.

£200­400

379

379 An Aesthetic Movement mahogany two­fold screen, with pierced rails and two hinged shelves, set with embroidered silk panels of flowers and foliage unsigned 109.5cm. high, 90cm wide

£1,000­1,500

Provenance Property of a Lady, By family repute the screen was part of the contents of Ivydene, Little Switzerland, Douglas on the Isle of Man a house designed by M.H. Baillie Scott, commissioned in 1893­94. £200­300

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380

380A

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381 A Cox & Sons throne chair the design attributed to William Butterfield, probably manufactured by Messrs Cox & Son, architectural form, the planked back set with carved roundel panel, the arms pierced with a ogee panel and ionic pillar fronts,arched tracery under­carriage with similar trefoil roundels, with staining to details, unsigned, 105cm. high Provenance Paul Shutler Private collection Literature Illustrated Catalogue of Church Furnishings, Cox & Son, page 15 this chair design illustrated.

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

384 An Aesthetic Movement ebonised wall shelf with silk embroidered Nursery Rhymes panel, the panel designed by Walter Crane, with vignette featuring Where Are you Going my Pretty Maid and Little Bo Peep from Baby’s Opera, 1887, and Jack and Jill, the wood frame with shelf and bobbin rails, applied paper collection labels to reverse, 184cm. wide, 51cm. high Literature Isobel Spencer Walter Crane Macmillan, page 62 Pretty Maid’s illustration illustrated.

Arts and Crafts Woolley and Wallis Auctioneers, 17th June 2015 lot 226, for I Giorni a cabinet set with embroidered panels thought to be worked by his wife Mary Francis Crane.

Provenance The Victorian Society

Catalogue notes The London art furnishers Cox & Sons employed a number of designers, one of whom was William Butterfield. Butterfield used identical ebonised or dark stained columns and quatrefoil decoration for the choir stalls at Keble College, Oxford (1876) and on the Bishop’s throne at the church of All Saints, Babbacombe, Devon c.1874.

Catalogue notes When Crane began work for Jeffrey & Company he also became associated with the Royal School of Art Needlework. The school was home to an ‘art’ industry of secular needlework employing over 100 workers in 1875. Walter Crane’s wife was also a keen embroiderer.

£800­1,200

£400­600

382 A marquetry library desk designed by Charles Bevan, probably made by Marsh, Jones & Cribb, the shaped rectangular top with inlaid central floral panel and foliate border, above single drawer, decorated with marquetry geometric panels, on turned legs, unsigned, 73cm high, 71 x 122cm. (top).

385 Una and the Lion an Aesthetic Movement ebonised wood corner cupboard, the small cupboard with hinged door below two graduated shelves, the door painted with Una and the Lion after the book illustration by Walter Crane, with verse The Lyon would not leave her desolate, but with her went along as a strong gard, from Edmund Spenser’s The Faerie Queene, unsigned 66cm. high

£300­500 383 A painted wood desk­top specimen cabinet, rectangular section with pitched roof top, painted with a sun inside laurel wreath border to the pediment, the door panels weeping willow inside geometric panel border, inscribed Heart to the base, the sides painted with a bird perched on a willow bough, the interior seven graduated drawers with turned wood handles, unsigned, 50cm. high, 31cm. wide.

Catalogue notes Crane illustrated Spenser’s Fairie Queene published by George Allen,

381

382

£300­500

£300­500

open 383

384

385

95

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388 386 An oak side chair designed by Augustus Welby Northmore Pugin, chamfered decoration, on square legs, front legs with castors, the open back with carved flowerhead roundels and central EC initial roundel, 90cm. high £120­180

387 386

387 A Gothic Revival painted oak wall bracket in the manner of A W N Pugin, shaped top over buttress with pierced tracery edges, painted with Tudor Rose panels in red and gilt, central panel inscribed Mater Dei Opn, the base plate with painted M roundel, unsigned 32cm. high, 53cm wide Provenance Property of a lady with title. £300­400 388 Leonardo Da Vinci and Velasquez a pair of painted wood roundels, each depicting a medieval man, before flowering boughs, in colours on a gold ground, framed unsigned, 14cm. diam. £120­180 389 An Aesthetic Movement ebonised wood display cabinet, with applied brass bands, blue velvet lining and glass shelves, on pad feet, 108cm. high, 81cm. high, 39cm. deep.

389

£120­180

390

390 An Aesthetic Movement cast iron fireplace in the manner of Thomas Jeckyll, cast in low relief with a frieze of carnation to the top, the sides floral mon, indistinct cast redg marks, 76cm wide, 92cm. high £150­200 391 A tile mounted mahogany hall stand and en suite hall chairs, with carved decorative panels, patinated metal furniture and tin drip pans, set with Minton’s ‘Days of the Week’ tiles designed by Elizabeth E Houghton , sepia on a white ground, unsigned, 199cm. high, 119cm wide. (hall stand), (3) Literature Minton Tiles, 1835­1935, Stoke on Trent City Museum & Art Gallery, 1984, page 37 catalogue number 242 for one tile illustrated, £300­500 392 ‘Piper Morning’ a Rowley Gallery marquetry wall mirror, slender rectangular form, the teak frame chip carved and painted with ebony marks, set with a marquetry panel of a silhouette of Pan playing pipes, panel stamped Rowley Kensington, original paper label to reverse, 49 x 17.5cm.

391 96

392

£80­120

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393

393 A good Gordon Russell oak Wishbone table, rectangular top over three wishbone supports with flaring buttresses, on two chamfered octagonal legs, unsigned, 183 x 85cm (top), 73cm high.

Provenance Brock, Trebetherick, designed by Charles Cowles­Voysey (C.F.A Voysey’s son), for the Hoylands, built in 1936, this table was bought to furnish the house, by repute. £2,000­4,000

394 A Gordon Russell oak bureau, rectangular over twin door compartment, with polished metal furniture, applied metal label 120cm. high 76cm wide, 40cm deep £300­500

395 A Reynolds of Ludlow oak corner cabinet, two shelf compartment above hinged, panelled door cupboard, applied metal label to door, 175.5cm. high 52.5cm. deep. £300­500

394

395 97

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397

396 An Austrian Secessionist mahogany side cabinet, three open shelves above a slide and five drawers, the righthand side applied with a patinated metal plaque of a maiden emblematic of Art, titled Kunst, and marquetry foliate panels, with brass plinth, unsigned, 143cm. high, 33cm square

396

Provenance Applied Arts, Sotheby’s London, 25.February 2004 lot 139 Property of a lady with title. £300­500 397 An Austrian Secessionist painted wood dressing table in the manner of J & J Kohn, white painted wood, central mirror above drawer, flanked by openwork panels, the top with applied painted silver wooden ball rail, unsigned, 153cm. high, 69 x 40cm (top).

Provenance Property of a lady with title. £150­200 398 An Art Nouveau Galle marquetry nest of four tables designed

by Emile Galle, each with carved tracery legs, the rectangular tops with marquetry panels of landscape, daffodils and kittens drinking up spilt milk, marquetry Galle signature to tops, 58 x 37.5cm. 70cm. high (largest), (4) Literature Alastair Duncan and Georges de Bartha, Galle Furniture, Antique Collector’s Club, page 355 plate 34 for the Kitten marquetry panel illustrated. £1,500­2,000 398

98

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ORIGINAL DESIGNS BY C. F. A. VOYSEY

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399

400

399 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet, (Blue birds) watercolour on grid paper, unsigned, annotated in pencil 75 x 98cm. £400­600 400 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet (Purple heart leaves) watercolour on grid paper, unsigned, annotated and Tomkinsons stamp to reverse 43 x 43cm. £400­600

401

402

401 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet (Green foliage), 1900 watercolour on grid paper, signed and dated to reverse 48.5 x 45cm. £400­600 402 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet, (Yellow primrose), 1898 watercolour on grid paper signed in ink reverse, dated 66 x 48cm. £400­600 403 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet, (Ivy and vine borders), 1895 watercolour on grid paper, signed and dated to reverse 60.5 x 33cm. £400­600

403 100

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404

405

404 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet (Birds), 1899 watercolour on grid paper, signed and dated to front, Tomkinsons stamp to reverse 53 x 42.5cm. £400­600

405 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons Carpet, (Tulip flowers), 1895 watercolour on grid paper, signed to reverse and dated 55.5 x 33.5cm (sheet) Provenance Tennant’s 17th November 2011 lot 1602 (part) Fine Art Society £400­600

406 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet (Birds and flower), 1901 watercolour on grid paper signed and dated to reverse 76 x 53.5cm. £400­600 406 101

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407

408

407 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet (Wild Strawberries) watercolour on grid paper, signed to front, annotated and Tomkinsons stamp to reverse 61 x 56cm. £400­600

409

410

408 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet, (Heart leaves) watercolour on grid paper unsigned, annotated and printed Tomkinsons stamp to reverse 63 x 48cm. £400­600 409 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet (Heart and Daisies), 1897 watercolour on grid paper, signed and dated to reverse 74 x 45cm. £400­600 410 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet, (Pink flower) watercolour on grid paper unsigned, Tomkinsons stamp to reverse 37 x 18.5cm. £400­600 411 Charles Francis Annesley Voysey (1857­1941) Design for a Tomkinsons carpet, (Holly), 1895 watercolour on grid paper, signed and dated to reverse 55 x 35.5cm.

411 102

£400­600

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412 A large Morris & Co carpet the design attributed to John Henry Dearle, rectangular, with tulip, flowers and foliage design on a green ground, inside scrolling foliate border on red, 329 x 341cm.

Literature Arts and Crafts, Woolley and Wallis Auctioneer’s 19th June 2019, lot 242 for a comparable example. £8,000­12,000

103

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413 ‘Bird’ a Morris & Co jacquard textile hanging designed

by William Morris, originally designed in 1878, on a blue ground, unsigned, wear, 256 x 84.5cm.

Literature Charlotte Gere and Michael Whiteway 19th Century Design Thames & Hudson, page 210, plate 261 this design illustrated. £300­500 413 104

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METALWARE

414 ‘Pomegranate’ a Tiffany Studios patinated metal table lamp with leaded glass shade, the domed shade with a band of mottled amber pomegranates, against a green ground, on ‘Greek’ urn base with upturned tripod supports, stamped marks to one foot, applied metal plaque to shade, one small glass panel missing, 55cm. high 40.5cm. diam. (shade), (2) £5,000­7,000

105

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416 415

415 A silver mounted ebonised wood processional cross base in the manner of A W N Pugin, shaped octagonal base tapering to central column, set with octagonal, knopped silver­plated stem engraved with columns, the knop with floriated cruciform panels, the wooden base set with citrine cabochon mounted in silver frame and a border of square flowerhead panels, unsigned 35.5cm. high £400­600 416 A Pair of Benham & Froud cast brass fire dogs in the manner of Dr Christopher Dresser, stepped square base sporting angled square stem with twin branch terminals, cast with simple geometric pattern, stamped mark, 20.5cm. high, (2) £150­200

417 418

417 A Hukin and Heath electroplate and glass claret jug the design attributed to Dr Christopher Dresser, model no.5060, the ovoid textured glass body with electroplate collar neck, angled handle and spout, flat hinged cover, stamped mark to collar and number to cover, 16.5cm. high £200­300

λ 418 A James Dixon & Sons electroplated coffeepot and en suite milk jug designed by Dr Christopher Dresser, model no.2266, ovoid body on three ball feet, with square section angular handle set with ivory insulators, the flat, hinged cover with ball finial, and a matched smaller coffee pot with hinged cover and sugar basin model 2266, stamped marks, 24cm. high (4)

419

£150­200 419 A set of four A Kenrick & Sons cast iron trivets designed

by Dr Christopher Dresser, model no.8, each cast in low relief with stylised foliage, a Kenrick cast iron door knocker and two door letter plates, cast marks, 23cm. long (trivets), (7) £120­180 420 An Aesthetic Movement ebonised wood coal scuttle attributed to Benham & Froud, triangular form with hinged door, applied with brass decorative panels, hinge and handles, with shovel, unsigned, 39cm. high 420 106

£200­300

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421 A Guild of Handicraft silver chalice by George Hart, raised hexafoil base with raised Gothic cross motif, the hexagonal section stem with angular knop decorated with simple flower head panels, flaring bowl gilded to the interior, stamped marks, London 1958, 19.5cm. high, 12ozt. £300­500 422 A Gothic Revival silver mounted glass wine jug designed by William Butterfield, the stepped silver foot with engraved overlapping foliate band, supporting tapering clear glass body, two silver straps one engraved with grape vine frieze, the other engraved Bi Benedicimus ti Lavdamus, with scroll handle cast with trefoil foliate terminals, the silver collar with hinged cover, unsigned, split to lower band, 28.5cm. high

421

£300­500 422

423 A John Keith silver wine jug the design attributed to William Butterfield, stepped circular foot supporting swollen silver body with engraved trefoil foliate frieze, scrolling handle, with hinged cover and rope­twist thumb press, the spout engraved with stylised lily flower, stamped IK London 1857, 26cm. high. 6.5ozt. £400­600 424 A Cox & Sons gilt metal nef designed by Bruce Talbert, in the form of a boat with dragonhead mounted on four wheels, the ribbed plank sides with cast lunette frieze, unsigned, 20cm. wide, 19cm. high Literature The Best of British The Selling Exhibition, Paul Reeves/Sotheby’s, page 66 PR40 for a comparable example with later engraving to the sail.

Cox & Sons included similar designs, drawn by Bruce Talbert, in their catalogues of 1873 and 1876.

423

424

£300­500 425 A John Hardman silver­gilt paten, circular engraved with Paschal Lamb, stamped marks, Birmingham 1876, 16.2cm. diam. 5ozt. £300­500

425

107

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428 426 A pair of wrought iron and brass fire dogs, the wrought iron tripod base with scrolling panels and wrought diamond panel border, set with pierced, cast brass roundel unsigned, 50.5cm. high, 41cm long, (2)

426

£150­250 427 A patinated iron Dragon bell pull, the top cast as a ferocious dragon head, articulated chain offering from its mouth, with large pierced foliate wall bracket, and additional articulated lock panel, unsigned, 132cm. long £200­400

429

428 A silk embroidery panel, square, embroidered with a central flower­head, inside a border of tulip and daisy flower stems, in colours on a green damask silk ground, inside metallic thread borders, unsigned, 27cm. square £150­200

430

427

429 A Walker & Hall electroplated metal teapot designed by Dr Christopher Dresser, model no.51447, ovoid on three spike feet, tapering straight spout, the side­hinged flat cover with shallow finial, stamped marks, handle missing, 12cm. high £120­180 430 An Elkington & Co electroplated twin compartment dish in the manner of Dr Christopher Dresser, model no.

17618, with central loop handle, stamped marks to base, 20.5cm. wide £150­200 431 A pair of wrought iron fire dogs in the manner of Richard Norman Shaw, arched front feet, tapering stem, flanked with three graduating scroll leaves, the terminal set with gilded metal flowerhead, unsigned, 64cm. high (2) £200­300 432 A Gothic Revival patinated metal letter box with glass front, architectural form with tiled, crenulated roof, the square box with hinged door set with leaded olive glass window, unsigned, 41cm. high £150­200

108

431

432

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433 A pair of WAS Benson copper and brass three­light candlesticks, model no.22A, on angled tripod feet, knopped stem with copper foliate decoration, flaring three branch neck with sconces, unsigned, 34.5cm. high, (2) Literature Ian Hamerton W.A.S Benson, Arts and Crafts Luminary & Pioneer of Modern Design, ACC, plate 97 for a comparable pair of three­branch candlesticks. £800­1,200

433 434 A pair of WAS Benson brass seedpod candlesticks, made for piano or mantlepiece, scrolling stem on foliate foot, with seedpod counter­balance, flaring drip pan, stamped WAS Benson to middle of sconce and on stem, 31cm. wide. (2) Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books, page 121 plate 98 for a comparable pair illustrated. £300­500

435 A patinated copper fender possibly designed by Charles Francis Annesley Voysey, simple semi­circular form stamped in low relief with heart motif, 91cm. wide. £500­700 434

435

109

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436 An oak easel back photograph frame, tapering rectangular form, applied with white metal Art Nouveau chrysanthemum flower stem, unsigned 26cm. high £120­180 437 A Glasgow School brass wall charger designed

by Margaret Gilmour, circular, the well hammered in relief with a radiating geometric berry and foliage design, the rim with four domed roundel, unsigned, 47cm. diam.

Provenance Valentine Family, Dundee, by repute private collection.

436

£150­200 438 A Dryad Lester copper bowl, model no.30A circular hammered form with rope top rim, on three applied brass ball feet, stamped Dryad Lester 30A marks, 23cm. diam.

437

£120­180 439 A Keswick School of Industrial Arts copper twin­handled bowl, the ovoid bowl hammered in low relief with a frieze of berried foliage, with applied tall looped handles, stamped KSIA, 22cm. high, 46cm. wide.

438

£150­200 440 A Newlyn Industrial Classes copper plaque, fluted circular form hammered in low relief with a galleon at full sail, stamped Newlyn to well, 32.5cm. diam.

Literature Daryl Bennett & Colin PIll, Newlyn Copper Arts and Crafts Copper Work in Newlyn, Sansom & Company, page 108 for a comparable galleon on a circular plate.

439

£150­200 441 A Newlyn Industrial Classes copper small rose bowl and cover, hammered in low relief with a scaly fish to both sides, on hammered ground, a Hugh Wallis copper footed bowl inlaid with fruiting vine, and four Hugh Wallis pewter dishes, stamped Newlyn to top rim, 11cm. diam, (7) 441

£150­200 442 A small Newlyn Industrial Classes repoussé copper rose bowl and cover, hammered in low relief with a scalyfish before waterweed, and a Newlyn tea caddy hammered in relief with a scaly fish both stamped Newlyn 14.5cm. diam. (rose bowl), (3) £200­300

440

442 110

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443 A Newlyn Industrial Classes copper rose bowl and cover, the footed rose bowl hammered in relief with scaly fish swimming past waterweed, stamped Newlyn to base, 18cm. diam, 12cm. high (2) £300­400 444 A Newlyn Industrial Classes copper rose bowl and cover, the bowl hammered in relief with scaly fish before waterweed, stamped Newlyn to side, 20cm. wide, 9.5cm. high (2) £250­350 445 A Newlyn Industrial Classes box and cover, rectangular section with hinged cover, hammered in relief with tulip flower stems, the cover with a frieze of apples, cedar lined, stamped Newlyn to base, 14.5cm. wide.

443

444

£200­300 446 A Newlyn Industrial Classes copper tea caddy and cover, cylindrical, hammered in low relief with scaly fish swimming past waterweed, the shallow domed cover with Tea hammered stamped Newlyn to side of caddy, Literature Daryl Bennett & Colin Pill, Newlyn Copper Arts and Crafts Copper Work in Newlyn, Sansom & Company, page 120 for comparable caddies illustrated.

445

£150­200

446 447 A Newlyn Industrial Classes copper ewer, tapering square from, hammered in relief with a cormorant to each side, the front with a large scaly fish, hinged cover and wicker covered handle, stamped Newlyn to base, 21.5cm. high Literature Daryl Bennett & Colin Pill, Newlyn Copper Arts and Crafts Copper Work in Newlyn, Sansom & Company, page 123 this model illustrated. £250­350 448 A Newlyn Industrial Classes copper jug, tapering cylindrical form, hammered in low relief with a diving fish to each side, the front with large clam shell, hinged, domed cover, hammered ground, with wicker bound handle, unsigned, 25.5cm. high Literature Daryl Bennett & Colin PIll, Newlyn Copper Arts and Crafts Copper Work in Newlyn, Sansom & Company, page 123 for comparable jugs illustrated. £150­200

447

448 111

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449

450

449 A large and impressive patinated copper wall lantern possibly Jesson Birkett & Co, the scrolling bracket on oak mount, supporting small hammered domed shade, unsigned, 48cm. drop

450 A large patinated copper and brass pendant light with cut glass shade, in the manner of Frank Brangwyn, the tapering pendant with cast band of fruiting grape vine, unsigned, 48cm. drop

452 A pair of brass table lamps in the manner of WAS Benson, cast heart­shaped base supporting foliate stem, articulated fittings, later opaque glass shade, cast number 6629, 44cm. high (2)

£500­800

£300­500

Catalogue notes These lights can also be hung from the wall.

451 A Gothic Revival brass ceiling lantern, hexagonal section with a pierced fleur de lys border, broad band inscribed, above scroll panels, unsigned, 37cm. high

Provenance Property of a lady with title. £500­800

£200­300

451 112

452

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453

454

453 A Jesson Birkett & Co patinated copper hall lantern, tapering square section, the frame with panels of stylised foliage, with overhanging mantle, domed with central hook, green glass, unsigned, 27cm. high £300­500 454 A Jesson Birkett & Co patinated brass ceiling light and vaseline shade, knopped stem with flaring domed mantel with four scroll supports, with ovoid vaseline glass shade unsigned, 33cm. drop.

Catalogue notes This light design was illustrated on the cover of a Jesson, Birkett & Co trade catalogue. £400­600 455 A large Newlyn Industrial Classes patinated copper ceiling lantern, square section with over­hanging mantle, shallow tapering top with pierced heart motif, green glass, unsigned, 35cm. high Literature Daryl Bennett & Colin Pill Newlyn Copper, Sansom & Company, page 102 for a comparable lantern and also for a contemporary photograph of a lantern being made in the workshop.

455

£800­1,200 456 A pair of patinated copper and vaseline glass lanterns, flaring bell glass in strapwork frame, with tapering top with loop terminal, unsigned, 23.5cm. high (2) £800­1,200

456

113

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458

457

457 An Art Nouveau English silver photograph frame

by William Neale, shaped rectangular form, stamped in low relief with kingfisher birds perched on water­ lily flower stems, with silk­lined easel back, another Art Nouveau electroplated photograph frame stamped in low relief with a maiden picking flowers and a smaller silver frame, stamped marks, WN Birmingham 1910, main frame, wear and losses, 31cm. high, (3) £200­300 458 An Austrian Secessionist brass and exotic wood playing card box in the manner of Erhard & Sohne, the hinged cover inlaid with a brass scene of knights on horseback and foot, fighting each with a card suite motif to their armour, the sides with inlaid roundel panels, cedar lined with dividers, unsigned, 23.5 x 15.5cm.

Provenance Property of a lady with title. £150­200

459

459 A pair of Art Nouveau WMF pewter and glass vases, waisted triangular form, one cast with a maiden playing pipes, the other a maiden playing a harp, below swollen neck cast with flowers, with etched glass vase, stamped marks, polished chips to glass, 32cm. high, (4) £400­500 460 A WMF Jugendstil polished brass casket, model no.112, cast in low relief with Secessionist geometric panels, on stepped circular feet, hinged cover, cedar lined, and another WMF electroplated metal circular box and cover, stamped marks, 19.3cm.wide (2)

460

£120­180

461

461 An electroplated copper footed box with hinged cover in the manner of Jesson Birkett & Co, cedar lined, rectangular form, the cover set with pierced T roundel over green and blue enamel plaque, unsigned, 6cm. high, 19cm. wide £150­200

114

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462

462 Hans Muller (1873­1937) Art Nouveau Maiden patinated bronze, signed in the cast H Muller 12.5cm. high £200­400 463 Sir George Frampton RA (1860­1928) St Christina, 1889 patinated bronze relief, mounted on panel signed and dated in the cast 43.5 x 24.5cm.

463

Provenance The Estate of Meredith Frampton, and thence by family descent Literature British Sculpture 1850­1914, Fine Art Society, Sept­Oct 1968, page 23 cat. no. 43 for another example listed. The relief was exhibited at the Royal Academy in 1890 in plaster and in 1891 in bronze. £500­800 464 Edward Onslow Ford (1852­1901) Bust of Sir William Quiller Orchardson, 1895 bronze on serpentine marble base signed in the cast Onslow Ford 1894, 64cm. high Provenance Sotheby’s London 20th November 1997, lot 121 Sotheby’s London 21st May 2014, lot 87.

Exhibited Royal Academy of Arts, London 1895, catalogue number 1643 (for an example) Literature A Graves The Royal Academy Exhibitors, Volume III, page 137 catalogue number 1643. £400­600 465 Claude­Marie Devenet (1851­1931) Charmeuse de Serpent, (crouching woman with a serpent) patinated bronze on marble incised Devenet to base, 31cm. high £300­500

464

465

115

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LIBERTY & CO 466 A pair of Aesthetic Movement brass wall sconce probably retailed by Liberty & Co, the reflector backplate cast as a lily pad with a frog watching a fly, each with loose floriform sconce, unsigned, 28cm. high (4) £150­200 467 A mahogany wall shelf possibly retailed by Liberty & Co, shaped rectangular back, three central shelves flanked by two side shelves, the back set with stamped patinated metal fish roundel, stamped R930 127 to back, 67cm. high, 73cm wide.

466

£150­200

467

468 An Aesthetic Movement bamboo artist’s easel, possibly retailed by Liberty & Co., with easel back, decorated with a Japanese fan motif, brass acorn terminals, unsigned, 185cm. high Provenance Robert & Georgina Hastie Antiques, 1998.

Property of a lady with title. £150­250 469 A pair of mahogany Thebes stools probably retailed by Liberty & Co, square section on four turned legs with dowel under­carriage, with silk web seat unsigned, 39cm. high, 37.5cm. square, (2)

469

Literature Daryl Bennett Liberty’s Furniture 1875­1915, The Birth of Modern Interior Design, Antique Collector’s Club, page 96 for comparable examples illustrated. £300­400 470 A Liberty & Co mahogany overmantel inset with Dutch Scene lithographic print, rectangular with overhanging plate shelf, set with lithographic scene of Dutch farm workers in a field, applied Liberty & Co label, 122cm wide, 55cm high.

468

Literature Daryl Bennett Liberty’s Furniture 1875­1915 The Birth of Modern Interior Design, ACC, page 179 for similar examples illustrated in the Yule Tide Gifts catalogue, 1901. The wall brackets were also available with prints by Cecil Aldin and John Hassall. £150­250

470 116

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472 two views

471 471 A twin­handled copper vase designed by John Williams, tapering cylindrical form with applied handles, repoussé hammered in low relief with scaly fish amongst water­lily pads unmarked, 25cm. high Literature The Studio 1986 a similar vase illustrated. £120­180 472 A John Pearson repoussé copper casket, dated 1905, rectangular section with hinged cover, the cover hammered in relief with a young child holding a large dolphin, the front of the box with two lily flower stems, stamped JP 1905, 17 x 11cm. £350­450

473 two views

473 A John Pearson repoussé copper box and cover, rectangular with hinged cover, the cover hammered in low relief with a pair of peacocks, the front with scroll foliage, wooden lined, stamped JP 1904, 23.5cm. wide £350­450 474 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

474

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475 An Art Nouveau pewter inkwell, elliptical section, cast in low relief with panels of flowers and secessionist drop motif, inside scroll border, with hinged cover and glass liner, an American silver plated, jewellery casket by the Weidlich Bros, Bridgeport, CT, cast in relief with flag iris, and a rectangular card tray cast in low relief with a young couple kissing, casket cast mark, inkwell and tray unsigned, 18cm. wide (inkwell), (3) £120­180

475

476

476 An unusual Liberty & Co Tudric pewter vase designed by Archibald Knox, model no.0970, footed, flaring form, cast with a band of Art Nouveau whiplash honesty seedheads, stamped marks, 26cm. high Literature Liberty 1875­1975, Victoria & Albert Museum, page 79 catalogue number D211 for a comparable vase illustrated. £300­500 477 A Liberty & Co silver cruet set, swollen form, stamped with triangular geometric band, the hinged cover with a sunflower motif, comprising salt with blue glass liner, pepper, mustard pot, spoon and blue glass liner, stamped marks, Birmingham 1917, 5.5cm. high (6)

477

£200­300 478 A set of twelve Liberty & Co silver and enamel cake forks, the terminals enamelled with a stylised foliate design in blue and green, in fitted case, stamped marks Birmingham 1928, 13cm. long. £500­800 479 A Liberty Tudric pewter and enamel mug with green glass liner designed by Archibald Knox, model no.0534, cylindrical, pierced and cast with stylised honesty flowers, with applied enamelled blue roundel, with green glass liner, stamped Solkets Tudric mark, 14.5cm. high, (2)

478

Literature Liberty 1875­1975, Victoria & Albert Museum, page 74 catalogue number D.179 for a comparable beaker and holder illustrated. £200­300 480 A Liberty pewter string box and cover designed by Archibald Knox, model no.0643, cast in low relief with Art Nouveau scrolling foliate frieze, stamped number, 13cm high Literature Stephen Martin Archibald Knox, ARTMEDIA page 273 for a comparable example illustrated. £300­400

118

479

480

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481 A Liberty & Co Tudric Pewter and enamel mantel clock designed by Archibald Knox, model no.0609, rectangular form, cast in low relief with panels of Art Nouveau foliage forming a border, the circular dial enamelled with stylised honesty seedheads, in shades of green, blue and red, Arabic numerals, stamped marks to base, 20.5cm. high Provenance Private collection Literature Stephen Martin, Archibald Knox, ARTMEDIA page 233 for a comparable example illustrated.

Barbara Morris Liberty Design 1874­1914, Chartwell Books, frontis piece this model illustrated. £4,000­6,000 119

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GEORGE HUNT JEWELLERY 482 A silver and enamel brooch by George Hunt, the circular body with applied wirework leaves enamelled orange and red, set with amber, foil­backed and paste stones, stamped GH shield mark, 4.5cm. diam.

482

483

Provenance George Edward Hunt, thence by descent. £150­250 483 A George Hunt silver and enamel brooch, the silver frame with applied wirework leaves enamelled in orange and red, set with central foil backed amber cabochon above a larger garnet stone, unsigned, 4cm. long Provenance George Edward Hunt, thence by descent.

484

Catalogue notes The enamelled leaves are identical to the brooch lot number 482. £150­250

485

484 A George Hunt silver bar brooch, trefoil wirework frame set with large grey agate, flanked by two small paste, the tail set with rose quartz cabochon, stamped GH shield obscured by paper exhibition number 37 label, 6.7cm. long Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller, A Touring Exhibition, Bonham’s, November­ December 2006, page 24 catalogue number 37 £150­200 485 A George Hunt silver bar brooch, the geometric frame with applied gold wirework and foliage, set with large citrine terminal and two smaller cut garnets and a cabochon sapphire, stamped GH shield mark to bar, 10.5cm. long Provenance George Edward Hunt, thence by descent.

486

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller, A Touring Exhibition, Bonham’s, November­ December 2006, page 18 catalogue number 23. £150­250 486 A pewter and enamel casket by George Hunt, rectangular footed form, the pewter with strap­work decoration, with cedar wood lining and division, the hinged cover with black and white Limoges enamel heraldic panel by George Hunt, two George Hunt silver and enamel brooches and two George Hunt enamels, unsigned, 19.5cm. wide, 10.5cm. deep, 8cm. high (5) Provenance George Edward Hunt, thence by descent. £100­200

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487 A George Hunt silver and enamel clip brooch, the tapering body with applied scrolling wirework and foliage enamelled blue and green, set with central moonstone between Amazonite quartz and larger dark green agate cabochon, with central paste, stamped GS shield mark, 6cm. long Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller, A Touring Exhibition, Bonham’s, November­December 2006, page 32 catalogue number 62. £200­300 488 A George Hunt silver cornucopia clip brooch, with scrolling wirework and foliage, set with central pink foil backed cabochon, between moonstone and chalcedony cabochon, stamped GH shield mark, 5.5cm. long

487

Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller, A Touring Exhibition, Bonham’s, November­December 2006, page £150­200 489 A George Hunt silver and enamel bird brooch, the wirework frame forming an abstract bird or moth form, with orange graduating to yellow enamel wings, set with central large rectangular citrine, with two agate and two citrine cabochon, stamped GH shield mark, 6.5cm. wide.

Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller, A Touring Exhibition, Bonham’s, November­December 2006, page 10 catalogue number 4.

488

£400­600 490 A George Hunt silver and enamel clip brooch, the scrolling wirework frame with three leaves enamelled blue and turquoise, set with small ruby and three larger rose quartz cabochon, unsigned, 3.7cm. long Provenance George Edward Hunt, thence by descent. £150­200

489

490

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491 A Charles Horner Secessionist silver and enamel pendant necklace, pierced and cast in low relief, with pale blue enamel panel, with natural pearl drop, and a silver and blue glass brooch, stamped marks, Chester 1912, 4cm long, (2) £150­250 492 A James Fenton silver and enamel pendant necklace, shield shaped, cast in low relief with panels enamelled in blue and green, with hammered finish, simple drop and collar with blue enamel panels, stamped marks JF Birmingham 1905, 6cm drop.

491

492

£150­200 493 A Smith & Ewen silver and enamel pendant necklace, cast in low relief, enamelled in green, yellow and pink, with simple drop, stamped marks, 3cm, drop £100­150 494 An Art Nouveau Smith & Ewen silver and enamel pendant, cast with twin leaf design, enamelled in blue, pink and white, indistinct stamped marks, 3.5cm. drop £120­180

493

494

495 A James Fenton silver and enamel pendant, shield shaped, cast in low relief with Art Nouveau flower stems, enamelled pink and lavender, with simple drop, stamped marks, Birmingham 1908, 4.5cm drop £150­200 496 An Abrahall & Bint silver and enamel pendant, secessionist form, pierced and cast shield design with blue and green enamel panels, simple pearl drop stamped marks, Birmingham 1908, 4cm. drop £150­200 497 A Liberty & Co Cymric silver and enamel brooch, cast in low relief with a peacock, enamelled blue and green stamped marks, Birmingham 1904, 2.2cm. diam. £150­200

495

496

498 A Secessionist James Fenton silver and enamel brooch, circular cast in low relief, enamelled pale blue and pink, the tendrils with green enamel terminals, stamped Birmingham marks, 2.3cm. wide £120­150

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497

498

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499 Dancing Girl a Limoges enamel plaque by Marie D’Ollendon, rectangular, painted with a woman in diaphanous gold veil, standing before a doorway, a tambourine resting on the floor, in wooden frame, signed lower left, original paper label to reverse, Sotheby’s lot label, 24.5 x 13.5cm.

Provenance Dunthorne & Brown The Rembrandt Gallery, Liverpool, The Collection of the late Richard Pennington Esq, JP of Rainford, Wigan, 1887.

Elton John Volume IV, Diverse Collections, Sotheby’s London, 8th and 9th September 1988 lot 1863.

Private collection. £1,000­1,500

500 A Murrle Bennett silver and garnet brooch the design attributed to Max Gradl, pierced and cast with stylised Secessionist foliage, set with eight garnets stamped M B & Co marks, import marks London, 1901, 5.5cm. wide Literature Fritz Falk Art Nouveau Jewellery, Arnoldsche, page 158 figure F10 for a comparable design by Gradl manufactured by Theodore Fahrner, £600­900

501 A continental Jugendstil silver belt buckle in the manner of Theodore Fahrner, pierced and cast with Ginko leaf design set with five green chrysoprase stamped Depose mark, 11.2cm. wide £200­300

499

500

501 123

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502 A Murrle Bennett silver and enamel pendant necklace, pierced and cast in low relief with forget­me­knot flower stems enamelled blue, the link chain with flower bud panels with similar blue enamel, stamped marks, 2.5cm. long £150­200 503 A Murrle Bennett silver and turquoise brooch, rectangular section, cast in low relief with foliate design, set with central turquoise stone, and a silver and enamel jugenstil brooch, set with central pearl, stamped marks, 2cm. wide.

(2) £120­180 502 504 A James Fenton silver and enamel link bracelet, the panels cast with entrelac motif alternately enamelled yellow and blue, stamped marks, Birmingham 1909, 17.5cm. long £180­220

503

505 A Charles Horner silver and enamel brooch, cast in low relief with foliate panels, enamelled blue and green stamped marks, Chester 1911, 3.2cm. wide

504

£80­120 506 An Art Nouveau Charles Horner silver and enamel brooch, oval, pierced and cast form, enamelled with panels of green and red, stamped marks, Chester 1907, 2.3cm. wide £80­120 507 A silver and amethyst brooch, pierced and cast with foliate panels and central polished amethyst cabochon, stamped 800, 3cm. wide £80­120

505

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506

507

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DESIGN WEDNESDAY 25TH AUGUST 2021 AT 10AM

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THE CATLEUGH COLLECTION Kate and Jon Catleugh were a fun and flamboyant couple who remained at the heart of the British contemporary craft scene from when they met in the 1960s until their deaths.

Jon (1920 – 2009) most latterly known as an expert on William De Morgan ceramics and President of the De Morgan Foundation, originally trained and worked as an architect whilst simultaneously painting and designing textiles. He was represented by the avant­garde Gimpel Fils Gallery and took part in the seminal 1956 This is Tomorrow exhibition at the Whitechapel Gallery. In 1988 Jon took part in a retrospective exhibition at the England and Co. Gallery (Notting Hill). The show was successful not only in reinvigorating the public’s interest in his earlier work, but in inspiring Jon to once again pick up his brushes. He left behind a large body of work, which were the result of his renewed passion for painting in the early 1990s.

Kate (1931 – 2021) was born in Hungary, to a wealthy and cultured family, and she lived in a Bauhaus inspired house, designed by her architect uncle. Her father was killed during the war and she fled to England with her mother and younger sister in 1946. To say it was a culture shock to arrive in war­torn London was an understatement. Here she learned English and trained as a graphic designer, before taking a Civil Service Job working for the CID (Council of Industrial Design) in their exhibitions department. Kate was responsible for British Council expositions in Paris and America, taking with her the best of British Design. It was through her job that Kate met renowned Jeweller Wendy Ramshaw – and they developed a friendship which was to last throughout the decades.

The Catleughs met whilst both working for the Civil Service, but it was their love of ice cream (their first date at Marine Ices), cats, and arts, crafts and culture of all forms which united them. Later in life, Kate joined Jon on the Board of the De Morgan Foundation as “the exhibition lady” and in the last decades of their lives they worked hard to promote and showcase the work of William and Evelyn De Morgan, launching the De Morgan Centre in Wandsworth in 2002.

Jon was a true collector in every sense, as his vast collection of De Morgan tiles was a testament to.

He once claimed his mission was to acquire an example of every pattern tile, with each possible backstamp. He may not have achieved this aim, but he gave it a very good shot! However, Kate’s passion stemmed more from an interest in the artists and craftspeople who made the work. Across the decades they mentored and maintained friendships with many of the creatives whose work they bought and championed. Together the couple and their collections (for there were many, ranging from Victorian tiles, ceramics by Lucie Rie and Alan Caiger­Smith, Indian and African woodwork and Indonesian textiles, European glass, contemporary jewellery and their beloved cats in every possible medium and style) became well known.

After Jon died, the majority of his collection of De Morgan tiles was sold. Kate always claimed it had been like living in a stamp album with tiles mounted on every spare inch of wall space in their London penthouse. Kate then took the opportunity to create a carefully curated interior more fitting to her Modernist sensibilities. The collection presented at auction here today, therefore reflects Kate and Jon’s shared and diverse passions, eccentric tastes and often quirky sense of humour.

Claire Longworth, Curator, De Morgan Foundation from 2002­2018

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508

509

508 A pair of large William De Morgan Merton Abbey Mongolian pattern tiles, each painted with a Persian flower design in shades of blue, purple and green, impressed marks to reverse, chip to corner of one, 22.5cm. square, (2) Provenance The Jon Catleugh Collection of William De Morgan tiles Literature £1,000­2,000 509 A large pair of William De Morgan Sands End Pottery Persian Parrot tiles, each painted with a parrot bird before stylised foliage, in shades of green, yellow, blue and turquoise on a white ground, impressed marks, 20.5cm. square (2) Provenance The Jon Catleugh Collection of William De Morgan tiles.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis Publications, page 159 catalogue number 251 for four comparable examples illustrated.

William De Morgan, Blackwell House, December 2002 catalogue number 67 for another example of this tile design from the Catleugh Collection illustrated. £2,000­3,000

510

510 A rare large William De Morgan tile, painted with a portrait of a Renaissance lady, in shades of blue, aubergine, green and yellow, later framed marks concealed, 25cm square tile, (43cm square framed) Provenance The Jon Catleugh Collection of William De Morgan tiles Catalogue notes £1,000­2,000 511 A large William De Morgan Late Fulham Period tile, covered in a turquoise glaze, impressed factory marks, minor glaze chip to rim, 20.5cm. square Provenance Jon Catleugh Collection of William De Morgan tiles.

Literature Rob Higgins & Christopher Stolbert Robinson William De Morgan Arts and Crafts Potter, Shire, page 48 for similar tiles used on the exterior walls of Debenham House.

Catalogue notes This simple turquoise glazed tile was Kate’s favourite tile in Jon’s collection. £100­200

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513

512

512 Evelyn De Morgan (1855­1919) Study of a Boy pastel on paper, framed unsigned 23.5 x 20cm.

Catalogue notes This is a preparatory drawing made by Evelyn De Morgan for the huge painting Our Lady of Peace, circa 1907, when the picture was painted in her studio in Florence.

Woolley and Wallis would like to thank Sarah Hardy from the De Morgan Foundation for her help in cataloguing this lot. £800­1,200

513 Constance Phillott (1842­1931) Sketch of Arundel Woods, 1869 watercolour on paper framed titled Arundel, signed with monogram and dated 1869, paper label to reverse 25.3 x 14cm.

Catalogue notes Constance Phillott was a cousin of William De Morgan. She joined the London Suffrage Society in 1889. £150­250

‡ 514 Annie French RI (1872­1965) A Girl with a Basket, 1902 pen and wash on paper, framed signed Annie French and dated 1902 to lower margin 13 x 8cm.

Provenance The Fine Art Society, 2001 Kate Catleugh £300­500

514

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515 The Golden Cockerel from the tale by Alexander Pushkin and illustrated by Edmund Dulac, published by the Limited Edition Club, New York, with original slip case, The Holy Graal illustrated by Jessie M King, Le Morte D’arthur, 1972, and four handmade books by Andrew Law, signed by Dulac, limited edition 777/1500, 32 x 21cm, (7) Provenance Peter Harrington (The Golden Cockerel) £120­180 516 A large collection of art, design and architectural reference books, including; The Decorative Art of Frank Brangwyn by Herbert Furst, Bodley Head, 1924, Axel Herman Haig and His Work by E A Armstrong, Fine Art Society, 1905, The Russian Theatre translated by Paul England, George Harrap, limited edition 358/650, 1930, Gustav Klimt the complete works, Tobius Natter, Taschen, Ben Nicholson by Norbert Lynton, Joseph Maria Olbrich Architecture, Bauhaus 1919­1928 edited by Herbert Bayer, George Allen & Unwin, 1939, Building a Better Tomorrow, Robert Elwall, Henry Moore by John Hedgecoe text by Henry Moore, Nelson, The Unknown Modlgliani drawings for the collection of Paul Alexandre, A Way of Life Kettle’s Yard by Jim Ede, David Gentleman’s Britain and David Gentleman Artwork, The Midland Hotel Morecambe’s White Hope by Barry Guise and Pam Brook, A Free Spirit of Folk Art, The Girard Collection, (a lot)

515

516

£300­500 517 A pottery architectural tile designed by Godfrey Sykes, probably Minton’s rectangular cast in relief with a medieval figure and the letter K, glazed white and mustard yellow, unsigned, 30 x 25cm.

517

Literature Victorian and Edwardian Decorative Art The Handley­Read Collection, Royal Academy of Arts, 1972, page 59 catalogue number C90 for the original pencil designs, dated 1864. £200­400 518 An Art Nouveau Minton’s garden seat or Jardiniere stand, model no.3283, hexagonal with circular modelled top, printed with panels of blue cornflowers in blue and green on a white ground and a large jardiniere stand probably Burmantoft’s Faience, modelled in low relief with birds amongst scrolling foliage, printed and impressed marks to Mintons, painted shell mark to BF jardiniere, damages, 52cm. high (Minton’s), (2)

518

£120­180 519 A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, shouldered form with six pulled handles, covered in a mottled brown glaze, incised 12­1909 Martin Bros London & Southall, 14cm. diam.

Provenance Fine Art Society. £150­250 520 The Martin Brothers Potters a stoneware invite by Ian Gregory for the Richard Dennis Exhibition, 1978, dedicated to Mr & Mrs J Catleugh, modelled as the Potters Brownlow Street shop, impressed marks, minor chips to flowers, 25cm. high

519

£120­180 520

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‡ 521 John Maltby (1936­2020) a stoneware box and cover, rectangular section, the flat cover with applied loop handle, the box painted with geometric panels in silver and blue on a brown and oatmeal chequerboard ground, and a shaped rectangular footed dish by John Maltby impressed seal mark to box, square dish unsigned, cover repaired, chips to both, 17cm wide (box), (3) £150­250

521

522

‡ 522 John Maltby (1936­2020) a stoneware tile, resist decorated with a cat and bird design in tenmoku, mounted by Jon Catleugh, with hanging Ian Godfrey bird, marks concealed, 16.5 x 14.5cm. (tile) £150­250 ‡ 523 John Maltby (1936­2020) a stoneware footed tray, rectangular section, painted to the well with abstract cross motif in blue on a speckled oatmeal ground, under a tenmoku grid design painted Maltby signature 27.5 x 17cm.

523

£200­300 ‡ 524 John Maltby (1936­2020) a stoneware footed beaker vase, octagonal section, painted in resist with a geometric panel in iron red on a celadon ground, the interior glazed tenmoku impressed seal mark to foot rim, 9cm. high £150­250

524

‡ 525 John Maltby (1936­2020) a stoneware square dish with bamboo handle, painted with gold stars on a striped blue and grey ground, the interior tenmoku, painted Maltby signature, impressed seal mark, small glaze chip to corner of top rim, 15cm. diam. £120­180 ‡ 526 John Maltby (1936­2020) a long, slender stoneware dish, rectangular section, painted with geometric design in gold lustre on a resist decorated tenmoku ground, painted Maltby signature and possible 1974 date 44.7 x 9cm.

525

£120­180

526 130

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527

528

‡ 527 John Maltby (1936­2020) a stoneware plate, resist decorated with a large cat and tree motif in iron red on a speckled oatmeal ground, the rim glazed tenmoku, painted Maltby signature 24cm. diam. £150­250 ‡ 528 John Maltby (1936­2020) a stoneware square dish, with raised rim, painted in resist to the well with three cross motif, in iron red, blue and oatmeal, the rim tenmoku, painted Maltby signature 22cm square £200­300 ‡ 529 John Maltby (1936­2020) a stoneware square dish with raised rim, painted to the well with a large central bird motif in blue and three silver stars, on celadon ground, the rim tenmoku painted Maltby signature 22.2cm. square

529

£150­250 ‡ 530 John Maltby (1936­2020) a stoneware mug, angled elliptical body with applied solid handle, painted with flowers in iron red on a celadon ground, the interior glazed tenmoku, painted Maltby signature 10.5cm. high £200­300 530 both sides 131

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‡ 531 Jonathan Chiswell Jones (born 1944) a lustre bowl, footed form, painted to the well with a cockerel, in ruby and golden lustre on a green/blue lustre ground, two bird tiles one with a hawk, the other a cockerel by Jonathan Chiswell Jones and a flower brick by Laurence McGowan, painted artist monogram 18cm. diam. (4) £150­200 ‡ 532 Laurence McGowan (born 1942) a tin­glazed jug, bellied form, painted with alternate grass and tulip stem panels, in red, green and brown on a tin­glazed ground, painted marks to base 32.5cm. high £120­180 532 ‡ 533 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery bowl, 1972 simple brush decoration in red and copper lustre on a tin­glaze ground, and another smaller on a blue ground, painted monogram and date mark 20.5cm. diam. (largest bowl), (2)

531

£150­250 ‡ 534 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery footed vase, 1995 painted with a stylised dove with laurel branch in it’s beak, in golden lustre on a tin­glaze, and another Aldermaston Pottery bowl by Alan Caiger Smith, dated 1980 painted artist mark and date code, second bowl cracked, 14.5cm. high (vase), 31cm. diam. (bowl), (2)

533

535

£150­250 ‡ 535 Alan Caiger Smith MBE (1930­2020) an Aldermaston Pottery four tile panel, painted with circular motif in red and brown, two other tiles by Alan Caiger­Smith, a small tile brooch and a collection of tiles and pottery main panel marks concealed, 20.5cm. square (a lot)

534

£120­180 ‡ 536 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery plate, painted with an ear of corn in ochre on a blue speckled ground, and three Aldermaston Pottery mugs and another similar painted marks, 22cm. diam. (5) £120­180 537 536

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‡ 537 Edgar Campden (born 1930) a large Aldermaston Pottery rectangular dish, painted to the well and rim with flowers and foliage in red and green on a tin­glaze ground painted AC mark, 46 x 35.5cm. £150­200

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538 ‡ 538 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery jug and cover, 1973 bellied form, brushed flower and foliage design in orange on a mottled tin­glaze, and another flagon and cover by Alan Caiger­Smith covered in a tin­glaze painted marks and date mark, 2nd with Stoke on Trent Museum loan label, small chip to spout rim of main, 27cm. high (2)

539

£200­300 ‡ 539 Edgar Campden (born 1930) a large Aldermaston Pottery vase, swollen, shouldered form, painted with stylised flowers and foliage in blue, red and green on a tin­glaze ground, painted AC monogram, 40cm. high £200­400 ‡ 540 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery vase, 1973 ovoid with collar rim, painted with golden lustre brush design on a red and gold lustre ground, painted artist mark and date mark 24.4cm. high £200­300 ‡ 541 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery vase, ovoid with twin­ loop handles and collar rim, painted design in ruby lustre on a green ground, painted marks, 19cm. high

540

541

£120­180 ‡ 542 Oldrich Asenbryl an Aldermaston Pottery jardiniere, flaring conical form, painted with panels in green and blue on a tin­glaze ground, and another Aldermaston Pottery jardiniere by Oldrich Asenbryl, painted monograms, second jardiniere damaged 23.5cm. high, (2) £120­180

542

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545

543

544

‡ 543 Alan Caiger Smith MBE (1930­2020) The East Wind, 1984 a large Aldermaston Pottery twin­handled bowl with shallow rim, painted to the well with a compass and woman blowing, in blue and grey on a tin­glaze, painted monogram and date mark 44.5cm. diam. £200­300 ‡ 544 Alan Caiger­Smith MBE (1930­2020) a large Aldermaston Pottery brie dish, 1982 circular form on foot, painted with simple brush design in blue, on a tin­glaze ground painted monogram and date code 43cm. diam. £150­250

546

547

‡ 545 Juliet Wilson an Aldermaston Pottery vase ovoid with solifleur neck, painted in copper and ruby lustre with simple brush design, on tin glaze, and seven Aldermaston Pottery chalices, painted marks, 13cm. high (8) £150­250 ‡ 546 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery nine tile panel, dated 2007, each tile painted with a stylised flowerhead or geometric design in ruby and golden lustre, framed pencil number 729 and 07 to frame back, unsigned, chips to middle tile 10.2cm. square (tiles), 36.5cm. square (frame) £150­250 ‡ 547 Alan Caiger­Smith MBE (1930­2020) a fifty four tile panel, copper, ruby and golden lustre decorated test tiles, mounted unsigned, two tiles missing, mount damaged, 47 x 37cm. (panel), 5cm square (tiles) £120­180

548 134

‡ 548 Laurence McGowan (born 1942) a six tile panel, painted with lillies in red, blue and green, inside border inscription Naturam Expellas Furca Tamen Usque Recurret (you can drive nature out with a pitchfork but she always comes back), mounted and framed, signature concealed 46 x 31cm. (tiles) £250­350

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‡ 549 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery twin­handled cup from his final firing, 1993, waisted, footed form painted with golden lustre design on a tin­ glazed grey ground, painted marks, applied paper labels, 14cm. high £120­180 ‡ 550 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery vase and cover, 1973 shouldered twin­handled form with pierced decoration, painted with stylised brush design in ruby lustre on a burnished tin­glaze ground, printed factory mark, painted artist cipher and date mark, 1973, 23cm. high, (2)

549

550

£200­300 ‡ 551 Alan Caiger­Smith MBE (1930­2020) a large Aldermaston Pottery ovoid jar and cover, dated 1973, with loop handles, painted with golden lustre design on a grey tin­glaze, printed factory mark, painted artist cipher date code and 10 35cm. high (2) £400­600 ‡ 552 Alan Caiger­Smith MBE (1930­2020) a large Aldermaston Pottery footed bowl, dated, 1973, boldly painted to inside and out with golden and ruby lustre design, the well with central stylised flowerhead, incised artist monogram and date code, painted 10A and W, 46.5cm. diam.

551

Catalogue notes This wonderful large bowl sat pride of place on the dining table and was often the resting place for generations of cats including Kate’s beloved three­legged cat, Fidget. £300­500

552 two views 135

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553

554

‡ 553 Joanna Veevers (born 1960) Penny Ride, He’s No Dark Horse, a circular, ceramic plaque, mounted, a rectangular plaque and nine others, main plaque unsigned, 23.5cm. diam. (11) £150­200 ‡ 554 Joanna Veevers (born 1960) Hands, 2004 lithograph on paper, mounted, The Percheron Horse after C F Tunnicliffe, B & White by M Ueda, and three other prints, signed, ap and 2004 in pencil, 30 x 24.5cm. (6) £150­200 ‡ 555 Joanna Veevers (born 1960) Cats and Birds two ceramic plaques on common mount, three hanging plaques and three tiles and three prints unsigned 59 x 39cm. (10)

555

£300­500 ‡ 556 Joanna Veevers (born 1960) Four Persian Galleons after William De Morgan, painted in colours, framed, another of two De Morgan flower tiles, Victoria and Albert Museum a tile by Joanna Veevers, 1992, five other ceramic panels, and ‘St Marco’ a pencil drawing by the same artist, various signature and paper labels, 19.5 x 20cm (Galleon panel), (8) £300­500 556

136

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557

558

‡ 557 David Burnham Smith (1937­2019) Mask, 1992 a porcelain mask the design after William De Morgan for the Catleugh collection, painted in colours painted monogram, title to inside of back rim, 25cm. long £300­500 ‡ 558 David Burnham Smith (1937­2019) Mask a porcelain mask, after William De Morgan, painted with flowers and foliage in colours, unsigned 25cm. long £300­500 ‡ 559 David Burnham Smith (1937­2019) Seated Cat, for Kate Catleugh, 1994 porcelain painted in colours painted monogram, script signature, inscription to Kate Catleugh, no.2 32cm. high Provenance Given to Kate as a birthday present from Jon.

559

£1,000­2,000 ‡ 560 David Burnham Smith (1937­2019) Cat lying, 1991 porcelain, painted in colours signed and dated to base, no.1 decorated 18cm. wide £700­900

560 137

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561

562

563

‡ 564 Richard Watkins Study for a sculpture, 2005 pen and ink on paper, framed, and White Relief, 2006 a framed maquette

by Richard Watkins, signed and dated in pencil, main dedicated to Kate 13.5 x 9cm. (image), (2)

‡ 561 Eric James Mellon (1925­2014) Lovers, 1982 wood block print on paper, framed signed and dated in pencil 7 x 6cm. (image) £80­120 ‡ 562 Glenys Barton (born 1944) Untitled (figure in a Pyramidal Group), black and silver ink on paper, framed signed Glenys Barton, 74 and dedicated to Kate and John in pencil 50 x 30cm.

564

£150­250

Provenance Kate and Jon Catleugh.

‡ 565 Richard Watkins untitled triptych, 2008 pressed paper, framed signed and dated in pencil 79 x 32.5cm.

£150­250

£150­200

‡ 563 Graham D Rich (born 1945) Looking for the Macabes, 2006 painted wood with incised ship signed and titled to the reverse, FAS label 23.5 x 12.3cm.

‡ 566 Richard Watkins stainless steel maquette for a sculpture, 2008 stove enamelled white, and another smaller red steel maquette, R Watkins 08 (white maquette) 11cm. wide, 8cm. high, (2)

Provenance Graham Rich Crossing Lyme Bay, Fine Art Society 7­23rd December 2011, Kate Catleugh

£200­400

£400­600 565

138

566

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567

569

568

‡ 567 James Campbell (1942­2019) The Lake by Night, 2006, two tile panel, framed signed and dated Campbell 06 to front, signed and titled to reverse 30.3 x 15cm. (tiles), 47 x 32cm. (frame) £120­180 ‡ 568 James Campbell (1942­2019) Trees by a Bay, a tile fragment, framed, signed and titled to verso, 16.5 x 14.5cm. (tile), 38.5 x 36cm. (frame) £120­180 ‡ 569 James Campbell (1942­2019) a small plate, dated 1992, painted to the well with a stylised fish, and another plate by James Campbell resist decorated with a portrait, incised monogram and date to main, face plate signed Campbell, minor glaze loss to rim, 18.5cm. diam. (2)

570

571

£120­180 ‡ 570 James Campbell (1942­2019) a twin­handled earthenware vase, painted with a bird in a landscape to both sides, in colours incised Campbell, one handle re­stuck 28.5cm. high £80­120 ‡ 571 James Campbell (1942­2019) a large elliptical vase, painted with birds flying above coastal cliffs a calm sea in the distance incised Campbell dated 05 29, 38cm. high, 37.5cm. wide £300­500 ‡ 572 James Campbell (1942­2019) Townscape, 1978 a tall stoneware sculpture, glazed and another similar with domed landscape, impressed seal mark, incised signature and date to side, chips and repairs, 84cm. high, 62cm. wide (2) £250­350 572 139

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‡ 573 Svend Bayer (born 1946) a large salt­glazed stoneware jardinere, with four loop handles, combed and impressed band decoration, with pie­crust border, unsigned 46cm. high £150­250

573

574

‡ 574 Richard Batterham (born 1936) a large stoneware jar and cover, with modelled handles, cut band decoration, partially glazed with an ash glaze, unsigned, applied paper label numbered 93, repaired cover, damages 48cm. high (2) £120­180 ‡ 575 John Leach (born 1939) a Muchelney Pottery burnished vase, 2009 ovoid with flaring neck and twin lop handles, burnished black with white stripe impressed seal marks, dated 09 14cm. high Provenance Woolley and Wallis Auctioneer’s, 22nd June 2011 lot 4.

Kate Catleugh £120­180

575

576

‡ 576 Robert Fournier (1915­2008) a stoneware vase, flattened disc form with three apertures, splashed white glaze, impressed seal mark 24.5cm. high Provenance Kate and Jon Catleugh £120­180 577 Ruth Barrett­Dames (born 1940) and Alan Barrett­Danes (1935­2004) a porcelain box and cover, the cover modelled as a resting frog, two porcelain boxes by Chris Avis, a large stoneware platter, a Jonathan Adler porcelain head vase, and a collection of ceramics unsigned, chip to rim of box, 9.5cm. high (a lot) £150­200

577

140

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579

578 ‡ 578 Nicholas Homoky (born 1950) Line, 1992 lithograph on paper, framed, and another titled ‘Labas’, by Nicholas Homoky,1990 both artist proofs, signed in pencil, titled and dated, 11.5 x 9cm (image), (2)

‡ 580 Jill Crowley (born 1946) Cat Portrait, raku bust of a cat, glazed in colours on a burnished plinth, etched J Crowley signature to plinth side, paper label J Crowley no.1, 36cm. high

‡ 582 Alison Britton OBE (born 1948) In The Home, In the Jungle, In the Museum, three ceramic plaques in common mount, eight ceramic plaques by Joanna Veveers, a print by Joanna Veveers, and two ceramic tile plaques framed, signed AB 73 x 51cm (frame), (13)

£120­180

£150­250

£300­500

‡ 579 Sasha Wardell (born 1956) Space Bowl, circa 2015 a multi­layered porcelain bowl, the tapering body with faceted lower section, apricot, cased in white and sepia taupe, and another smaller incised SKW 14cm. high (tallest), 8.5cm. high (smaller vase), (2)

‡ 581 Alison Britton OBE (born 1948) an early box and cover, circa 1974, rectangular tapering section with wavy rim and top, incised with seals and fish, glazed in cream and blue incised Alison Britton to base, 24.5cm. wide, 13.5cm. high, (2) £200­300

£120­180

580

581 582 141

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583

584

585

583 A pottery seated cat in the manner of Galle, painted with yellow Heart card suite motif on a green ground, with brown detailing and foliate sprays to the tail, applied glass eyes, another similar painted with blue hearts on a yellow ground, another modern version made for the Royal Pavilion decorated with flowers, and a large collection of ceramic and other cats including a Matt Smith cat automata, a Pewabic Pottery sleeping cat, and three Limoges enamel cat boxes, main two cats unsigned, 34cm. high (a lot)

585 An Art Nouveau Zsolnay Pecs vase, tapering cylindrical form, surface decorated with stylised grasses, in golden and green lustre, a modern Zsolnay Pecs vase covered in a green lustre glaze, a teapot and cover, a Herend hot chocolate cup, saucer and side plate painted with an exotic bird in a tree, three Zsolnay pieces, two Herend cabinet cups and saucers and a collection of ceramics main vase, unsigned, chip to top rim, 22cm. high (a lot)

£250­350

586 An Art Nouveau Galle cameo glass vase, opaque glass cased in red, cameo decorated with flowers and foliage, and another Cameo glass vase decorated with convolvulus flowers cameo Galle signature to main vase, 9.5cm. high (2)

584 A small stained glass window depicting a seated cat, shaped rectangular form, the central panel depicting a seated tabby cat, inside scrolling foliate panels, and a small printed glass window titled ‘Ric Whittington’, dated 1979, unsigned, main panel cracked, 40.5 x 32cm. (2) 586

£150­250

£150­250

£150­250 587 A modern glass vase after the design by Josef Hoffmann, swollen cylindrical form, decorated with black foliate and geometric panels, a modern Series B wine glass originally designed by Josef Hoffmann, decorated with geometric panels, and a Rosenthal Studi Linie glass Art Nouveau style bowl glass with printed monogram, 20cm. high (vase), (3) Provenance Kate Catleugh collection. £120­180 588 A Venini glass bottle, shouldered cylindrical blue glass with white glass stripe, acid etched Venini Italia Murano to base, 25cm. high Literature Venini Catalogue Raisonne 1921­1986, Skira, page 296 for a comparable shape illustrated (page 31) in the 1969 catalogue. £120­180

587 142

588

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‡ 589 Peter Layton (born 1937) Glacier vase, irregular pulled glass body, white with blue striations, apparently unsigned, 17.5cm. high £150­250 ‡ 590 Peter Layton (born 1937) Glacier vase, 2010 irregular form white glass with blue bands, etched Peter Layton 2010 32cm. high £250­350 ‡ 591 Peter Layton (born 1937) Reef, flared vessel golden glass with irregular pulled and worked top rim, with turquoise, yellow and green inclusions, and an Aurora wide dropper solifleur glass vase by Peter Layton etched Peter Layton, 2008 19cm. high, (2)

589 590

£150­250 ‡ 592 Peter Layton (born 1937) Landscape, dropper flattened opaque glass disc body with slender neck and everted, wavy top rim, surface decorated in colours, another similar and an ovoid vase with iridescent surface decoration, 15cm. high, (3)

591

592

£150­200 ‡ 593 Peter Layton (born 1937) Large Paradiso stoneform, glass vase, 2003 orange, red and pink glass cased in clear, flattened disc vase with elliptical aperture, etched Peter Layton, 2003 27.5cm. high, 32cm. wide £400­600 ‡ 594 Peter Layton (born 1937) Paradiso stoneform glass vase, pink glass with blue and cream helix, cased in clear, and another RHS Paradiso wide dropper vase both etched Peter Layton 18cm. high (main vase), (2)

593

£200­400 ‡ 595 Peter Layton (born 1937) Purple Paradioso Sphere, 2008 streaked purple and opaque glass with red, grey and sand lines, etched Peter Layton, 2008 15.5cm. high £120­180 594

595 143

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‡ 596 Pauleen Solven (born 1943) tall goblet,1970 made at The Glasshouse, irregular clear glass with green and orange speckled and applied band, a goblet by Annette Meech, another smaller goblet, a vase by Norman Stuart Clarke, a Mdina glass paperweight, and a small collection of glass, etched marks, 26cm. high, (a lot) £150­250 596

‡ 599 Bruce Marks (born 1968) Bird form black glass cased in frosted white glass, ovoid with pulled rim, etched signature 21cm. high Literature Past and Present Peter Layton and London Glassblowing, Halstar, page 107 for a comparable pair of birds, dated 2012, illustrated. £200­300

‡ 597 Peter Layton (born 1937) landscape vase elliptical frosted pale blue glass, surface decorated with purple and pink flower stems, a Lloyd­Murray studio glass vase, a Hildegard Pax glass panel, and a collection of glass mainly modern etched Peter Layton 15cm. high ( a lot) £150­250

‡ 600 Cathryn Shilling (born 1957) Glass nest technique ­ glass threads with three lapis eggs unsigned, 16cm. diam.

Provenance A gift from the artist. £150­250

‡ 598 Bruce Marks (born 1968) Bird form black glass, ovoid with pulled rim, etched signature 23.5cm. high 597

Literature Past and Present Peter Layton and London Glassblowing, Halstar, page 107 for a comparable pair of birds, dated 2012, illustrated. £200­300

598

144

599

600

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601

602

‡ 601 Anthony Scala (born 1978) Pear, 2014 blown glass, surface decorated with silver signed A Scala and dated 2014 15cm. high Provenance Purchased from the artist’s Christmas exhibition. £120­180 ‡ 602 Anthony Scala (born 1978) Orrery perfume bottle and stopper, cut and etched glass unsigned 5.5cm. high, 7cm. wide (2) Catalogue notes An Orrery is a mechanical model of the solar system, here it has been re­interpreted by Anthony Scala in the form of a scent bottle. £800­1,200 ‡ 603 Anthony Scala (born 1978) Sentinel, a glass sculpture on black glass base unsigned 27cm. wide (base) 10.5cm. high (sculpture), (2) Provenance Anthony Scala £800­1,200

603

145

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604 A quantity of jewellery and watches, including a sterling silver and mixed metal ring, a Braun stainless steel wristwatch, a Calvin Klein stainless steel wristwatch, a Stuhrling wristwatch, and two jewellery cabinets, various marks, (a lot) £200­400 605 A Georg Jensen silver and hematite ring designed by Astrid Fog, model no.166, central hematite dome with smaller domed border to the collar, stamped marks, 3cm. wide 604

Provenance Jon & Kate Catleugh Literature Georg Jensen Jewellery, BGC/Yale, page 300 catalogue number 353 for a comparable ring illustrated. £150­200 606 A sautoir gold chain, entwined links with small disc panels, stamped NK 22, 200cm. long 112 grammes £2500­3500 607 A modern perspex Op Art brooch possibly by Wendy Ramshaw, square black perspex panel with white op art design, and a square marquetry wood brooch in the manner of Eric Spiller, unsigned 5cm. square (2)

605

606

Literature Provenance Jon & Kate Catleugh £120­180 608 Picasso’s Ladies Jewellery by Wendy Ramshaw, a book published

by Arnoldsche to coincide with an exhibition at the Victoria & Albert Museum, 1998 and dedicated by Wendy to Kate and John in 2003, Rooms of Dreams, Wendy Ramshaw, 2012, The Paper Jewellery Collection, by Wendy Ramshaw and David Watkins, published by Thames & Hudson, 2000, David Watkins Wendy Ramshaw a Life’s Partnership by Graham Hughes, David Watkins Encounters, David Watkins Artist in Jewellery, and nine books and catalogues on Wendy Ramshaw, (15) Provenance Kate Catleugh. £150­250

607

‡ 609 Wendy Ramshaw CBE (1939­2018) Flower spray pencil and wash on Cassart acid free paper postcard, and another similar, a ring by Wendy Ramshaw and a Perspex ring tower signed WR, one dedicated to Kate from Wendy 14.7 x 9.8cm. (4) £80­120

608 146

609

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610 ‡ 610 Wendy Ramshaw CBE (1939­2018) Flora, 1994 a polished brass and enamel sunflower brooch and earrings, enamelled in purple, blue and turquoise, and another brooch enamelled black, cast Flora WR mark to reverse 8cm. long, (4) Provenance Jon & Kate Catleugh Literature Graham Hughes David Watkins Wendy Ramshaw A Life’s Partnership, 2009, page 145 for an example of this range illustrated. £150­250 ‡ 611 Wendy Ramshaw CBE (1939­2018) Wedgwood black basalt brooch, oval black basalt set in silver mount, and a pair of Picasso Ladies silver and enamel stud earrings, stamped Wedgwood marks, stamped WR, London, 2003, disc cracked, 3.5cm. wide, (3) £120­180 ‡ 612 Wendy Ramshaw CBE (1939­2018) Picasso Ladies a silver plate on gilded metal and black enamel brooch and stud earrings set, and an extra set of stud earrings, cast WR PL mark, 9cm. wide (brooch), (5) Provenance Jon & Kate Catleugh.

Literature Wendy Ramshaw Picasso’s Ladies Jewellery by Wendy Ramshaw, Arnoldsche, page 19 this design illustrated.

Catalogue notes This design, also including a pair of cufflinks, was inspired by Picasso’s Woman with a Hat, painting of 1943. £300­500 ‡ 613 Wendy Ramshaw CBE (1939­2018) Christmas silver disc, 2000 pierced with letters, mounted on paper unsigned, paper signed WR dated 2000 3cm. diam.

Provenance Kate Catleugh £150­250

611

612

613

‡ 614 Wendy Ramshaw CBE (1939­2018) Metro, 2006 a gold pin brooch unsigned 5.5cm. diam. 0.22ozt Provenance Wendy Ramshaw Drawings in Gold, Lesley Craze Gallery, 2008.

Kate Catleugh Literature Drawings in Gold Wendy Ramshaw Collection 2006­2008, Lesley Craze Gallery, page 24 this design illustrated, V&A Magazine, no.17 (Autumn/Winter 2008), page 69 this design illustrated (Lesley Craze Gallery advert).

614

£400­600 ‡ 615 Wendy Ramshaw CBE (1939­2018) Three flower stem pins gold pins with Wedgwood blue jasper panels unsigned, one shield missing 11.5cm. long (longest) Provenance Jon & Kate Catleugh Exhibited Victoria & Albert Museum Wendy Ramshaw, 6th October 1982­16th January 1983, catalogue number 32 these three pins exhibited.

Literature Victoria & Albert Museum Wendy Ramshaw, 6th October 1982­16th January 1983, catalogue number 32(not illustrated).

Wendy Ramshaw Jewel Drawings & Projects, 1998, page 93 for related drawings.

615

£800­1,200 ‡ 616 Wendy Ramshaw CBE (1939­2018) Ring Tower with eight rings, 2009 eight 18ct gold,18ct white gold and 9ct rose gold rings, on a simple perspex tower stamped London 2009, WR, 10.5cm. high £1,200­1,800

616

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617 Jon Catleugh (1920­2009) Lichen on Rocks, (Skye), 1957 acrylic on paper, mounted, and eight other acrylic paintings

by Jon Catleugh signed in pencil and dated to front, titled to reverse 42.5 x 36cm (9) £150­200 618 Jon Catleugh (1920­2009) Poisonous Flora, 1957 acrylic on paper, and eight other acrylic paintings by Jon Catleugh signed and dated in pencil, 53 x 44cm. (9) £150­200 617

619 Jon Catleugh (1920­2009) untitled, (Seascape) 1958 acrylic on paper, mounted, and seven other acrylic paintings

by Jon Catleugh signed and dated in pencil 37.5 x 31cm. (8) £150­200 620 Jon Catleugh (1920­2009) Steel Study 18, enamelled metal maquette on curved wood mount unsigned, applied paper label with title and J Catleugh 20.5cm. high, 17.5cm wide £120­180

618

619

148

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621 Jon Catleugh (1920­2009) Untitled, 1961 an early acrylic on paper, mounted, four others and four smaller abstract paintings in acrylic on paper by Jon Catleugh signed and dated in pencil, one torn to image, 62 x 49cm (image), (9) £150­200 622 Jon Catleugh (1920­2009) Untitled, 1960 acrylic on paper, mounted, four similar acrylics on paper and four smaller by Jon Catleugh signed and dated in pencil, one with hole in image 66 x 49.5cm. (image), (9) £150­200 623 Jon Catleugh (1920­2009) Untitled 1961 acrylic on paper, mounted, three similar and four smaller acrylic on paper paintings by Jon Catleugh signed and dated in pencil, one with hole in image 64.5 x 52cm. (image) (8)

621

£150­200 624 Jon Catleugh (1920­2009) Torso, a plaster wall hanging, ‘Kitchen Maid’ a watercolour on paper costume design attributed to Jon Catleugh, a small painting on silver ground by Jon Catleugh, eight small abstract paintings and two sketch books unsigned, (13) £150­200

622

623

624

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625

625 ‘Abstract’ a pair of David Whitehead fabric lengths designed

by Jon Catleugh, screen printed cotton in colours on a black ground with hourglass motif, another abstract screen print on rayon for David Whitehead, and ten small sample designs, signed to the selvedge, 162cm long, 126cm wide (main), (13) Provenance Jon & Kate Catleugh.

Literature Geoffrey Rayner, Artists’ Textiles in Britain 1945­1970, Antique Collector’s Club, illustrated page 51 figures 31, 32 and 33.

Exhibited Paintings into Textiles, The Institute of Contemporary Arts, October 1953, artwork illustrated where David Whitehead Ltd purchased the design.

626

£120­180 626 An ebonised wood rush­seated armchair No.9 by Neville Neal, with original receipts and letter from Neville Neal, 114cm. high Provenance Purchased by Jon Catleugh directly from Neville Neal 19th July 1969. £300­500 627 An early 18th Century four panel oak chest, with iron lock and fittings, 144 x 53cm. £120­180

627 628 A Wittmann bentwood armchair designed by Josef Hoffmann, painted white with black painted ball decoration, applied metal label, 75cm. high Literature Josef Hoffmann Designs Mak­Austrian Museum, Prestel, page 40 figure 25 for the original design manufactured by Jacob & Josef Kohn, circa 1907. £300­500

150

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629 629 An Artek 901 drinks trolley designed by Alvar Aalto, dated 2005, birch with white laminate top, applied makers label to base, 90cm. wide, 55cm. high

630

631

£200­300 630 A pair of laminated birch stools designed by Alvar Aalto, model no.60, circular top on four bent plywood legs unsigned, 45cm. high (2) Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 164 for a comparable example illustrated £120­180 631 A modern chromed metal and glass E1027 adjustable table originally designed by Eileen Gray, circular chrome top on adjustable stem, with glass circular top, unsigned, 65cm. high £150­250 632 A chromed metal chair designed by Harry Bertoia, model no 420C, with white leather pad seat, and a Modernist armchair unsigned, 74cm. high (2)

632

Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 254 for a comparable example illustrated. £120­180 633 A Cassina K10 Dodo swivel armchair designed

by Toshiyuki Kita, designed in 2000, nickel plated steel with coral red leather, applied Cassina labels, 106cm. high £300­500 634 An Isokon Penguin Donkey Mark II bookcase designed by Ernest Race, applied Isokon label to base, 53.5cm. wide

634

£200­400

633

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635

635 Jon Catleugh (1920­2009) untitled (red abstract) acrylic on paperboard, framed, and four other paintings

by Jon Catleugh untitled, main with dedication to Kate Catleugh 21.5 x 15cm (main image) (5) £150­200 636 Jon Catleugh (1920­2009) Untitled, (landscape with a moon), 1995 acrylic on board, and eleven other acrylic on board paintings by Jon Catleugh dated to reverse 43 x 35.5cm. (image), (12) £150­250 637 Jon Catleugh (1920­2009) Untitled, 1992 abstract acrylic on board, with applied bead, mounted, and nine other semi abstract landscape and figurative paintings

by Jon Catleugh unsigned, annotated to reverse, 23.5 x 24cm. (10) £150­200 636

152

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638 ‡ 638 Edward Bawden RA (1903­1989) The Tyger linocut on paper, framed signed and titled The Tyger in pencil.

83 x 20cm (image) £800­1,200 639 Tyger Tyger by William Blake a limited edition book illustrated by Edward Bawden, published by Paul Peter Piech at the Taurus Press, in an edition of 65 illustrated by Edward Baden with calligraphy by David Howells, Poems of Sleep & Dream by Carol Stewart illustrated by Robert Colquhoun, English Scottish and Welsh Landscape verse chosen by John Betjeman and Geoffrey Taylor, with lithographs by John Piper, The Poet’s Eye, with lithographs by John Craxton, and The Yellow Book volume II, 1894, facsimile signatures, number 23/65, (5)

‡ 641 Bryan Kneale MBE RA (born 1930) Cat lithographic print on linen, framed, Rhinoceros Beetle by Richard Shirley Smith and a print of a cat by Kiffen, signed in pencil, Bryan Kneale, 4./30 8cm. square, (3) £120­180 ‡ 642 Geoffrey Clarke RA (1924­2014) (Destruction of the Environment), 1973 a pair of patinated brass medallions, in common mount, each stamped GC 6.4cm. diam, (20 x 13cm frame)

639

Literature Medals Today Exhibition, The Worshipful Company of Goldsmiths, 1973, catalogue number 21 for eight brass and aluminium medallions, exhibited. £150­200

£120­180 ‡ 640 Julian Trevelyan RA (1910­1988) Cats, 1942 black ink on paper, framed signed and dated lower right 25.5 x 18.5cm (image) Provenance Kate Catleugh

640

£700­900

641

642

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643 A Yoruba beadwork headdress, tapering form applied with bands of stylised birds, another bird perched on the top, on perspex stand, a Yam mask from Papua New Guinea, a Ron S Rodriguez (born 1968) cheetah with a bird painted wood sculpture with inset glass marble eyes, dated 2015, ‘Little Moon’ 1974 by Tadek Beutlich, a textile panel, two wooden figures, an iron articulated metal bird, two larger wooden animals, a modern Peruvian pottery vase, and a collection of tribal items, unsigned, 58cm. high (a lot) £200­400 644 No Guiba Palm Trees, 2005 textile panel, framed, Watering The Garden by Reda and a collection of textiles mostly framed paper labels 40 x 25cm (a lot)

643 part

Provenance Ramses Wissa Wassef Art Centre (Palm Trees and Watering The Garden). £400­600 645 A painted wooden figural clock, modelled as a soldier holding a rifle to attention, with elliptical brass face with Roman numerals, 36cm. high £200­250 646 A collection of seventeen modern Russian lacquer boxes, including Winter Festival by Molodkin, and a brass cross, various marks and labels, (18)

644 part

£200­400 647 A silver snuff box modelled as a mouse, with hinged cover, a niello cigarette case, a silver tankard, two napkin rings, a smaller tankard, enamelled cigarette case, a silver box and cover, the cover mounted with abalone shell, and a circular box and cover, by various makers, snuff worn stamped marks, 7.5cm. wide, (9) £200­400

645 646

648 A naive art wood and patinated metal model of an Arab horse, a stamped brass plaque of a mythical lion creature, framed, two mixed metal birds, and fifteen various cast metal animals, with applied paper label, 30.5cm. high (19) £120­180

647 648 154

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649 Anonymous Tree Root sculpture, mounted on stepped base unsigned, applied GR gallery label 60cm. high Provenance Gordon Reece Gallery £300­500 ‡ 650 Elizabeth Taggart (born 1943) An Outside Performance, 1978 acrylic on board, framed, and Black Pierrot, 1977, Lap Cat, 1980 two other paintings by Elizabeth Taggart and Geese a watercolour by Belinda Fitzwilliams, main signed bottom left, titled and dated to reverse, 21 x 12cm. (image, main), (4)

652 A large cotton panel painted with a tiger, walking in a barren landscape with grass clumps unsigned 184 x 118cm. £120­180 ‡ 653 Thomas Hill (born 1971) Hoopoe (blue bird) wirework sculpture on board, and a bound wire and painted wood bird unsigned 33 x 28.5cm. (2) Provenance Thomas Hill; Menagerie, July 2007. £120­180

£200­400 651 Yankel Adler (1895­1949) Untitled, (landscape), 1948 lithograph on paper, mounted, ‘Lambeth Garden’ by William Crozier, a limited edition print, published by Graphic Arts Studios London, a portrait of a woman, and nine Japanese woodblock prints, Adler signed in the print, William Crozier signed and numbered 1/150 in pencil, 36.5 x 20.5cm (image), (12)

649

Catalogue notes This lithograph was produced in an edition of 182. £120­180 650

652

651

653 155

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654

656

655

654 Jon Catleugh (1920­2009) Untitled, (abstract figure), 1995 a large acrylic on board, framed, and ten other figure paintings by John Catleugh dated to reverse, 70 x 60cm. (main picture, image), (11)

656 Jon Catleugh (1920­2009) abstract (figure study) 1996 acrylic on board and sixteen other acrylic figure studies by Jon Catleugh, dated to reverse 60 x 44.5cm. (image), (17).

£150­200

£150­250

655 Jon Catleugh (1920­2009) Untitled, (figure study) 1994 a large acrylic on board, framed, and eleven other acrylic on board figure studies by Jon Catelugh dated to reverse, 90 x 59cm. (image), (12)

657 Jon Catleugh (1920­2009) untitled (figure study), 1994/99 a large acrylic on board, and ten other abstract acrylic studies by Jon Catleugh dated to reverse 90 x 60cm. (image), (11)

£120­180

657 156

£150­200

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658 Jon Catleugh (1920­2009) Untitled, 1992 acrylic on board, and ten other acrylic on board paintings by Jon Catelugh dated to reverse 61 x 46cm (image), (11) £150­250 658

659 Jon Catleugh (1920­2009) Untitled, 1992 acrylic on board, framed and nine acrylic on board paintings by Jon Catleugh unsigned, dated to reverse 60 x 60cm. (image), (10) £150­250 659 157

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Sid Burnard (image courtesy of Goldmark Gallery).

660

‡ 660 Sid Burnard (born 1948) Whimsies for Kate, driftwood, feather and pebble sculpture, unsigned 31cm. high

‡ 662 Sid Burnard (born 1948) Rockpool No.1 2010 driftwood sculpture signed Sid Burnard `10 30cm. high

Provenance Gift from the artist

Literature Sid Burnard Goldmark Gallery, 2012, page 17 catalogue no.13 this figure illustrated.

Sid’s Book, Goldmark Gallery, 2016, page 94­95 this sculpture illustrated

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £100­150

Provenance Gift from the artist.

‡ 661 Sid Burnard (born 1948) Whimsies for Fidget, 2020 driftwood and found objects, and another similar signed Sid Burnard 4.7.20 58cm. high (2)

£150­250

Provenance Gift from the artist.

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £150­250

‡ 663 Sid Burnard (born 1948) To Market (Bird in a Cage), driftwood sculptural wall hanging, signed Sid Burnard titled To Market 55.5 x 40cm.

Provenance De Morgan Centre, 2007.

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £250­350

661

663 158

662

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‡ 664 Sid Burnard (born 1948) Grounded Rootler 2008 driftwood sculpture on a wooden plinth signed Sid Burnard and dated 2008 33cm. high Provenance Gift from the artist It rootles amongst rainforest undergrowth for grubs and other small invertebrates.

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £200­400 ‡ 665 Sid Burnard (born 1948) Tap Dance, 2018 driftwood, wire and metal tap signed and dated 16.11.18 to base 24cm. high

664

665

‡ 667 Sid Burnard (born 1948) Stag Beetle, 2014 driftwood sculpture, signed Sid Burnard 29.1.14 25cm. wide

Provenance A gift from the artist.

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £150­250 ‡ 666 Sid Burnard (born 1948) Stiletto Parakeet (Lola) 2014 driftwood sculpture with plastic, signed Sid Burnard, dated 6.6.14 60.5cm. high

Catalogue notes Sid recalls Kate telling him about her love of Stag Beetles which went back to her childhood, and he made this driftwood sculpture as a present for her.

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £120­180

Provenance Purchased from the Goldmark Gallery in 2019/2020 Kate decided she did not like Sid’s name for this wonderful bird, and re­christened her Lola.

Kate Catleugh Collection.

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £150­250

‡ 668 Sid Burnard (born 1948) Small bird, 2008 driftwood sculpture on wood plinth, and another driftwood bird sculpture by Sid Burnard, dated 2008 signed Sid Burnard, dated 2008 22cm. high, (2) Provenance Purchased directly from the artist. This small bird is unusual in the use of a copper nail (from a boat), for its eye.

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture.

666

£200­400

667

668 159

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‡ 669 Sid Burnard (born 1948) Jabiru, 2013 driftwood and fluorescent orange plastic buoy, on wooden base signed Sid Burnard 13.8.13 to base, applied 2 exhibition label, 71cm. high Literature Sid’s Book, Goldmark Gallery, 2016, page 18­19 this sculpture illustrated Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £400­600

Jabiru Gormless & vulnerable, a Jabiru stands, pensive

160

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‡ 670 Sid Burnard (born 1948) Vulture, 2008 driftwood sculpture on wooden plinth signed Sid Burnard 2008 91cm. high Catalogue notes ‘I took years wondering how to present this magnificent piece of driftwood, the result of a thousand sea­miles and relentless fashioning by the elements. It had just washed up when I found it on a remote shore below the Wild Atlantic Way, South West Ireland.

An example of what one strives to communicate.

A True free­spirit.

Sid Burnard, 2021.

Woolley and Wallis would like to thank Sid Burnard for authenticating this sculpture. £800­1,200

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DESIGN GLASS 671 An Aesthetic Movement Stourbridge engraved glass, the flaring bowl engraved with fish swimming amongst stylised flower stems, the other two with scrolling foliage designs, unsigned, 11.7cm. high (main), (3) 671

£150­200

672

672 A Stevens & Williams cut glass chalice vase, on lobed feet, cut with foliate panels to the side, and a Stevens & Williams footed bowl cut with lily of the valley stems, unsigned, 23.3cm. high, (2) £200­300 673 A Moncrieff’s Monart Ware glass vase, shouldered ovoid form with everted rim, mottled green glass with dark mottled rim with aventurine inclusions, a small bowl similar, a clear pale green glass vase with whorls, four other small pieces of Monart and a Whitefriars Cloudy White Lattice beaker vase, unsigned, 20.5cm. high (8)

673

£200­300 674 A Moncrieff’s Monart Ware glass vase, footed, flaring form, mottled pink graduating to yellow and white with whorls, cased in clear, unsigned, 18.5cm. high £200­300

674

675

676

675 A Moncrieff’s Monart Ware glass vase, model VII RA 317, swollen, footed form with everted top rim, blue graduating to green with large air bubble pattern, cased in clear, applied paper label, 17.5cm. high £200­300 676 A Moncrieff’s Monart Ware glass vase, swollen, footed form, with flaring neck, mottled orange graduating to swollen mottled purple body with green speckles and pulls, with aventurine inclusion, cased in clear, unsigned, 18.5cm. high £150­200

677

677 A glass ribbon vase probably Whitefriars, flaring cylindrical form with purple ribbon trail, A Kosta glass ice pail with chrome metal handle and tongs, an amethyst glass vase with pulled rim and five other glass items and three books on glass, unsigned, 25cm. high (11) £120­180 678 A Mdina glass bowl, flaring form mottled green and blue glass with air bubble inclusions, unsigned, 37cm. diam. £120­180

162

678

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680

679

679 A small Art Nouveau Galle came glass vase designed by Emile Galle, pear shaped orange glass cased in brown, cameo decorated with flowers and foliage, Cameo Galle signature, 8.5cm. high £200­300 680 An Art Nouveau Galle cameo glass vase designed by Emile Galle, triangular section, pale yellow glass cased in olive green with flower waterlily flowers and pads on a pond, cameo Galle signature, 9cm. high £500­800 681 An Art Nouveau Daum Nancy enamelled glass vase, shouldered cylindrical form acid­etched with a design of foliate branches and pendulous red berries, in colours acid etched facsimile signature Daum Nancy, 12cm. high

681

£600­900 682 An Amalric Walter Pate de Verre glass pendant designed by Henri Berge, circular cast in low relief with a dragonfly perched on a leaf, on cord necklace signed in the cast AW and monogram, and France to the reverse. small chip to back, 4.7cm. diam. £120­180

682

163

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683

683 A Sabino opalescent glass scent bottle and stopper, cast in low relief with bathing maidens, a Sabino ovoid opalescent glass scent bottle and stopper, cast in relief with overlapping petals, a ‘Parfum Gemey Richard Hudnut Paris glass perfume advertising plaque, a Glasform studio PO85 glass vase by John Ditchfield , a Volupte minaudierie modelled as an evening bag, and a collection of scent bottles including large display bottles and glass, and a Meerschaum pipe, main two bottles signed Sabino, chips to Gemey plaque, 15.5cm. high (main bottle), (a lot) £150­200 684 A Joblings opalescent glass footed bowl, on three shell feet, cast in relief with three scaly fish swimming, cast regd mark, 27.5cm. diam. £150­200

684

685 A Moderne table lamp with Art Deco Verlys Les Canard Sauvage opalescent glass bowl shade, the opalescent glass cast in relief with three wild ducks flying above fish swimming in turbulent water, on domed chrome shade and flaring conical ebonised wood column, cast Verlys France to the well, 34.5cm. diam. (shade), 46cm. high, (2) £200­300

164

685 two views

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686

687

686 ‘Poissons’ no. 3075 a Lalique opalescent glass plate designed by Rene Lalique, and an Art Deco glass decanter and four glasses decorated with gilt foliate design, stencil R Lalique France to plate, 27.8cm. diam. (7) £200­400 687 A modern Lalique Les Aphrodities amber glass vase, clear and frosted glass, cast in low relief with panels of naked maidens, etched Lalique France to the base, 23cm. high £200­300 688 ‘Chamarande’ model no.974 a Lalique opalescent glass vase designed by Rene Lalique, and a modern Lalique clear and frosted glass ‘Dampierre’ vase wheel cut R Lalique France and etched no.974,, 19.8cm. high, (2) Catalogue notes The Chamarande vase was introduced in 1926. £600­1,000 688

689 ‘Guepes’ no.1650 a Lalique amber glass pendant designed by Rene Lalique, cast in low relief with wasps, engraved R Lalique signature 5.7cm. long £200­300 690 ‘Serpents’ no.1651 a Lalique blue glass pendant originally designed by Rene Lalique, cast in low relief with two serpents, etched Lalique signature, 4.4cm. long Catalogue notes This design was introduced in 1920. £150­200

689

690 165

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691 A Podebrady Glassworks cut glass vase by Vladimir Zahour, cylindrical form with cut and polished geometric decoration, and a solifleur glass vase, purple cased in thick, faceted clear glass, etched monogram, 34.7cm. high (2) Literature Mark Hill, Sklo, Mark Hill Publishing, page 184 for an example illustrated. £200­300 692 A Skrdlovice glass vase designed by Frantisek Vizner, square section, the heavy glass body cast with horizontal ribs, with tapering clear glass cylindrical neck, unsigned, 28cm. high £150­250 693 A glass vase probably Italian, spiralling aubergine and white threads in green and blue, cased in thick clear glass, unsigned, 18cm. high £120­180 694 A Venini glass paperweight, alternate yellow and orange stripes, cased in clear, a Murano glass paperweight dated 1980, decorated with aventurine, a Caithness Fireball paperweight, two other paperweights and two glass pyramid weights, etched Venini Italia, 12cm. diam. (7) £120­180 691

695 A Mdina glass solifleur vase, flattened disc body with tapering cylindrical neck, streaked blue and pale yellow cased in clear, an Italian glass vase, square section, aubergine glass cased in orange and clear, a tall tapering orange glass vase and five other glass items, applied Mdina label, etched mark to base, 23.5cm. high (8) £120­180

692

694

693 166

695

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696

698

697

CERAMICS 696 A Wedgwood Butterfly Lustre tyg designed by Daisy Makeig­Jones, pattern Z4827, printed in gilt on a deep red lustre ground, the interior pearl lustre with a gilt butterfly, a Wedgwood Dragon Lustre coffee can and saucer and a miniature Wedgwood lustre bowl printed to the well with a mouse, printed factory mark, tyg painted Z4827, 5.2cm. high, (4) Provenance The Jill Napper collection of Wedgwood Fairyland Lustre.

699

£120­180 697 A Wedgwood Dragon Lustre miniature bowl designed by Daisy Makeig­Jones, pattern Z4827, printed and painted in colours and gilt with a large butterfly motif to the well, on pearl lustre ground, the exterior with puce lustre, another miniature bowl decorated to the well with a snake, and two waisted rectangular dishes printed in gilt with bird motif, printed factory marks, Butterfly bowl painted Z4827, 5.6cm. diam, 2.5cm. high (4) Provenance The Jill Napper collection of Wedgwood Fairyland Lustre. £120­180 698 ‘Celtic Harvest’ a Clarice Cliff jug, shape 57A/S, modelled in low relief and painted in colours, two Celtic Harvest footed bowls with electroplated rims, three tazza with electroplated mounts and a collection of Clarice Cliff, printed factory marks, 22cm. high (a lot)

701 ‘Latona Tree’ a Clarice Cliff Bizarre 358 vase, painted in colours on a Latona ground, printed and painted marks, 21cm. high

700

£300­500 702 ‘Blue Chintz’ a Clarice Cliff Bizarre tea set for six, comprising six Globe teacups, saucers and side plates, painted in colours, and a Clarice Cliff ‘Blue Chintz’ Conical cruet set, printed factory marks, 17.5cm. diam (22) Provenance Clarice Cliff, Christie’s South Kensington, 6th November 1989 lot 134 (cruet set) Property of a lady with title.

Catalogue notes The set of plates have the impressed date marks for 1933 and 1934. £200­400 701

Provenance The Collection of Stephen and Marjorie Page £200­400 699 ‘Rhodanthe’ a Clarice Cliff Bizarre Bonjour vase, painted in colours printed factory mark, 22cm. wide £200­300 700 ‘Rhodanthe’ a Clarice Cliff trumpet vase, shape no.702, painted in colours printed mark, 30.5cm. high £120­180 702

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703

704 703 ‘Farmhouse’ a Clarice Cliff Fantasque Bizarre small bowl, painted in colours, a ‘House and Bridge’ ashtray, a ‘Melon’ coaster, a ‘Windbells’ Grapefruit bowl, a Nasturtium’ cruet set, and a collection of Clarice Cliff printed factory marks, restored cruet, 13.8cm. diam. (a lot) Provenance The Collection of Stephen and Marjorie Page

705

£120­180 704 ‘Lady Anne’ two wall pockets, model no.868, modelled in low relief and painted in colours on a mushroom ground, a Clarice Cliff ‘Memories’ vase modelled as a book, a Corn cob jug and four items moulded in relief with flowers printed factory marks, 19.5cm. high (8) Provenance The Collection of Stephen and Marjorie Page £120­180

706 705 ‘Crocus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between yellow and brown bands, a Clarice Cliff ‘Delecia Citrus’ Conical cruet set, and a pair of Limoges porcelain salts, printed factory marks, 14cm. high (7) Provenance Property of a lady with title.

Provenance Property of a lady with title. £120­180 708 Tommy Brock (spade handle out) an early Beswick Beatrix Potter figure, ‘Amiable Guinea Pig’ ,’ Old Mr Brown’, ‘Samuel Whiskers’, ‘Hunca Munca’, ‘Tailor of Gloucester’, ‘Miss Moppett’, ‘Flopsy, Mopsy & Cottontail’, ‘Lady Mouse’, ‘Mrs Tiggy Winkle’, and ‘Ribby’ ten Beatrix Potter figures, main silver mark, ten figures various marks, Ribby ear chipped off, Miss Moppett ear chipped, 8.5cm. high (Tommy Brock), (11) £200­300 709 A Wemyss Ware Beehive honey pot and cover on a saucer, painted to side and cover with bees flying around a hive, in colours, a Wemyss Ware large tankard similar, a small cylindrical preserve pot, cover and saucer, a Wemyss Ware strawberry preserve pot, cover and saucer and another tankard painted with flowers above a trellis, painted factory marks, damages and repairs, 18.5cm. square, (11) £200­400

£150­250 707

707 ‘Gibraltar’ a Clarice Cliff Fantasque Bizarre Cylindrical preserve pot and cover, painted in colours, the cover with yellow, pink, purple and blue bands, printed factory marks, 9.5cm. high (2)

706 ‘Cafe au Lait Mango’ a Clarice Cliff Bizarre Beehive Honeypot and cover, painted in colours on a mottled yellow ground, and a Clarice Cliff ‘Limberlost’ pattern Beehive honeypot, printed factory mark, small flat chip to cover, 9cm. high (3) Provenance The Collection of Stephen and Marjorie Page £120­180

708

710 A Burslem Pottery grotesque bird jar and cover designed by Andrew Hull, dated 2005, modelled standing with one wing raised, his head at a jaunty angle, glazed in colours, and another smaller bird jar and cover by Andrew Hull, impressed and painted marks, 23.5cm. high, (4) £150­200 711 The Barrister a Burslem Pottery bird jar and cover by Andrew Hull, 26­29th May 2005, modelled standing with portly tummy, head bowed in thought, glazed in colours, and a bird

by Andrew Hull, 2005, impressed and incised marks, 25cm. high (3) £150­200

168

709

710

711

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712

713

712 A Carter Stabler & Adams Poole Pottery vase designed by Truda Carter, painted by Margaret Holder, pattern EP and sahe 337, painted with geometric flowers and foliage in colours impressed factory mark, incised and painted marks, artist cipher, 25cm. high Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 61 this design illustrated £250­350 ‡ 713 Sir Terry Frost RA (1915­2003) Trewellard Red a Poole Studio Prototype charger, painted in shades of red and black, on a white ground printed factory marks, painted TF monogram, 35cm. diam.

Provenance 20th Century Design, Woolley and Wallis Auctioneer’s, 21st September 2011, lot 196. This charger was a prototype for the Queensberry Hunt Partnership and painted by Terry Frost. £400­500 714 A Troika Pottery vase probably made for Heal’s, waisted square section, cast with disc motif, covered in a white glaze, painted Troika Cornwall England to base 23cm. high £300­500

714 169

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715

716

717 715 An earthenware vase by Otto Lindig, hand thrown ovoid form with everted rim, covered in a streaked silver­grey and tan glaze, incised marks for Otto Lindig and his son Markus Lindig, 17.5cm high Provenance Clarice Cliff & Art Deco, Woolley and Wallis Auctioneer’s 11 March 2011 lot 297.

Private collection. £120­180

718

716 A Goldscheider Pottery wall mask, model no.6774, modelled as a woman with orange curly hair, holding an apple, glazed in colours impressed and printed marks, restored neck and losses to hair, 20.5cm. long Provenance Design Woolley and Wallis Auctioneers 9th October 2013 lot 1489. £150­200 717 A large Goldscheider Pottery wall mask, model no. 7608, her hand raised up holding up a flower, with pale blue curly hair, in colours impressed marks, restored ear, small glaze nick to petal, 38cm. long £200­300 718 A Royal Dux model of an Art Deco sailor girl by Schaff, model no.3230, modelled standing in pantaloons and sailor’s cap painted in shades of pink, purple, blue and yellow, highlighted in gilt, on shades base, applied pink triangle mark and impressed marks, professional restoration to base, 27cm. high £250­350 719 A Goldscheider Pottery model of a lady by Stephan Dakon, model no.6940, modelled standing in low flowing green dress, impressed and printed factory marks and facsimile signature, her right arm and hat missing, 29.5cm. high Literature Ora Pinhas, Goldscheider, Richard Dennis, page 154 this model illustrated. £100­150

170

719

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720 A large Goldscheider Pottery figure of a lady designed by Stephan Dakon, model no.7195, modelled standing her back arched and arms raised, holding her flowing dress, the dress with flowers on a green ground, impressed and printed factory mark, and Dakon facsimile signature, 39cm. high Literature Ora Pinhas, Goldscheider, Richard Dennis, page 156 for another example illustrated. £300­500

720

721 A Goldscheider Pottery model of a young girl designed by Stephan Dakon, model no.7226, modelled seated on a bookcase, looking up from an open book, glazed in colours impressed and printed factory marks and facsimile Dakon signature, small glaze chip to bookcase corner, 24cm. high Literature Ora Pinhas Goldscheider, Richard Dennis Publications, page 131 this model illustrated. £1,200­1,800

721

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MOORCROFT POTTERY

722

723

722 ‘Hibiscus’ a Moorcroft Pottery solifleur vase designed by Walter Moorcroft, tubeline decorated in green and pink on a yellow ground, another Moorcroft Pottery ‘Hibiscus’ vase, an ‘Aquilegia’ vase and two James Macintyre Aurelian Ware cups, saucers and side plates, impressed factory marks, 15.5cm. high (9)

726 A James Macintyre & Co Florian Ware solifleur vase designed by William Moorcroft, waisted form with fluted rim, tubeline decorated with flower stems in blue and green on a white ground, printed factory marks, painted green signature, professionally restored top rim, 19.5cm. high

£150­250

£150­250

723 A James Macintyre & Co tea set designed by William Moorcroft, painted with a frieze of daisy chains in yellow, blue and green on a mauve ground, inside gilt, cream and mushroom bands, comprising teapot and cover, teapot stand, large jug with pewter cover, smaller milk­jug and a sugar basin, printed factory mark, hairline to base of teapot and rim of sugar basin, 11cm. high (teapot), (7)

727 ‘Floral Panel’ a James Macintyre & Co solifleur vase designed by William Moorcroft, compressed form with tall cylindrical neck and everted, fluted top rim, tubeline decorated with panels of forget me knots, tulips and wild flowers in yellow, blue, pink and green on a white ground, the rims highlighted in gilt, printed factory marks, painted green signature, Stonier & Co, Liverpool retailers mark, 30.5cm. high

£500­800

£250­350

724

725

724 ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid form with everted top rim, tubeline decorated with pansy flowers in yellow, purple and green on a white ground, impressed factory marks, painted green signature, professionally restored, 16cm. high

728 A James Macintyre & Co Florian Ware solifleur vase designed by William Moorcroft, slender waisted form with fluted top rim, tubeline decorated with tall poppy stems in blue and green on a white ground, printed factory mark, painted green signature, 30.5cm. high

£250­300

£600­700

725 ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, footed, flaring cylindrical form, tubeline decorated with bands of pansies in purple, yellow, pink and green to top rim and foot, on a white ground, painted green signature, re­stuck top rim, crazed, 22.5cm. high £500­800

726 172

727

728

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729 729 ‘Cornflower’ a Florian Ware solifleur vase designed by William Moorcroft, ovoid with short, flaring neck, tubeline decorated with three panels of blue cornflower on a celadon ground, painted green signature, 9cm. high £250­350

730

731

734 ‘Blue Anemone’ a James Macintyre & Sons miniature vase designed by William Moorcroft, swollen baluster form, painted in shades of blue and green on a white ground, printed factory marks, painted green signature, hairline to foot rim, 7.5cm. high £300­500

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

735 ‘Rose Garland’ a James Macintyre & Co miniature vase designed by William Moorcroft, shouldered form, painted in shades of red and green, highlighted in gilt on a white ground printed factory mark, painted green signature, 8cm. high

£250­350

£250­350

731 ‘Poppy’ a James Macintyre & Co Florian Ware mustard pot with electroplated cover designed by William Moorcroft, cylindrical form, painted with Art Nouveau flower stems in blue on a pale blue ground, printed factory mark, 6.5cm. high

736 A James Macintyre & Co Florian Ware dish designed by William Moorcroft, footed, circular form with pinched top rim, tubeline decorated with poppy flowers and foliage in blue, green and yellow on a celadon green ground, painted green signature, 26cm. diam.

£120­180

£500­600

732 ‘Anemone’ a James Macintyre & Co teapot stand designed by William Moorcroft, circular, tubeline decorated with two flowers in blue and green on a white ground, printed factory marks, 16.5cm. diam.

737 A Moorcroft Pottery mug designed by William Moorcroft, tapering cylindrical form with applied angular handle, tubeline decorated with Art Nouveau flower panels in blue and green on a celadon ground, painted green signature, fine star crack to glaze on base, and firing crack to top rim, 11.5cm., high

£200­300 733 ‘Floral Panel’ A James Macintyre & Co vase designed by William Moorcroft, compressed form with slightly swollen solifleur neck, tubeline decorated with panels of flowers in blue, green and yellow on a white ground, printed factory mark, painted green signature 13cm. high

732

734

733

735

Provenance Decorative Arts, Bonham’s 16th March 2011, lot 294 (part lot). £300­500

£250­350

737 736

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738 ‘Flambe Leaf and Blackberry’ a Moorcroft Pottery plate designed by William Moorcroft, tubeline decorated and painted in colours under a flambe glaze, impressed marks, painted blue signature, 22cm. diam. £200­300 739 ‘Flambe Leaf and Berry’ a Moorcroft Pottery vase, ovoid with cylindrical neck, painted in colours under a flambe glaze, impressed marks, painted blue signature, remains of paper label, 24cm. high £400­500 738

739 740 ‘Anemone’ a Moorcroft Pottery bowl designed

by Walter Moorcroft, painted in colours under a flambe red glaze, impressed factory marks, painted blue signature, 24.5cm. diam. £200­250 741 ‘Leaf and Berry’ a small Moorcroft Pottery vase designed by William Moorcroft, the pear shaped vase, glazed in colours under a rich flambe glaze, impressed marks, indistinct painted signature, 15cm. high £120­180

740

741

742 ‘Springflowers’ a Moorcroft Pottery bowl designed by William Moorcroft, tubeline decorated in colours on a celadon green ground, and a Moorcroft Pottery ‘Arum Lily’ plate, impressed marks, painted blue signature, paper label, 26.5cm. diam. (2) £150­250 743 ‘Flambe Anemone’ a Moorcroft Pottery vase designed by Walter Moorcroft, ovoid with waisted cylindrical neck, tubeline decorated in shades of yellow, blue and green under a mottled flambe glaze, impressed factory marks, painted blue signature, 20cm. high

742

£300­400 744 ‘Flambe Hibiscus’ a Moorcroft Pottery charger designed by Walter Moorcroft, tubeline decorated in shades of yellow, red and ochre under a flambe glaze, impressed factory marks, painted signature, 31cm. diam. £200­300

743 174

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745

746

747

745 ‘Pomegranate’ a Moorcroft Pottery plate with Tiffany & Co metal mount designed by William Moorcroft, the circular plate, painted in shades of pink, purple, blue and green on a mottled blue ground, set with central foliate knop, stamped marks to metal mount, 22cm. diam. £120­180 746 ‘Pomegranate’ a Moorcroft Pottery miniature vase designed by William Moorcroft, baluster form, painted in shades of pink, purple, green and blue on a mottled green and ochre ground, painted green signature, 6cm. high

748

£250­350 747 ‘Pomegranate’ a Moorcroft Pottery miniature vase designed by William Moorcroft, shouldered cylindrical form, painted in shades of pink, purple, green and blue on a ochre and green ground, painted green signature, 5.5cm. high £250­350 748 ‘Leaf and Berry’ a rare Moorcroft Pottery vase designed by William Moorcroft, shouldered form with collar rim, tubeline decorated in shades of purple, red, blue, green and ochre on a graduated ground, impressed factory marks, painted blue signature, 16.5cm. high Catalogue notes It is rare to find the Leaf and Berries pattern decorated in the colours used for the Pomegranate design.

749

£300­400 749 ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with waisted cylindrical neck, tubeline decorated in shades of red, purple, green and ochre on a blue ground, and another smaller, impressed factory marks to both, taller vase with green facsimile signature, 21cm. high (tallest), (2) £350­450 750 ‘Big Poppy’ a Moorcroft Pottery bottle vase designed by William Moorcroft, ovoid with cylindrical neck, painted in colours on a blue ground, impressed marks, painted blue signature, 23cm. high £300­500 751 ‘Big Poppy’ a Moorcroft Pottery vase designed by William Moorcroft, slender baluster form with everted top rim, tubeline decorated in pink, purple, ochre and green on a mottled ochre­blue ground, impressed factory marks, painted blue signature, 20cm. high £700­800

750

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752

753

752 ‘Fish’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with flaring collar rim, painted in matt blues and greens impressed marks, painted blue signature, 16cm. high £800­1,200 753 ‘Leaf and Berry’ a Moorcroft Pottery vase, ovoid with flaring neck, tubeline decorated in blue and green on a celadon green glaze, impressed marks, painted blue signature, 13.5cm. high

754

£200­300 754 ‘Pansy’ a Moorcroft Pottery silver mounted brooch designed by William Moorcroft, elliptical panel painted in blue, purple and yellow, set in silver filigree frame, and another ‘Pansy’ pattern Moorcroft pendant necklace brooch stamped marks, L & Co, Birmingham 1942, 5.5cm. wide, (2) £120­180 755 ‘Iris’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with cylindrical neck and everted top rim, tubeline decorated in shades of purple, blue, yellow and green on a celadon green ground, impressed factory marks, painted blue signature, 30.5cm. high £500­600 756 ‘Iris’ a Moorcroft Pottery vase designed by William Moorcroft, slender, shouldered cylindrical form, tubeline decorated in purple, blue, yellow and green on a mottled green ground, impressed factory marks, painted green signature, 32cm. high £800­1,000

755 176

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757

758

757 ‘Flambe Landscape’ a tall Moorcroft Pottery vase designed by William Moorcroft, shouldered cylindrical form with everted top rim, painted with a band of trees in a landscape, between scale borders, in blue under a flambe red glaze, impressed marks, painted blue signature, minor professional restoration to the top rim, 36cm. high Provenance By repute this vase was by William Moorcroft, with a pair, as a gift to his brother Thomas. When Thomas died they came back to Walter Moorcroft who later sold the other vase now in a private collection. £350­450

758 ‘Leaf and Blackberry’ a tall Moorcroft Pottery baluster vase designed by William Moorcroft, tubeline decorated, painted in colours under a rich flambe glaze, impressed factory marks, painted blue signature and applied paper label, base with glazed, drilled hole for lamp fittings, 32cm. high £200­300

759 ‘Leaf and Blackberry’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, tubeline decorated and painted in colours under a flambe glaze, impressed factory marks, painted blue signature, 23.5cm. high £200­300

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760

761

760 ‘Eventide’ a Moorcroft Pottery bowl with Liberty Tudric foot designed by William Moorcroft, the bowl painted to the interior and exterior with trees in blue, green and sand with pink flambe, stamped Solkets Tudric, 01311, 21cm. diam. £300­500

762

761 ‘Claremont’ a Moorcroft Pottery jardiniere, ovoid with everted top rim, tubeline decorated with a frieze of mushrooms, in shades of red, yellow and blue on a green ground, impressed marks, painted green signature, stress star hairline to base, 12.5cm. high £400­600

762 ‘Eventide’ a Moorcroft Pottery preserve pot and matched cover designed by William Moorcroft, tubeline decorated with a frieze of trees in green, blue, sand and flambe pink, impressed factory marks, 11cm. high £200­300

763 ‘Dawn’ a tall Moorcroft Pottery vase designed by William Moorcroft, flaring cylindrical form with inverted top rim, painted with a band of trees in a hilly landscape in blue and light flambe sky, between chevron borders on a pale blue ground, impressed marks, painted blue signature, bruise to foot rim, 36.5cm. high £800­1,200

178

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764

765

766

764 A small Moorcroft Pottery Flamminian Ware vase designed by William Moorcroft for Liberty & Co, compressed ovoid form, with solifleur neck, decorated with Art Nouveau roundel in blue on a red flambe glaze, a Royal Doulton Veined Flambe vase and a stoneware wall plate and bowl by Storth, Bornholm, printed and painted marks, Flamminian vase professionally restored, 10.5cm. high (4) £120­180 765 ‘Prunus’ a Moorcroft Pottery jug designed by William Moorcroft, dated 1913, tubeline decorated in pink and blue on a white ground, painted green signature and date, 8cm. high £250­300 766 ‘Prunus’ a Moorcroft Pottery candlestick designed by William Moorcroft, tubeline decorated on a pale green ground, painted facsimile signature, 15.5cm. high £200­300

767

767 A rare Moorcroft Pottery lustre vase designed by William Moorcroft, baluster form, tubeline decorated with the Spanish pattern, under red lustre glaze, impressed marks, painted signature, professionally restored top rim, 10.5cm. high £500­800 768 ‘Moonlit Blue’ a pair of Moorcroft Pottery vases designed by William Moorcroft, ovoid with collar rims, painted in shades of blue and green on a deep blue ground, impressed factory marks, 7cm. high, (2) £800­1,200

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769 ‘Blue Rooster a modern Moorcroft Pottery vase designed by Kerry Goodwin, dated 2011, tubeline decorated in colours, and a collection of thirty Moorcroft Collector’s club magazines, impressed factory marks and painted signature, 17.5cm. high (31) £150­200

769

770 ‘Meknes (at night)’ a modern Moorcroft Pottery limited edition vase designed by Beverley Wilkes, dated 2000, tubeline decorated in colours, impressed factory marks, painted artist marks and WM signature, 22cm. high

770

£150­200

771 A modern Moorcroft Pottery vase, dated 2000, large ovoid form tubeline decorated in colours on a cream ground, another modern Moorcroft Pottery ‘Golden Lily’ vase, a Moorcroft Pottery ‘Hibiscus’ solifleur vase and an ‘Anemone’ bowl designed by Walter Moorcroft impressed and painted factory marks, 27cm. high, (main vase) (4) £150­200

771

772 772 ‘Badger’s Field’ a modern Moorcroft Pottery jug designed by Kerry Goodwin, compressed form, tubeline decorated in colours, in original box, impressed marks, painted signature, 20cm. high £300­400

773 A modern Moorcroft Pottery tile panel, dated 1999, two tiles painted in colours with a snake wrapped around a fruiting tree, on a deep blue ground, framed, in original box, impressed factory marks, 42 x 20.5cm (tile panel) £120­180

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774 An early Bursley Ware Pomona vase designed

by Charlotte Rhead, pattern no.456, shouldered form with loop handle, tubeline decorated in colours on a brown ground, printed factory mark, painted number, 27cm. high Literature Bernard Bumpus, Charlotte Rhead Pottery & Designer, Kevin Francis Books, page 37 this shape illustrated. £150­250 775 An early Bursley Ware Pomona vase designed

by Charlotte Rhead, pattern 456, tubeline decorated with flowers and fruit in colours on a mottled brown and orange ground, printed factory mark, painted number, 20.5cm. high £200­300 776 A pair of Bursley Ware Pottery Seed Poppy vases designed by Charlotte Rhead, ovoid with flaring necks, painted in shades of pink, purple, green and blue printed factory marks, 27.5cm. high (2)

774

775

£250­350 777 A pair of Hancock & Sons Morrisware vases designed by George Cartlidge, model no.C10­ 12, swollen form with tapering cylindrical neck, decorated with cornflowers in shades of purple and green on a mottled blue ground, printed factory marks, painted facsimile signature and number, 22cm. high (2) £400­600 778 A Hancock & Sons Morrisware vase designed

by George Cartlidge, model no.C9­9, cylindrical from with knopped neck, decorated with thistle flowers in purple and dark green on a streaked yellow/green ground, printed factory marks, painted number, 15.5cm. high 776

£250­350

777

778

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779 Jonathan Cox Sea Deep a large pottery jardiniere, painted with large scaly fish swimming amongst waterweed, in colours painted marks, 29cm. high £250­350 780 Maureen Minchin (born 1954) a large charger, painted to the well with three Razorbills and central roundel of two rabbits, the rim with puffin in a seascape, the reverse with a band of mackerel and seaweed impressed seal mark, 42cm. diam. £700­900 779

780 781 ‘Sea Bream’ a Dennis China Works vase designed by Sally Tuffin, dated 2000, shouldered ovoid form, decorated with large scaly fish on a graduated purple and blue ground, impressed and painted marks, 21cm. high £150­200 782 ‘Hornet’ a Dennis China Works vase designed

by Sally Tuffin, dated 2004, painted with De Havilland Hornet aeroplanes flying over a distant landscape, in colours impressed and painted marks, 33.5cm. high £250­350 783 ‘Red Sunflower’ a Dennis China Works limited edition charger designed by Sally Tuffin, dated 2002, painted with three flowers in colours on a graduated black ground, impressed marks, painted marks, no.15, 36cm. diam.

781

782

£200­300 784 ‘Poppy After William Morris’ a Dennis China Works box and cover designed by Sally Tuffin, dated 1996, painted in shades of blue on a celadon ground, impressed marks and painted marks, no.1 in the edition, 14cm. diam. (2) £150­200

783 182

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785

785 ‘Crab’ a Dennis China Works large pot and cover designed by Sally Tuffin, dated 2003, cylindrical form incised with prawns and scallop shells, the cover modelled with a large crab finial modelled by Alan Pepper, impressed and painted marks, 15cm. high (2)

786

£120­180

786 ‘Red Orchid’ a Dennis China Works trial vase designed by Sally Tuffin, dated 2005, trial 1 vase, shouldered form, painted in colours on a black ground, impressed and painted marks, 30.5cm. high £200­300

787 ‘Kingfisher a large limited edition Dennis China Works vase designed by Dennis China Works, dated 2008, swollen form, painted in colours on a pale green ground, impressed factory marks, painted marks, 12/20, 48cm. high £400­600

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788

STUDIO POTTERY ‡ 788 Bernard Leach CBE (1887­1979) Vase with bird four printers colour proof prints on paper unsigned 63.4 x 51cm. (sheet), (4) Provenance From a collection of Printer’s proof prints.

‡ 792 William ‘Bill’ Marshall (1923­2007) a Leach Pottery stoneware teapot and cover, partially covered with a speckled oatmeal glaze, with brushed translucent decoration, with over­slung bamboo handle, impressed seal marks 12cm. high £200­300

£300­500 789

790

‡ 789 Trevor Corser (1938­2015), attributed a Leach Pottery cut sided vase with cylindrical neck, covered in an olive green glaze to the foot, and a small Lowerdown Pottery vase, ovoid covered in a celadon glaze with blue brushed design, impressed seal marks flooded, 29.5cm. high (2) £120­180

792

791

‡ 790 Phil Rogers (1951­2020) a stoneware shouldered vase, faceted, swollen form with cylindrical neck, covered to the foot with a speckled ash glaze, impressed seal mark, 28cm. high £120­180 ‡ 791 Gwyn Hanssen Pigott (1935­2013) stoneware coffee pot and cover covered with a tenmoku glaze to the foot, impressed seal mark, 22cm. high

793

794

Provenance The Biddy and John Holden Collection, Barbara Kirk Auctions, 15th August 2018 lot 632.

Private collection. £150­250

184

‡ 793 William Staite Murray (1881­1962) a small stoneware footed bowl, resist decorated with brush stroke abstract design, speckled blue and celadon glaze to the foot, impressed seal marks to base, small chip to outside of foot rim, 9cm. high £150­250 ‡ 794 William Staite Murray (1881­1962) a stoneware combed vase, shouldered form with cylindrical neck, the swollen body with finely combed decoration, glazed in brown and translucent ash glazes, impressed M pentagon mark, incised B and painted PF, 23cm. high Provenance Edward ‘Eddie’ Ball, Belvedere Kent Private collection. £400­600

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795

796

‡ 795 Alan Caiger­Smith MBE (1930­2020) a large Aldermaston Pottery Posset pot, 1997 ovoid form, brightly painted in colours with butterflies flying around wildflowers, on a tin glaze painted artist monogram, date mark, 27cm. high (2) Provenance Property of a lady with title. £200­400 ‡ 796 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery bowl, dated 1997, flaring footed form painted to the well with a ruby lustre roundel design, inside bands of painted white foliate motif and ruby lustre bands on a tin­glaze, and another similar painted in blue and white on a tin­glaze, and a St Ives Pottery vase by John Bedding painted marks, 32cm. diam. (3)

797

Provenance Property of a lady with title. £200­400 ‡ 797 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery plate, painted to the rim with a border of flowers in red, green and black on a grey tin­glaze, and a Peter Lane bowl covered with a running and pitted pink glaze over off­white painted monogram and date mark for 1969, 26.5cm. diam. (2)

798

£150­200 ‡ 798 Alan Caiger­Smith MBE (1930­2020) Love & Live Happy,1997 a pair of Aldermaston Pottery bowls, painted to the well with the inscription Love & Live Happy, around central flower stem, the exterior a band of stylised flowers and foliage in colours on a tin­glaze, painted artist monogram and date mark, 31cm. diam. (2) £200­400

inscripton

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‡ 799 Vicky Waltham Reader’s Digest One Dish Meals, earthenware platter, painted to the well with ingredients and a mixing bowl before a recipe book, in colours etched signature 43cm. wide £120­180 ‡ 800 Peter Beard (born 1951) a flaring, footed bowl with inlaid porcelain decoration, pale blue and yellow glazes, and another similar by Peter Beard impressed seal mark, 32 and 33cm diam. (2) £120­180

799

‡ 801 Donald Gilbert (1900­1961) Frog a patinated plaster figure and a collection of five plaques unsigned 11cm. wide, 8cm. high (6) Provenance Armstrong­Davis Gallery, Arundel £120­180 800

‡ 802 Edmund De Waal (born 1964) a porcelain mug, swollen form, covered in a celadon glaze impressed seal mark, 8.5cm. high Provenance The Scottish Gallery, Edinburgh, 2011. £150­250 ‡ 803 Rupert Spira (born 1960) a porcelain straight cup and saucer, covered with a rich copper glaze over grey glaze, the inside of the cup grey, impressed seal mark to cup and saucer 8cm. high, 18cm. diam. (saucer), (2)

801

£150­200

802

803

‡ 804 Estella Campavias (1918­1990) a stoneware footed bowl, painted with a lime green glaze, streaked at the rim, and a conical bowl by Estella Campavias, and ten Aldermaston Pottery goblets by Alan Caiger­ Smith, seal marks flooded 20cm. diam. (main bowl), (12) £120­180

186

804

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805 ‡ 805 Cuthbert Hamilton, (1885­1959) attributed a ceramic roundel probably made at the Yeoman Pottery, painted with a Vorticist figure in black on a pink and white ground unsigned, 13.5cm. diam.

‡ 807 John Maltby (1936­2020) Chess set an early stoneware chess set and board, glazed in shades of green and oatmeal, the board cork and pine, unsigned 13.5cm. high (king), (33)

Provenance Arts and Crafts, Woolley and Wallis, 17th June 2015 lot 71.

Private collection.

Provenance Purchased directly from the artist by Mrs Marilyn Wilmot in the 1970s. £300­500

£600­1,000 ‡ 806 John Maltby (1936­2020) Lighthouse Keeper, a large wall hanging automaton, painted in colours signed John Maltby 61 x 41.5cm.

Provenance Purchased directly from the artist by Mrs Marilyn Wilmot £200­400

‡ 808 John Maltby (1936­2020) spade vase, stoneware vase, painted with a ship before a sun motif, coral red, brown and blue on an oatmeal ground, the interior and foot glazed brown, painted Maltby 15cm. high

806

Provenance Peter Wilson, 5th July 2017, lot 262.

Private collection. £500­800

807

808

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‡ 809 Gordon Baldwin OBE (born 1932) Alembic II, 2002 a hand­built earthenware sculpture with slips, oxides and glazes, incised GB and date 2002, 56cm. wide, 31cm high Provenance British Art Pottery Woolley and Wallis, 12th December 2018, lot 362.

Private collection. £1,000­1,500

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‡ 810 Dame Lucie Rie DBE (1902­1995) Rijsttafel rice bowl, plate and chopstick stand, stoneware, covered in an off white pitted glaze, painted with simple calligraphic motif in manganese, impressed seal marks, 13.3cm. diam, 6.7cm. high, (bowl), (3) Provenance Adam Partridge Auctioneer’s 16th March 2018, lot 11.

Private collection.

Catalogue notes The Rijsttafel set was commissioned by the couturier ‘Bunny’ Rogers (1911­1997) and was sold by Sotheby’s, with his collection, on his death. £2,000­3,000

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812

FURNITURE & TEXTILES 811

811 An Art Deco bow­fronted cocktail cabinet, mirror backed fitted cabinet with curved hinged doors, above glass fronted display cabinet with shelf, raised on feet, unsigned, 131cm. high, 90cm. wide

813 A pair of W Hand & Sons ER II Coronation 1953 chairs, painted grey frame with blue velvet upholstery embroidered with ER monogram, applied 233 and 319 seat numbers to back rest, stamped marks to frame, 85cm. high (2)

£300­500

£1,000­1,500

812 A plush velvet textile panel made for the Savoy Theatre, plush burgundy with a geometric diamond repeat, two similar bronze and an Art Deco chenille throw, printed with a floral design in the manner of Edouard Benedictus, unsigned, 133 x 60cm.

814 A Maple & Co limed oak George VI Coronation foot stool, 1937, rectangular form with blue/green velvet seat stamped GR VI Coronation Maple & Co London to underside, 48cm. high

Provenance The Savoy Theatre, Private collection.

815 A Benchmark stiletto sycamore console table designed by Sir Terrence Conran, dated 2009, model no.1923, slender rectangular top with fine, tapering legs, applied Benchmark label, 120 x 40cm. (top), 65.5cm. high

Catalogue notes Basil Ionides, with the architect Frank Tugwell, was commissioned to rebuild the Savoy Theatre by Rupert D’Oyly Carte in 1929. he was the grandson of the legendary collector Alexander Constantine Rupert Ionides and published two books on interior design; Colour and Interior Design in 1926 and Colour in Everyday Rooms, 1934.

813

£120­180

£150­200

£300­500 816 An oak low table by Robert Ingham, rectangular top on L section legs, the top inset with twelve burr veneer panels, unsigned, 182 x 60cm (top), 48cm. high Provenance British Art Pottery & Design, Woolley and Wallis Auctioneer’s, 1st December 2010, lot 554.

Private collection.

814

£400­600

815 190

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817 A David Linley Standing Geographical and Topographical Globe, the 16 inch diameter World Classic globe by Herff Jones Inc with raised detailing, on American walnut turned leg tripod stand with nickel plated articulated support, the legs with mitred grooves, signed Herff Jones panel to globe, 88cm. high, 69cm. diam. £1,000­1,500

818 A pair of David Linley large wall mirrors, dated 1996, rectangular cherry wood with flaring mantel and base, marquetry decorated with pillars and pierced brackets, impressed David Linley 1996, 149.5cm. high, 110cm wide, (2) Provenance This pair of mirrors were purchased for, and hung at, the Michelin starred restaurant Interlude de Chavot, Charlotte Street, London in the 1990s. £1,500­2,000 817

818 191

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819 819 A David Linley Furniture English Oak desk, rectangular top on tapering square legs, inlaid with brown oak banding, two long central drawers flanked by two banks of graduated drawers, each with herringbone oak fronts and brown oak knobs, with original pen and ink original presentation drawing, stamped David Linley to drawer, 190cm x 90cm (top) 78cm. high Provenance Property of a lady with title. £2,000­3,000 820 David Linley Furniture English Oak desk blotter and two filing trays, the rectangular blotter with blue suede pad, the reverse with marquetry brown oak and English oak diamonds, the two trays, rectangular with overhanging top rails, stamped Linley, 58 x 46,5cm. (3) Provenance Property of a lady with title. £200­300

820

821 A David Linley Furniture English Oak table, rounded rectangular top on square section legs with routed decoration, 182 x 8cm (top) 76cm. high Provenance Property of a lady with title. £1,500­2,000

821 192

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822 The Souper Dress a shift dress, paper, printed in colours with bands of Campbell’s soup tins designed by Andy Warhol, original label, 96cm. long Catalogues notes A similar example of this paper dress is held in the Metropolitan museum collection and dated to 1966­67.

Literature Mark Francis, The Warhol Look: Glamour, Style and Fashion, New York, 1997, for a comparable example illustrated. £2,000­3,000 193

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823 Jean Picart le Doux (1902­1982) Musique de Chambre cotton tapestry applied label, signed in the weave 152 x 105cm. £600­1,000 824 Jean Picart le Doux (1902­1982) Le Soleil et la Vigne a cotton tapestry design by Henri Duprez & Cie applied label to reverse, signed in the weave 193 x 147cm £600­1,000

823

825 MM Birds in a Forest a cotton tapestry of exotic birds flying amongst trees, on a black ground signed in the weave M.M, numbered 3964 to reverse 177.5 x 116cm. £300­400 ‡ 826 Edward Bawden CBE RA (1903­1989) Napkins & Fruit, designed 1926 colour lithograph on wove paper, probably printed by The Curwen Press, unsigned, 74 x 58.5cm.

Provenance Property of a lady with title. £250­350

824

825 194

826

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‡ 827 Xandra Rhodes (born 1940) Portrait of a Woman embroidered silk with sequins, framed unsigned, 36.5 x 29cm. (image) £150­200 828 Vivienne Westward DBE, (born 1941) Stars black, pink and green on an orange ground, framed signed with Orb cipher, 101 x 101cm (image) Exhibited Styled by Design, Textile Visionaries of Modern Art, 2017, Gray M.C.A Gallery, Duke Street, London. £200­300 ‡ 829 Pablo Picasso, after (1881­1973) Lines and Dots screen print in black on cotton, printed by Bloomcraft, framed unsigned, 41 x 53cm (each panel) Catalogue notes Picasso originally visited the concept of lines and dots in his illustrations for Balzac’s 1927 edition of Le Chef­d’Oeuvre Inconnu. £300­400

827

828

829 195

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830

831

WORKS ON PAPER 830 Ernest Montaut (Gamy) Circuit Europeen, 1911 lithograph on paper, framed, printed by Mabileau & Co, Paris, and nine other lithographs by Gamy featuring planes and aeronautical scenes, signed Gamy in the print, 89 x 44cm. (image), (10)

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

Catalogue notes Ernest Montaut died at the young age of 31. His wife, Marguerite Montaut continued to produce his prints after his death using the pseudonym ‘Gamy’ an anagram of Magy.

£1,500­2,000

£1,500­2,000

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DORTE CLARA DODO BURGNER ORIGINAL ARTWORK

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‡ 832 Dorte Clara Dodo Burgner (1907­1998) The Kiss red ink studies on paper, mounted signed Dodo 30.5 x 20.5cm. (image) £120­180

‡ 833 Dorte Clara Dodo Burgner (1907­1998) Portraits of Women pencil on paper, mounted unsigned 25.5 x 20.5cm. (image) £200­300

833

832

‡ 834 Dorte Clara Dodo Burgner (1907­1998) Woman with an umbrella ink on paper, mounted unsigned, 30 x 18.5cm. (image) £120­180

‡ 835 Dorte Clara Dodo Burgner (1907­1998) Welcome an ink on paper study of a doorman welcoming a lady in long black coat, mounted, unsigned 29 x 23cm (image) £120­180

834

‡ 836 Dorte Clara Dodo Burgner (1907­1998) portrait of a woman in a yellow hat, ink on paper, mounted unsigned, 17 x 12.5cm.

835

£120­180

‡ 837 Dorte Clara Dodo Burgner (1907­1998) Woman in a Green Dress with a cat gouache on paper, mounted signed DW 32 x 20.5cm. (image) £200­300

198

836

837

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‡ 838 Dorte Clara Dodo Burgner (1907­1998) The Proposal watercolour on paper of a man holding the hand of a young fashionable lady, proposing, mounted unsigned 40.7 x 30.3cm. (image) £3,000­4,000 199

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‡ 839 Dorte Clara Dodo Burgner (1907­1998) Lady with Blue Hair watercolour on paper, mounted unsigned 44 x 29.5cm.(image) £300­400

‡ 840 Dorte Clara Dodo Burgner (1907­1998) Beach Beauties watercolour, pen and ink on paper, depicting two young women in bathing suites, under a large striped parasol, mounted signed in pencil Dodo and annotated 35 x 25.5cm. (image) £400­500

839

‡ 841 Dorte Clara Dodo Burgner (1907­1998) The Beach Rendezvous watercolour on paper of a couple meeting and relaxing on a sandy beach unsigned 34 x 24cm (image) £300­400

840 200

841

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842

843

844

842 Pat Keely (1901­1970) Form a Queue, 1940 printed by H M Stationery Office, for the National Savings Committee, and another with artwork by John Pimlott, signed in the print, 76 x 50.5cm (2) £150­200 843 Louis Icart (1888­1950) The Curtain etching and aquatint on paper, framed signed in pencil, 29 x 20.5cm (image) £150­200 844 Jules Cheret (1836­1932) Quinquina Dubonnet Aperitif lithographic poster on paper, published by Chaix (Ateliers Cheret), framed signed in the print, 58 x 38cm.image

845

Provenance Clarice Cliff & Art Deco Woolley and Wallis Auctioneers, 21st March 2018, lot 473. Purchased from Sotheby’s in the 1980s by repute. £150­250 845 ‘The Herald’ a large enamelled tin pub sign, rectangular, enamelled in colours with a Herald Moth, unsigned, 99 x 91cm. £150­250 ‡ 846 Kosh Hotel California, 1990 a lithographic print on paper by the artist after the album cover, released by The Eagles in 1976, framed signed by Kosh and by Joe Walsh, with photos and certificate 42cm square (image), 72 x 68cm (frame) £200­400

846 201

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847 Taylor McCall, The Major Arcana of the Tarot, illustrated by Taylor McCall 1974, published 1975 by Bocaccio Santa Fe, limited edition folio, twenty two silk screen prints, signed by Taylor McCall numbered 13/150 56 x 40.5cm (sheets), Provenance Tymn Lintel, purchased directly from Mick Taylor and Sheena McCall.

Private collection £400­600 847 848 Keith Newstead (born 1943) Blue Mystery gouache on paper, Veils gouache on paper, and Apocalypse gouache on paper, signed and titled in pencil framed 49 x 38.5cm (image) (3) Provenance Private collection of modern sculpture Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £150­200

848

849 Keith Newstead (born 1943) Mythologies nos.2,3 and 4 Westwood Limestone with painted detail, all framed in wood unsigned, 46.5 x 41cm. (3) Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £150­250

849

850 Keith Newstead (born 1943) Big Fine Woman plaster maquette for large carving, on wooden base, incised KN to side 22cm. wide, 17.5cm. high Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £120­180

202

850

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‡ 851 John Bratby RA (1928­1992) Self Portrait after an Eye Operation, 28th December 1989 pencil on paper with letter, framed signed and dated 41.5 x 28.5cm.

Provenance Mrs Marilyn Wilmot £150­250

852 English School Figures in a Woodland oil on board depicting a young child holding a white feather which has fallen from a crane flying overhead, flanked by six young women, in the manner of Stanley Spencer, unsigned, annotated to reverse Anne Lesley Boyle, 101 x 95cm (image)

851

Provenance The collection of Pam and Mark Taylor. £150­200

853 John Nash CBE RA, after (1893­1977) Landscape near Hadleigh a modern glicee limited edition print on paper, published by the Bookroom Art Press, and The Train by Claughton Pellew and Liverpool Street Station by Edward Bawden, two modern glicee limited edition prints numbered in pencil, 52 x 36.5cm. (Nash print), (3) £120­180

852

853 203

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854

856

855

SCULPTURE 854 Franz Xavier Bergman (1861­1936) Arab reading on a prayer carpet, a cold painted bronze, and two other cold painted bronzes one an Arab selling a carpet, the other an Arab praying on a carpet with a resting camel, Arab reading bronze with cast B vase mark to base 12cm. wide, (3) £300­500

858

855 A large patinated spelter sculpture of three exotic birds, on stepped polished onyx and slate base, unsigned, 85cm. wide. £50­150

857

856 Buzin a terracotta model of a young woman reclining on drapery, reaching out to stroke a ram at her knees, on rectangular base, signed in the base Buzin, impressed GC mark to base, 42cm. wide, 24cm. high £120­180 857 Max Le Verrier (1891­1973) Dancer on Point a patinated bronze figure, on green veined polished marble base signed in the cast M Le Verrier 19cm. high £120­180 858 Max Le Verrier (1891­1973) A pair of large patinated metal squirrel bookends, each modelled seated and eating a nut, on black veined marble base, signed in the cast M. Le Verrier, 19cm. high, (2) £350­450 859 An architectural limestone carving in the manner of Eric Gill, the rectangular panel carved with a standing woman holding a flaming torch, unsigned, 63cm. high, 32cm wide.

Provenance Found in the grounds of the Vicarage, Sharwell in Leicestershire. £400­500

204

859

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860

860 An American patinated bakelite wall sculpture, modelled as two flying stylised birds, cast marks to back, 125cm. wide £120­180 861 Hippolyte Francois Moreau (1832­1927) Bust of a Maiden patinated spelter, signed Hip Moreau in the cast 58cm. high Provenance Property of a lady with title. £200­400 862 Wilhelm Lehmbruck (1881­1919) Woman Standing a tall patinated bronze sculpture of a naked female standing, cast by Gonot Foundry posthumously, signed in the cast W Lehmbruck, Paris, 62.6cm. high £1,500­2,000 861

λ 863 Marcel Andre Bouraine (1886­1948) Dancer verdi gris patinated bronze and ivory on a veined marble base, etched Bouraine to base, 34cm. high Provenance The Estate of Mac Humble. £500­800

862

863 205

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λ 864 Ferdinand Preiss (1882­1943) Ivory Nude an ivory figure, on tapering onyx and polished black slate banded base etched F Preiss to base, minor chips to base 18.7cm. wide, 18cm. high Provenance Private collection.

Literature Bryan Catley Art Deco and Other Figures, ACC Books, page 274 for an example of this model illustrated. £1,500­2,000

206

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λ 865 Ferdinand Preiss (1882­1943) Girl on a Wall bronze and ivory sculpture on a polished black slate base, model no.1151 etched F Preiss to base, minor chips to base 26.5cm. cm. high Provenance Private collection.

Literature Alberto Shayo Ferdinand Preiss, Art Deco Sculptor, The Fire and The Flame, ACC Books, page 169 for a comparable figure. £5,000­8,000

207

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866 867

866 A Huangslite homestudy Toucan desk lamp designed

by H T Huang, green, white and yellow plastic, with articulated beak cast factory mark inside beak, 34.5cm. high £150­250 867 A large Staved Danish teak ‘Longboat’ fruit bowl designed by Jens Quistgaard, pulled elliptical form, and another Danish teak twin­handled bow designed

by Jens Quistgaard, impressed marks, both with JHQ mark, 60.5cm. wide (2) 868

£120­180 868 A Henry Clifford Davis easel backed silver travel clock, the rectangular frame with painted panel of a fairy in a weeping willow tree, with circular dial, stamped marks, Birmingham HGD, 1938, indistinct painted artist monogram lower left corner, 13.5cm. high £100­150 869 A Modernist chromed metal table lamp, disc base with central shallow dome, cylindrical stem and domed chrome shade, unsigned, 43.5cm. high £120­180 870 A Vetri Murano glass and chrome metal uplighter, polished grey marble disc base, supporting chrome metal column and white glass bowl shade, and an additional larger white glass shade, applied Vetri Murano labels, 178cm. high, 43cm. diam (additional shade), (2) £200­300

869 870 208

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873

871

871 A pair of Art Deco gold earrings, screw back, faceted Carnelian and rock crystal drops, the gold chains set with pearls, unsigned, 3.8cm. drop (2) £150­200 872 An Art Deco green glass necklace, the variegated green ‘jade’ glass beads inter­spaced with carved bakelite beads and marcasite spacer discs, unsigned, 84cm. long,

872

£150­250 874

873 A David Anderson silver gilt and enamel brooch, rounded rectangular section cast in low relief with a geometric design enamelled blue, yellow and aubergine, stamped marks, 4.3 x 3.3cm. £120­180 874 A set of Bernard Instone silver coffee spoons in fitted case, each simple round bowl, the straight square section stem inset with turquoise terminal, stamped marks, Birmingham 1925, 8.5cm. long (6) £120­180

λ 875 An Art Deco Charles Boyton silver cup and cover, the domed base supporting flaring cylindrical stem, cast with foliate bands, flaring bowl with cast handles set with ivory pads, the shallow cover with carved faceted ivory finial, stamped marks, London 1936, Charles Boyton, facsimile signature, 28cm. high Provenance Arts and Crafts, Woolley and Wallis Auctioneers, 18th May 2013 lot 140 £400­600

875

209

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876 A Georg Jensen silver and chrysoprase pendant necklace, model no. 28, cast as a bell flower set with green chrysoprase, stamped marks, 3.5cm. long, £150­200 877 A Georg Jensen silver brooch designed by Georg Jensen, model no.20, circular, pierced and cast in low relief with radiating foliage and berries, stamped marks, 4.5cm. diam. £120­180 876

877

878

878 A Georg Jensen silver brooch designed by Arno Malinowski, model no.239, heart­shaped, pierced and cast in low relief with a bird flying between two fern fronds, in a Georg Jensen presentation case, stamped marks, 3.8cm. long £150­200 879 A Georg Jensen silver and enamel brooch designed by Henning Koppel, model no.323, abstract form with black enamel panel, stamped marks, 6cm. wide Literature Georg Jensen Jewelry, BGC/Yale, page 90 figure 4­15 for a comparable brooch illustrated. £150­200

879

880

880 A pair of Georg Jensen silver knives and forks designed by Flemming Eskildsen, stamped marks, 21cm. long (knives), (4) Catalogue notes This design of knives, forks and spoons was designed by Eskildsen and was given by The Danish Bacon Factories Export Association as trade gifts. £120­180

881

881 A Mont Blanc Boheme ladies fountain pen, in original fitted case, a Dunhill silver ruler pencil, a plated Yardoled pen and pencil, a Cross rolled gold ball­pen in fitted case, a Waterman 42 safety fountain pen, and eight other pens and pencils stamped marks, Dunhill Birmingham 1924, 12.2cm. long (Mont Blanc), (14) £150­250 882 A Dunhill Joseph Lucas advertising table lighter, the perspex panels decorated with lion rampant in silver on a ribbed blue ground, cast mark Dunhill, base cast marks Plastics and Styling by Joseph Lucas Ltd Birmingham England 10cm. wide Catalogue notes Joseph Lucas Ltd was an electronics company, founded in 1872 to make lamps, By 1902, the company had entered the automotive industry.

The silver decoration to this lighter was created using the same techniques used to create headlamp reflectors. £200­300

210

882 both sides

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BRITISH ART POTTERY & DESIGN WEDNESDAY 20TH OCTOBER 2021 CLOSING DATE FOR ENTRIES 27TH AUGUST

James Tower (1919­1989) Sea Piece, 1985 Estimate £10,000 ­ 20,000*

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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THE ROBIN SIMPSON COLLECTION OF COMMEMORATIVE CERAMICS WEDNESDAY 8TH SEPTEMBER 2021

A Pratt ware satirical bear jug and cover c.1813, modelled as the Russian Bear squeezing Napoleon Estimate £1,500 ­ 2,000* ENQUIRIES Clare Durham | +44 (0)1722 424507 | cd@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 22ND SEPTEMBER 2021

The Sir Michael Codron Collection of Lions A Regency Folk Art woolwork picture of a naïve lion (detail) Estimate £3,000 ­ 5,000*

ENQUIRIES Mark Yuan­Richards | +44 (0)1722 411854 | myr@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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ENGLISH & EUROPEAN CERAMICS & GLASS WEDNESDAY 7TH OCTOBER 2021

A Minton Majolica teapot and cover c.1860 Estimate £400 ­ 600*

ENQUIRIES Clare Durham | +44 (0) 1722 424507 | cd@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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MODERN BRITISH & 20TH CENTURY ART TUESDAY 7TH & WEDNESDAY 8TH DECEMBER 2021 CLOSING DATE FOR ENTRIES 13TH OCTOBER

Dame Elisabeth Frink CH, DBE, RA (1930­1993) Horse Maquette Signed and numbered Frink 1/8 (to bronze base) Bronze on a black marble base, 1980 32.2 x 33.7 x 9.8cm (excluding marble base) Provenance: Presented by Queen Elizabeth II on behalf of Goodwood Racecourse to Edwin McAlpine, Baron McAlpine of Moffat (1907­1990), July 1980; And by descent Estimate £60,000 ­ 80,000*

ENQUIRIES Victor Fauvelle | +44 (0)1722 446961 vf@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).

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help.

The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

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.

Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary.

Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

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

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

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13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale.

In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

(a) Immediately a lot is sold you will:

16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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

CONDITIONS OF SALE

(b) You shall at your own risk and expense collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges.

Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

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

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8. REMEDIES FOR NON­PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay­out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot.

Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

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

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

GLOSSARY Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

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

(i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

15. FORGERIES

(j) Dimensions are given height before width.

Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS

GENERAL

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

Royalties for Droit de Suite are as follows:

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

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

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

4% Up to €50,000 3% €50,000.01 ­ 200,000 1% €200,000.01 ­ 350,000 0.5% €350,000.01 ­ 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 Lots marked with a ‡ symbol are potentially subject to the levy.

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 2018 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51­61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the­saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the­saleroom.com) of individuals who register for one of our auctions (please see the­saleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the­saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

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

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

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

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

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations.

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

In particular:

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life­threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

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

YOUR LEGAL RIGHTS

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

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PROBATE VALUATIONS

A345 Castle Rd

ALLIS WA WOOLLEY & W d Street, Mayfair Clifford

SALISBURY AMESBURY

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WOOLLEY & WALLIS SALEROOMS

Old Sarum

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

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

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

Design & Production

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

WW102-688 DayTwo.qxp_Layout 1 26/07/2021 13:24 Page 224

PLEASE PRINT CLEARLY IN BLOCK LETTERS

ABSENTEE BID FORM Lot Number

ARTS AND CRAFTS DESIGN

Brief Decription

Price Excluding

in numerical

buyer’s premium

order

& VAT

24TH & 25TH AUGUST 2021 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

Billing Name (please print)

Address

Postcode Daytime telephone Email

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

Signature

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

www.woolleyandwallis.co.uk

AUCTION CALENDAR AUGUST 11th & 12th 24th 25th

Old Masters, British & European Paintings Arts & Crafts Design

SEPTEMBER 8th 22nd

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR BRITISH ART POTTERY & DESIGN AUCTION ON 20TH OCTOBER

The Robin Simpson Collection of Commemorative Ceramics Furniture, Works of Art & Clocks

OCTOBER 5th & 6th 7th 20th

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

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

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

DECEMBER 7th & 8th 14th 15th

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

Dates may be subject to change

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

Jennifer Lee (born 1956) an early hand built stoneware vessel SOLD FOR £15,000*

www.woolleyandwallis.co.uk