Woolley & Wallis

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

The Studio Pottery Collection of Professor Luke Herrmann Wednesday 13th December 2017

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BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director COMPANY SECRETARY Natalie Milsted FCCA ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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THE STUDIO POTTERY COLLECTION OF PROFESSOR LUKE HERRMANN Wednesday 13th December 2017 at 10.30am LONDON VIEWING TIMES Highlights of the sale will be on view at our London Office, 2nd Floor 17 Clifford Street, London W1S 3RQ Wednesday 22nd November Thursday 23rd November

2.00pm – 7.00pm 10.00am – 4.00pm

SALISBURY VIEWING TIMES Saturday 9th December Monday 11th December Tuesday 12th December Wednesday 13th December

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

ENQUIRIES

COLLECTION OF LOTS

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

Please note that all lots will be cleared from our Castle Street Saleroom on Friday 15th December.

Lots will be available for collection from our Salt Lane office on Friday 15th December.

Please contact the department to arrange collection in advance.

All accounts to be settled prior to collection.

Zoe Smith 01722 424505 zs@woolleyandwallis.co.uk

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 75 for full details.

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 26.4% inc. VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 12th December.

LIVE BIDDING

ILLUSTRATIONS Front cover: Lots 92, 98 & 91 Front end pages: Lot 100 Back cover: Lot 93

Please register by 5pm on Tuesday 12th December.

Catalogue £12.00 (£15.00 by post)

Please note there is a 3% +VAT surcharge for using this service.

www.the-saleroom.com

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PROFESSOR LUKE HERRMANN (1932-2016) Professor Luke Herrmann was in his own words, a collector born into a family of collectors. Like most he started small, with horse brasses, and in the mid-1950s progressed to British drawings and watercolours. Born in Berlin in 1932 he was the second son of Fritz and Gabriele Herrmann, his paternal grandfather was the neo-impressionist painter Curt Herrmann.

Luke Herrmann went to New College Oxford to read History and regularly visited the Ashmolean Museum spending long-periods of time studying drawings in the Department of Fine Art. In 1956 he was employed by Sir Karl Parker to catalogue the collection of English watercolours and drawings, staying at the Museum until 1967 when he took a lectureship at the University of Leicester. He retired from the University in 1986 but continued to write, lecture and publish independently. Whilst working at the Ashmolean in the 1960s he was also responsible for the considerable collections of European ceramics and it was here that he purchased his first studio pottery – on a visit to the Primavera Gallery – where he would also first encounter the work of Lucie Rie. The collection of studio ceramics was formed from 1987 growing from an aesthetically pleasing group of pieces to a historical survey of British studio pottery, starting with the works of Bernard Leach but also amassing one of the finest groups of William Staite Murray’s work which at the time was underappreciated. The analytical nature of the collection meant that it included the historical craft traditions of Bernard Leach’s legacy and also the modernist developments pioneered by the Austrian emigree Lucie Rie, revealing the fascinating development of her pots from the early Austrian pieces influenced by the Wiener Werkstatte to the delicate bowls and vases of the 1970s and 1980s which display a simple form confidently executed.

The collection was beautifully displayed in a Victorian vicarage but also loaned first to the Ashmolean Museum for an exhibition 20th century British Studio Pottery The Collection of an Oxford Graduate, from 14th April to 14th August 1994, and then in 2009 a selection was exhibited at Monnow Valley Arts.

Michael Jeffery

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

‡ 1.

Bernard Leach (1887-1979) Self Scrutiny, 1916 etching on paper, framed signed in the print BL, titled and dated, pencil to mount 14/25.

14.5 x 8.5cm (image) £120-180 Provenance Contemporary Ceramics Bonhams, London, 2nd April 1998 lot 49.

Literature Simon Olding The Etchings of Bernard Leach, Crafts Study Centre/ Leach Pottery, page 106 catalogue number 77 for a comparable print.

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‡ 2. Bernard Leach (1887-1979) Waterfall between two Hills, pen and ink over pencil, framed signed with BL ink monogram lower right.

14.5 x 10cm. (image)

£150-200

Provenance Contemporary Ceramics Bonhams, London, 2nd April 1998 lot 51A. 2

‡ 3.

Bernard Leach (1887-1979) a St Ives Pottery plate, painted to the well with a simple willow tree motif, in blue and tenmoku on a celadon ground, with tenmoku rim, impressed seal mark and painted BL monogram, 27cm. diam. £800-1,200 Provenance Contemporary Ceramics, Phillips, London 26th October 2000 lot 45.

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‥ 4.

Bernard Leach (1887-1979) a stoneware vase, spiralling faceted form covered to the foot in a celadon glaze impressed seal marks to the base, 21cm. high ÂŁ1,000-2,000 Provenance Auction Atrium, 10th March 2010 lot 12667.

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

‡ 5.

Bernard Leach (1887-1979) a St Ives Pottery stoneware Leaping Salmon vase, shouldered form, painted with two bands of fish in tenmoku on a grey glaze, impressed seal marks, 29.5cm. high £4,000-6,000 Provenance Contemporary Ceramics, Christie’s London, 20th June 1988 lot 23.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 1.

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Shoji Hamada (1894-1978) a stoneware tea plate, covered in a pitted orange peel ash glaze with simple brush-stroke grass motif in tenmoku, unsigned 19.5cm. diam. ÂŁ1,200-1,800 Provenance Contemporary Ceramics, Bonhams London, 20th April 1994 lot 110.

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Shoji Hamada (1894-1978) a stoneware brush pot in original wooden box, hexagonal form, painted with simple grass motif in tenmoku on a pale sage green glaze, the box with ink drawing on paper of the pot, 11cm. high ÂŁ1,000-2,000

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Provenance Contemporary Ceramics Bonhams, London, 21st November 1999 lot 43.

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

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Shoji Hamada (1894-1978) a slab built vase, flaring rectangular form with slightly domed shoulder and flaring cylindrical neck, wax-resist decorated in tenmoku over pale celadon with a simple brushed grass design, the reverse with three interlinked circle design, unsigned, 19.5cm. high ÂŁ3,000-5,000 Provenance Contemporary Ceramics, Bonhams, London 18th April 1996 lot 145.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 12 - illustrated inside front cover.

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WILLIAM STAITE MURRAY ‡ 9.

William Staite Murray (1881-1962) a stoneware vase dated 1922, ovoid with collar rim, covered to the foot in a streaked deep brown glaze, incised signature and date to base, applied exhibition label no.290, 12.5cm. high £120-180 Provenance The Fine Art Society circa 2009.

‡ 10. William Staite Murray (1881-1962) a footed stoneware bowl, covered with a deep iron rich glaze to the foot, £500-1,000 impressed pentagon seal, 17.5cm. diam.

Provenance Contemporary Ceramics, Phillips, London 25th September 2001, lot no.63.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 3 (illustrated page 2).

‡ 11. William Staite Murray (1881-1962) 9

Winter a stoneware bowl on pronounced foot, the flaring bowl glazed mottled olive green and white, the rim with tenmoku, impressed seal mark to side of foot rim, painted SKSID 62, 16cm. diam. 11.5cm. high £150-250 Provenance Contemporary Ceramics, Bonhams, London 15th June 1989 lot 2.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 25.

Literature William Staite Murray The Leicester Galleries, London November 1958 this bowl illustrated.

‡ 12. William Staite Murray (1881-1962) a stoneware baluster vase with slightly flaring cylindrical neck, covered to the foot with a controlled running, pale blue, white and lavender translucent glaze, impressed hexagonal seal mark, painted FFH to base, 19cm. high £150-200 Provenance Contemporary Ceramics, Christie’s London 31st January 1990 lot 283.

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Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 27.

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

‡ 13. William Staite Murray (1881-1962) a stoneware vase, swollen form covered in a rust glaze to the foot, impressed seal mark, incised marks to base, painted 18, 26.5cm. high £500-800 Provenance Maak October 2011, Literature Malcolm Haslam William Staite Murray Arts Council, page 81 cat. no.

20 for a comparable shaped vase from Bray 1929.

‡ 14. William Staite Murray (1881-1962) a stoneware vase dated 1924, compressed form with collar rim, covered to the foot with a speckled tan glaze, painted to the shoulder with a foliate repeat in tenmoku, incised signature and date to base, professional restoration to top rim and shoulder,12cm. high £150-250

‡ 15. William Staite Murray (1881-1962) a footed stoneware bowl, dated 1924, covered to the base with a speckled buff ground, painted to the exterior with iron oxide brush stroke design, impressed seal mark, incised date and marks, repaired section to rim with chip missing, 15cm. diam. £150-200

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Provenance Contemporary Ceramics, Bonhams, London 13th July 1994 lot 8.

Literature Malcolm Haslam William Staite Murray, Arts Council, page 80 catalogue no.16 and 19 for two comparable bowls made at Wickham Road in 1927 and 1929.

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‡ 16. William Staite Murray (1881-1962) a stoneware vase, shouldered form with cylindrical cup rim, covered to the foot with a speckled and lightly pitted pale grey glaze, impressed seal mark to base, 25.5cm. high £400-600 Provenance Paul Rice Gallery, 3rd July 1992.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 28.

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‡ 17. William Staite Murray (1881-1962) a stoneware vase, shouldered, flaring cylindrical form with narrow neck, glazed to the foot with a grey pitted glaze with simple drawn blue fine swirling foliate design, the top rim with tenmoku band impressed seal mark to base, incised DSM, 34cm. high £600-1,000 Provenance Paul Rice Gallery, London, February 1998.

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

‡ 18. William Staite Murray (1881-1962) a rare stoneware Vorticist vase dated 1924, shouldered flaring cylindrical form, covered in an iron rich glaze over celadon with cut Vorticist decoration to the body, incised signature date and London 687, 16cm. high £500-1,000 Provenance Contemporary Ceramics, Bonhams, London 24th November 1998, lot 1.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 2.

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‡ 19. William Staite Murray (1881-1962) Aulos, a rare stoneware twin-handled vase, shouldered form, painted with alternate bands of beige, brown and green, with circle motif, with incised decoration to the shoulder, impressed seal mark, painted MA2, museum repair to one handle, 27.5cm. high £500-1,000 Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 5.

Literature Malcolm Haslam William Staite Murray, Arts Council page 51 plate No.XV for a comparable vase entitled Aulos made at Bray in 1932.

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‡ 20. Reginald Fairfax Wells (1877-1951) a Coldrum Pottery vase, shouldered form, covered in a streaked mustard yellow glaze, impressed Coldrum mark, and RFM inside Y mark, three small glaze chips to top rim, glaze chips to base rim, 17cm. high £120-180 Provenance Paul Rice Gallery, November 2008.

‡ 21. Reginald Fairfax Wells (1877-1951) a Coldrum Pottery vase, swollen cylindrical form, covered to the foot with an opaque olive green glaze, with iron spots impressed Coldrum, £120-180 15cm. high 20

Provenance Contemporary Ceramics, Bonhams London 20th April 1994 lot 1.

‡ 22. Reginald Fairfax Wells (1877-1951) a rare Coldrum stoneware footed bowl, covered in a streaked blue and lavender glaze, running to the foot, and another similar, impressed Coldrum to base, second footed bowl repaired to the rim, £250-350 22.5cm. diam. (2) Provenance Contemporary Ceramics, Bonhams, London, 9th June 1999 lot 10 (first bowl)

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Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 1.

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‡ 23. Charles Vyse (1882-1971) a stoneware footed vase, slightly swollen form, covered to the foot with a running blue fine hare’s fur Jun glaze, and another stoneware Lotus bowl by Charles Vyse covered in a tenmoku glaze, incised C Vyse Chelsea, 12cm. high, (2) £150-250 Provenance Lotus dish purchased from Charles Vyse’s studio in 1957.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 9 (main vase).

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20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 23 (jun glazed vase)

‡ 24. Charles Vyse (1882-1971) a stoneware vase, ovoid, shouldered form, glazed to the foot with a green celadon, with running iron splashes incised C Vyse, 11.5cm. high £120-180 Provenance Contemporary Ceramics, Christie’s London 21st November 1988 lot 77.

‡ 25. Charles Vyse (1882-1971) a stoneware vase dated 1931, pear shaped with flaring top rim, painted with foliate sprays in ovide on a celadon green ground incised CV 1931, 29.5cm. high £250-350 Provenance Paul Rice Gallery, September 1999.

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‡ 26. Katherine Pleydell-Bouverie (1895-1985) a stoneware vase, shouldered form with cylindrical neck, incised with a frieze of petal decoration, glazed to the foot in a thin lavender-blue ash glaze, with brown crackle veins, impressed seal mark, to side of base, 21.5cm. high £300-400 Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 13.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 18.

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Katherine Pleydell-Bouverie (1895-1985) a stoneware lotus bowl, swollen form, the sides cut with Lotus petals, covered to the foot in a pale blue celadon glaze, with cobalt blue speckles, and a Paul Barron bowl glazed with tenmoku panel, and a small stoneware wine cup, impressed seal mark to side, 9cm. high (3) £120-180 Provenance Contemporary Ceramics, Christie’s London 21st November 1988, lot 61.

‡ 28. Norah Braden (1901-2001) a stoneware bowl, painted with simple foliage design to inside and out, the interior glazed deep olive, incised N Brad 1924 to base, 17.5cm. diam. £120-180 Provenance Contemporary Ceramics, Bonhams London, 13th July 1994, lot 112.

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Catalogue Notes The bowl dated 1924 when Norah Braden was at the Royal College of Art and shows the influence of her ceramic teacher William Staite Murray.

‡ 29. Norah Braden (1901-2001) a stoneware footed bowl, covered with mottled white running glaze, resist decorated with chevron panels in deep brown, the exterior running pale green £800-1,200 over white, incised NB monogram to base, 20.5cm. diam.

Provenance Contemporary Ceramics, Christie’s London, 20th November 1989 lot 77 (from the collection of the artist) 27

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 14.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 17.

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‡ 30. Henry Hammond (1914-1989) a small stoneware vase, compressed ovoid form with collar rim, covered to the foot in an ash glaze, painted with spiralling column and dot motif in rust, unsigned, small chip to top rim, 9.5cm. high £120-180 Provenance Contemporary Ceramics, Christie’s, London 20th June 1988 lot 112.

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‡ 31. Henry Hammond (1914-1989) a stoneware vase, shouldered form with everted rim, covered in a speckled ash glaze, painted with simple brushed tenmoku design, and another similar, painted marks to base, second has impressed seal mark, 10.5cm. high (2) £200-300 Provenance Contemporary Ceramics, Bonhams, London 5th April 1990 lot 67 (first vase) Contemporary Ceramics, Bonhams, London 5th April 1990 lot 52 (second vase) 31

‡ 32. Henry Hammond (1914-1989) a stoneware vase, shouldered form with flaring collar rim, covered to the foot with a celadon glaze, painted in rust with a willow tree design to both sides, impressed seal mark to base, museum restoration to top rim, 23cm. high £120-180 Provenance Henry Hammond, Bonhams, London 5th April 1990 lot 29.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 29 32

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‡ 33. Geoffrey Whiting (1919-1988) an Avoncroft pottery stoneware vase, three handled vase covered in a tenmoku glaze, impressed marks, 15.5cm. high £120-180 Purchased Contemporary Ceramics, MAAK, London, 17th May 2012, lot 54.

‡ 34. Geoffrey Whiting (1919-1988) an Avoncroft cut-sided stoneware bottle vase, covered to the foot in a rich tenmoku glaze, seal marks flooded with glaze, 22cm. high £120-180 33

Provenance Primavera Gallery, 1986.

‡ 35. Geoffrey Whiting (1919-1988) a tall Avoncroft stoneware vase, shouldered, slightly swollen cylindrical form, covered with a rust glaze, with running tenmoku to the shoulder, impressed seal marks, 34cm. high £120-180 Provenance Contemporary Ceramics, Christie’s London 5th February 1992, lot 365.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994 catalogue number 14.

‡ 36. Geoffrey Whiting (1919-1988) 34

a stoneware unomi, footed form covered with a speckled opaque glaze, painted with iron red grasses motif, and an Avoncroft Pottery footed bowl by Geoffrey Whiting covered in a thick blue Chun glaze, impressed seal marks, 7.5cm. high (2) £150-200 Provenance Galerie Besson, 11th January 1991 (unomi), Contemporary Ceramics Bonhams, London 15th June 1989 lot 166 (chun bowl).

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MICHAEL CARDEW ‡ 37. Michael Cardew (1901-1983) a Wenford Bridge pottery plate, tin-glazed, painted with blue wave and leaf design, impressed seal marks, 25cm. diam. £120-180 Provenance Contemporary Ceramics, Bonhams London, 13th July 1994 lot 71.

‡ 38. Michael Cardew (1901-1983) an earthenware vase, shouldered ovoid form with everted top rim, painted with black banded decoration on a blue ground, impressed £120-180 seal mark to base, 23cm. high Provenance Contemporary Ceramics, Bonhams, London, 5th April 1995, lot 22.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 15.

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Literature Bernard Leach, Hamada & Their Circle, from the Wingfield Digby Collection, Phaidon, page 131 catalogue no.133 for a comparable vase.

‡ 39. Michael Cardew (1901-1983) an Abuja Pottery earthenware plate, the well slip decorated with combed design, the rim with cut-away pattern, in olive green and celadon highlighted in tenmoku, and an Abuja Pottery vase by Alhassan Tanko, applied with three looped handles, impressed seal marks, 21.5cm. diam. (2) £120-180 Provenance Contemporary Ceramics, Bonhams, London 27th February 1989, lot 35.

Contemporary Ceramics, Christie’s London 20th June 1988 lot 98.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 20

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39 vase

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‡ 40. Janet Leach (1918-1997) a St Ives Pottery porcelain vase, ovoid with tall neck and small looped handles, covered in a pale celadon glaze with simple tenmoku brushed motif, and tenmoku interior, impressed seal marks to base, 20cm. high £300-500 Provenance Contemporary Ceramics, Bonhams, London 20th April 1994, lot 93.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 18th November 2009, catalogue number 36.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 5.

‡ 41. John Leach (born 1939) a Muchelney Pottery wood-fired stoneware vase, dated 2004, shouldered form with collar rim, covered with a burnished finish, and another waisted £120-180 cylindrical vase similar impressed seal mark, 13.5cm. high (2) Provenance Monmouth, 2006 Contemporary Ceramics, Bonhams London 21st November 1988 lot 21 (waisted vase).

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 12.

‡ 42. David Leach OBE (1911-2005)

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a cut-sided porcelain vase, shouldered form, covered in a reduction fired copper red glaze, impressed seal mark and paper labels to base, 16cm. high £120-180 Provenance Contemporary Ceramics, Bonhams, London 2nd April 1998 lot 44 Literature Emmanuel Cooper and Kathy Niblett David Leach, Richard Dennis Publications, page 94 plate 69 for a bowl with the same decoration.

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David Leach OBE (1911-2005) a cut-sided porcelain bowl, shouldered form, covered in a reduction fired copper red glaze, a David Leach Lowerdown Pottery stoneware box and cover, painted with iron red motif, a Colin Pearson Aylesford Pottery cut sided bowl covered with a tenmoku glaze, a Lowerdown Pottery bud vase and a Simon Leach Raku unomi, various marks, small repaired chip to Leach bowl, 15cm. diam. (6) £120-150

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Provenance Wellingborough School, October 1988 (Leach bowl) Contemporary Ceramics, Bonhams, London, 9th December 191, lot 35 (Leach box and cover) Contemporary Ceramics, Christie’s, London, 21st November 1988 lot 141 (Pearson bowl) Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 11 (bowl).

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‡ 44. David Leach OBE (1911-2005) a Lowerdown Pottery porcelain bottle vase, shouldered form, covered with a rich tenmoku glaze with brushed zig-zag grass motif to both sides, impressed seal mark, 33cm. high £200-400 Provenance Contemporary Ceramics, Christie’s London 20th June 1988 lot 3.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994 catalogue number 7.

Literature Emmanuel Cooper and Kathy Niblett David Leach, Richard Dennis Publications, page 107 catalogue number 106 for a comparable design on a taller stoneware vase.

‡ 45. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware Willow vase, cylindrical form, wax-resist decorated with a willow tree motif with dolomite glaze £120-180 over tenmoku, impressed seal marks 19cm. high Provenance Galerie Besson, London 18th September 1997.

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Exhibited David and Jessamine Kendall Pots and Jewels by brother and sister, Galerie Besson September-October 1997, no.23.

Literature Emmanuel Cooper and Kathy Niblett David Leach, Richard Dennis Publications, page 100 catalogue number 92 for a bottle vase decorated with the same design and glazes.

‡ 46. David Leach OBE (1911-2005) a Lowerdown Pottery Willow vase, stoneware, ovoid form with collar rim, decorated in resist with a tenmoku willow tree, under thick and running Dolomite glaze, impressed seal mark to base, 28cm. high £300-400 Provenance Contemporary Ceramics, Bonhams, London 21st March 1991, lot 25.

Dennis Publications, page 92 for a bottle vase similar.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 9

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Literature Emmanuel Cooper and Kathy Niblett David Leach, Richard

‡ 47. David Leach OBE (1911-2005) a large and impressive Lowerdown Pottery Willow, vase, stoneware, ovoid form with collar rim, resist decorated in tenmoku, under a grey glaze, impressed seal mark, 48cm. high £400-600 Provenance Lowerdown Pottery, purchased directly from David Leach’s studio, 23rd August 1989.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 31.

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‡ 48. Jim Malone (born 1946) a stoneware vase, shouldered form with flaring neck, incised with simple glass motif, glazed to the foot in celadon impressed seal mark, 33cm. high £120-180 Provenance Contemporary Ceramics, Christie’s London, 20th June 1988, lot 143.

‡ 49. Jim Malone (born 1946) a tall Ainstable Pottery stoneware vase, shouldered cylindrical form with cylindrical neck and everted rim, covered to the base with a tenmoku glaze, wax-resist decorated with simple grasses, impressed seal marks to side of vase, 39cm. high £120-180 Provenance Crafts Council London 6th February 1991.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 58.

‡ 50. Mike Dodd (born 1943) a stoneware vase, shouldered form with flaring cup rim, incised with panels of simple grass motif, covered to the foot in an ash glaze, impressed seal mark to side of base 41cm. high £120-180

48

Provenance Contemporary Ceramics, Bonhams, London 24th April 1989, lot 103.

‡ 51. Mike Dodd (born 1943) a stoneware cut-sided vase, with knopped collar neck, covered to the foot in a blue and white hawthorn ash glaze and a Muchelney Pottery stoneware vase by Nick Rees, impressed seal mark to foot rim, 18cm. high, (2) £120-180 Provenance European Ceramics, Knaresborough Gallery, 23rd September 1992, catalogue number 176, (MIke Dodd).

Muchelney Pottery, (Nick Rees) 49

50

22

Exhibited John Leach and Nick Rees, The Potters of Muchelney, Glastonbury Rural Life Museum, cat. no.15 (Nick Rees vase).

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WILLIAM ‘BILL’ MARSHALL ‡ 52. William ‘Bill’ Marshall (1923-2007) a tall stoneware vase, shouldered cylindrical form with impressed cross panels, covered to the foot with a pitted celadon-green ash glaze, impressed seal mark to side of vase, 47cm. high £300-500

‡ 53. William ‘Bill’ Marshall (1923-2007) a tall, cut-sided stoneware vase, with knopped cylindrical neck, covered in a tenmoku glaze to the foot, impressed seal £150-250 mark to side 51cm. high Provenance Contemporary Ceramics, Christie’s London 23rd November 1987, lot 33.

52

‡ 54. William ‘Bill’ Marshall (1923-2007) a tall cut-sided stoneware bottle vase, shouldered cylindrical form, covered to the foot in a pitted celadon green ash glaze with combed decoration and iron highlights and speckle, impressed seal mark to side of base, 48cm. high £400-600 Provenance Sheila Harrison Fine Art, London 12th September 1990.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994 catalogue number 16.

53

‡ 55. William ‘Bill’ Marshall (1923-2007) a slender cut-sided stoneware bottle vase, covered to the foot with a white glaze, brushed with pale green impressed seal mark to side, 29cm. high £300-500 Provenance Contemporary Ceramics Bonhams, London 15th June 1989 lot 45.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 43.

54

55

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‡ 56. Richard Batterham (born 1936) a large stoneware crock jar and cover, with twin lug handles, incised vertical decoration, covered to the base with a celadon-green ash glaze, unsigned, incised WF to base, applied paper label numbered 30, small flat chips to top rim of jar, 39cm. high, (2) £150-200 Provenance Craft’s Council Shop, Victoria & Albert Museum, circa 1990, by repute.

‡ 57. Phil Rogers (born 1951) a Marston Pottery tall cut-sided stoneware vase, incised with bamboo stems, covered to the foot with an ash hakeme glaze, impressed seal marks, 36cm. high £120-180 Provenance Leigh Gallery, London 5th January 1994.

56

58.

Ursula Mommens (1908-2010) a stoneware bowl, glazed to the foot with a volcanic blue and mottled olive glaze with tenmoku stripes, a stoneware jar and cover by Geoffrey Whiting and a Unomi tea bowl by Geoffrey Whiting, impressed seal mark, 16cm. diam. (4) £120-180 Provenance Auction Atrium, 2010 (Mommens) Contemporary Ceramics, Bonhams London, 27th February 1989 (Whiting tea bowl) 59.

Ray Finch (born 1914) a stoneware jug, ovoid form with waisted cylindrical neck, covered to the foot with a tenmoku glaze, with brushed iron red scrolling band, a Trevor Corser stoneware vase covered in a tenmoku glaze, a Leach Pottery jug covered in a green glaze and a collection of thirty pots by various artists including Marianne de Trey, Emily Myers, Philip Wadsworth and Derek Clarkson, unsigned, 26cm. high (33) £200-400 Provenance St Ives Pottery, Cornwall, 11th June 1994 (Ray Finch jug) Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 33 (Ray Finch).

57

58

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‡ 60. Tim Andrews (born 1960) a raku pottery vase, slender, swollen cylindrical form, resist decorated with columns of white crackled glaze with light blue patches, over black, and a Tim Andrews plate with pulled rim, covered in a rich tenmoku glaze, decorated to the well with a bird, impressed seal mark, 27cm. high (2) £120-180 Provenance Contemporary Ceramics, Bonhams, London 21st November 1988 lot 19 (vase) Lowerdown Pottery, Bovey Tracey, 23rd October 1989 (plate)

61.

Andrew Crouch (born 1955) a tall stoneware jug, slightly faceted form covered in a rich tenmoku glaze with iron-red vertical stripes, two Andrew Crouch teapots with covers, a celadon green jardiniere and a smaller vase covered in a tenmoku glaze by the same artist impressed seal marks, 26.5cm. high, (5) £120-180 Provenance Paul Rice Gallery, September 2003.

60

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 59.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 30 (vase) and 31 (plate).

‡ 62. Waistel Cooper (1921-2003) a small stoneware vase, flaring and swollen form with knopped cup neck, incised and sprayed with matt oxide glaze over buff, the interior speckled buff, and a porcelain vase by Bernard Charles with incised decoration, painted Waistel signature, 13cm. high (2) £120-150 Provenance Paul Rice Gallery, April 1992 (Waistel Cooper) Beaux Arts, Bath 10th March 1990 (Bernard Charles)

61

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 60 (Waistel Cooper)

‡ 63. Elizabeth Raeburn (born 1943) a slab built raku vase on base, the flaring body with crackled and running blue raku glaze and central white band, impressed seal mark to base, paper Galerie Besson label, 32cm. high £150-200 Provenance Galerie Besson, London 20th July 1992 Exhibited Elizabeth Raeburn Galerie Besson, July 1992 catalogue number 11.

62

63

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ALAN CAIGER-SMITH ‡ 64. Alan Caiger-Smith (born 1930) an Aldermaston Pottery jug, dated 1987, probably thrown by Juliet Wilson, bellied form covered in a tin-glaze, painted with simple ruby and ochre brush-strokes, painted marks to base, painted date code for 1987, 25.5cm. high £120-180 Provenance Contemporary Applied Arts, London 7th March 1988.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 54.

‡ 65. Alan Caiger-Smith (born 1930) an Aldermaston Pottery bowl, dated 1988, tin-glaze, painted in red lustre with geometric motif, painted marks to base, painted date mark, 26.5cm. diam. £200-300 64

Provenance Contemporary Ceramics, Bonhams, London 15th June 1989 lot 159.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 49.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 55.

‡ 66. Alan Caiger-Smith (born 1930) an Aldermaston Pottery bowl, dated 1982, painted to the interior with geometric panels in red, blue and golden lustre, the exterior with painted golden panels, painted marks and date mark to base, 25.5cm. diam. £150-250 Provenance Contemporary Ceramics, Bonhams, London, 28th February 1990 lot 153.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September -8th November 2009, catalogue number 48 and illustrated on the front cover.

65

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 53.

66

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SUTTON TAYLOR ‡ 67. Sutton Taylor (born 1943) a large flaring earthenware bowl, on narrow foot, painted with geometric design in blue, red, and golden lustre impressed seal to foot rim, paper label number 44, 46.5cm. diam. £700-900 Provenance Hart Gallery, London 8th December 1995.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 57.

‡ 68. Sutton Taylor (born 1943) a footed earthenware bowl, conical form, mottled semi-lustrous pink and gold lustre with gold lustre band to exterior top rim, impressed seal to outside of foot, 28.5cm. diam, 17cm. high £500-800 Provenance Sheila Harrison Fine Art, 29th May 1990.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 56 (illustrated on the back cover).

67

‡ 69. Sutton Taylor (born 1943) a flaring conical earthenware bowl, painted to the rim with a border of geometric panels, in red and golden lustre impressed seal mark to side of foot, professionally restored, 38cm. diam. £150-200 Provenance Contemporary Ceramics, Bonhams, London 17th June 1992 lot 83.

68

69 69 interior

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Luke Herrmann with Jenifer Jones admiring one of her pots in his garden.

JENIFER JONES

‡ 70. Jenifer Jones (born 1940) a small biscuit porcelain vase, shouldered form with three small loop handles, burnished finish incised monogram, 11cm. high £150-200 Provenance Given by Jenifer Jones to Professor Luke Herrmann April 2009.

70

‡ 71. Jenifer Jones (born 1940) Discus Urn a stoneware vase, compressed form with broad collar rim, incised with radiating lines, covered in a black iron-oxide glaze, £300-500 unsigned, surface patination, 23cm. high

28

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‡ 72. Jenifer Jones (born 1940) a large round stoneware garden pot, ovoid with central ovoid aperture, incised with panels of vertical ribs, interspaced with carved abstract panels, glazed black, with drainage hole to base, impressed seal mark, 39cm. high £400-600 Provenance Purchased from the artist directly.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994 catalogue number 61.

‡ 73. Jenifer Jones (born 1940) a large stoneware garden pot, shouldered ovoid form with three loop handles to the shoulder and everted rim, with a broad band of incised vertical decoration, glazed black, with drainage hole to base, impressed seal mark to inside top rim, 33cm. high £400-600

72

Provenance Purchased from the artist directly.

‡ 74. Jenifer Jones (born 1940) a tall stoneware garden pot, shouldered form with cylindrical neck and everted rim, incised with a band of vertical decoration, glazed black, with drainage hole, impressed seal mark to side of vase, chips to foot rim, 52cm. high £300-500

‡ 75. Jenifer Jones (born 1940) a monumental stoneware garden vase, tall, flaring shouldered form with collar rim, incised with a band of vertical decoration, impressed seal mark to the inside of the neck 65cm. high £500-800 Provenance Purchased from the artist directly.

73

74

75

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DAME LUCIE RIE 76.

Dame Lucie Rie DBE (1902-1995) a pair of early earthenware twin-handled pot and covers, covered in a running speckled buff and brown glaze, the inside glazed cream, impressed Rie, 8.5cm. high, 11.5cm. diam. (4) £800-1,200 Provenance Contemporary Ceramics, Bonhams, 2nd April 1998 lot 129.

‡ 77. Dame Lucie Rie DBE (1902-1995) an early earthenware vase, circa 1936, elliptical form, running cream and brown glaze with solid brown rim, painted cobalt L.R.G WIEN and in red made in Vienna, minor professional restoration to inside of top rim, 11.5cm. high, 14cm. wide. £4,000-6,000 Provenance Studio Pottery, Christie’s South Kensington 2nd July 1997 lot 145.

detail

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‡ 78. Dame Lucie Rie DBE (1902-1995) an early earthenware vase, shouldered square section, covered in an off white glaze with exposed iron clay spots on top rim, and iron clay streaks in the glaze, unmarked, applied exhibition paper label, 13cm. high £4,000-6,000 Provenance Dame Lucie Rie Sale of a Lifetime Bonhams London, 17th April 1997 lot 25.

Exhibited Lucie Rie Arts Council Retrospective 1967 detail

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‥ 79. Dame Lucie Rie DBE (1902-1995) an early earthenware beaker vase, covered in a controlled pitted pale cream banded glaze, painted L R G Wien to base, 12.5cm. high £5,000-8,000 Provenance Purchased from Albion Mews in 1985 (via Cyril Frankel) Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September 8th November 2009, catalogue number 16.

Literature Tony Birks Lucie Rie, Alphabooks, page 82.

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‡ 80. Dame Lucie Rie DBE (1902-1995) an early earthenware vase, shouldered cylindrical form, covered in a running, curdled off-white and rust glaze indistinct seal mark under glaze, 17cm. high £5,000-10,000 Provenance Contemporary Ceramics, Christie’s London 18th June 1990 lot 102.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994 catalogue number 36.

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‥ 81. Dame Lucie Rie DBE (1902-1995) and Hans Coper (1920-1981) a stoneware vase, swollen cylindrical form, covered in an creamy fat pitted glaze with iron bleeding to the outer rim, impressed seal mark to base, 17cm. high £4,000-6,000 Provenance Contemporary Ceramics, Bonhams London, 21st November 1988 lot 197.

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‡ 82. Dame Lucie Rie DBE (1902-1995) a porcelain bottle vase, compressed ovoid body with wide flaring rim, speckled buff glazed to the foot with white and translucent green stripes, impressed seal mark, 19.5cm. high £8,000-12,000 Provenance Contemporary Ceramics, Christie’s London, 21st November 1988 lot 116.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994 catalogue number 43.

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‡ 83. Dame Lucie Rie DBE (1902-1995) a stoneware cylindrical vase, covered with a glossy off-white glaze to the exterior, the interior matt black, impressed seal mark to the base, applied Galerie Besson paper label, 10.5cm. high £1,000-1500 Provenance Galerie Besson 6th December 1990.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 17.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 37.

83

‡ 84. Dame Lucie Rie DBE (1902-1995) a pair of stoneware pouring jars, each covered with a blue speckled glazed over grey, impressed seal marks, 12cm. high (tallest), (2) £1,500-2,500 Provenance Contemporary Ceramics Bonhams, London, 11th June 1998 lot 125.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 21.

84

‡ 85. Dame Lucie Rie DBE (1902-1995) a porcelain bottle dated 1951, made for sale at The Festival of Britain, cylindrical, shouldered form with slender solifleur neck, covered in a white glaze with iron speckles, impressed 1951 seal to the shoulder, impressed seal mark, 17cm. high £1,500-2,000 Provenance Contemporary Ceramics, Bonhams, London 21st March 1991, lot 189.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 18.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 38.

85

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‡ 86. Dame Lucie Rie DBE (1902-1995) a small porcelain bottle with swollen neck, cream glaze to neck and shoulder, the body incised with sgrafitto vertical and horizontal lines, with manganese glaze to sgrafitto and rim, impressed seal mark to base, old firing faults to base rim, 16.8cm. high £3,000-5,000 Provenance Contemporary Ceramics Christies London, 23rd June 1987 lot 245.

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‥ 87. Dame Lucie Rie DBE (1902-1995) a flaring porcelain conical bowl, pale off white glaze with painted ochre swirl to inside and outside, impressed seal mark, 8.5cm. high, 16cm. diam £3,000-5,000 Provenance Contemporary Ceramics, Bonhams 9th December 1991, lot 190.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 25. Illustrated page 10.

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‡ 88. Dame Lucie Rie DBE (1902-1995) a stoneware solifleur vase, waisted cylindrical form glazed to the foot with green, sand and white spiralled glaze, with pitting, impressed seal mark to base 14.5cm. high £3,000-5,000 Provenance The Ballantine Collection Contemporary Ceramics, Bonhams London, 22nd June 1995, lot 67.

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‡ 89. Dame Lucie Rie DBE (1902-1995) a porcelain bottle vase with flaring rim, covered to the foot with a lightly pitted white glaze, the flaring rim with a controlled running bronze glaze, impressed seal mark to base, Christie’s London lot label, 26.5cm. high £15,000-25,000 Provenance Contemporary Ceramics, Christie’s King Street, 23rd June 1987 lot 275.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 44.

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‡ 90. Dame Lucie Rie DBE (1902-1995) a porcelain bottle vase, footed ovoid form with cylindrical neck and flaring rim, covered in a white gloss glaze to the foot, impressed mark, repaired neck and rim, 24.5cm. high £5,000-10,000 Provenance Contemporary Ceramics, Bonhams 15th June 1989, lot 233.

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‡ 91. Dame Lucie Rie DBE (1902-1995) a fine porcelain bottle vase with flaring rim, covered with manganese and blue bands, incised with two bands to the exterior and the interior of the flaring rim with radiating sgraffito lines, impressed seal mark, 15.5cm. high £20,000-30,000 Provenance Contemporary Ceramics, Christie’s London 23rd November 1987 lot 176.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 27.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 46.

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‥ 92. Dame Lucie Rie DBE (1902-1995) a fine porcelain footed Knitted bowl, the interior covered in a golden bronze glaze with radiating sgraffito lines, the exterior matt white with incised and inlaid manganese lines between bronze band on outer rim and foot, impressed seal mark, 8.5cm. high, 19.5cm. diam. £20,000-30,000 Provenance Contemporary Ceramics, Bonhams, London 12th November 1992, lot 449.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 28.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 47.

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‡ 93. Dame Lucie Rie DBE (1902-1995) a fine porcelain footed bowl, covered in a translucent apple green glaze with manganese speckles, the rim with fluxing and running bronze glaze, impressed seal mark to base, 10.5cm. high, 17.5cm. diam. £20,000-30,000 Provenance Contemporary Ceramics, Christie’s London 18th June 1990 lot 132.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 26, illustrated on page 23 and the front cover.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 45.

Literature Lucie Rie, Hans Coper and their Pupils, Sainsbury Centre for the Visual Arts, page 30-31, catalogue number 41, for a similar bowl, also illustrated on the front cover.

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‡ 94. Dame Lucie Rie DBE (1902-1995) a porcelain footed bowl, low, flaring form, covered in a turquoise blue glaze to the foot with volcanic running patches, with bronze rim, impressed seal mark, small nick to bronze rim, 22cm. diam. £6,000-10,000 Provenance Contemporary Ceramics, Christie’s King Street, 23rd November 1987, lot 186A. Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 48.

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‡ 95. Hans Coper (1920-1981) a stoneware vase, tapering pear shape with cylindrical neck, covered in a black glaze, impressed seal mark to base, 20cm. high £10,000-15,000 Provenance Contemporary Ceramics Christie’s London 20th June 1998 lot 188.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994 catalogue number 35.

Literature Tony Birks Hans Coper Collins, page 122-123 for three examples of this form illustrated.

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‡ 96. Hans Coper (1920-1981) a Digswell stoneware composite vase, tapering foot supporting swollen disc body and flaring neck, covered in a black matt glaze, impressed seal mark, small frit to top rim, 22.5cm. high £20,000-40,000 Provenance Contemporary Ceramics Bonhams London, 19th June 1997 lot 114.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 40 Literature Tony Birks Hans Coper Collins, page 51 for a comparable vase from the Crowther collection.

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‥ 97. Hans Coper (1920-1981) a stoneware bottle with flat disc rim, the body with subtle impressed panels, glazed with iron manganese to rim and white slips to body, impressed seal mark, 13.5cm. high £10,000-20,000 Provenance Contemporary Ceramics, Bonhams London 19th June 1997 lot 111.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 41.

Literature Tony Birks, Hans Coper, Collins, page 162-163 for examples of this form illustrated.

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‡ 98. Hans Coper (1920-1981) a large Poppy Head stoneware vase, swollen form with collar rim, white slip over manganese, the top rim painted with ribs in manganese, impressed seal mark to base, 30cm. high £20,000-30,000 Provenance Contemporary Ceramics, Bonhams, London 25th September 2001 lot 102.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 39.

Literature Tony Birks, Hans Coper, Collins, page 87 this vase illustrated.

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JAMES TOWER

‡ 99. James Tower RA (1919-1988) a rare tin-glazed earthenware goblet vase, flaring footed form, decorated in resist with geometric panels in olive green-brown, incised Tower to foot, hairline to top rim, 20cm. high £800-1,200 Provenance Contemporary Ceramics, Christie’s King Street, 20th November 1989, lot 123.

Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 52.

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‡ 100. James Tower RA (1919-1988) Winter Grasses-Opus 202, 1986 a stoneware vase, white tin-glaze with wax relief, incised James Tower 86, paper label James Tower 202, 45cm. high £10,000-15,000 Provenance Sheila Harrison Fine Art, 7th February 1989.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 28th September8th November 2009, catalogue number 38.

20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 50.

Literature Timothy Wilcox The Ceramic Art of James Tower, Lund Humphries, page 196 cat. no.202.

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100

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‡ 101. Walter Keeler (born 1942) a salt-glazed stoneware jug, angled cylindrical form with applied strap handle, covered in a textured blue-grey glaze, impressed seal mark to side, 12cm. high £120-180 Provenance Tredegar House, 10th July 2004.

101

‡ 102. Colin Pearson (born 1923) a porcelain winged vessel, on cylindrical stem with applied torn handles and top rim, covered in a pale semi-matt white glaze, £600-1,000 impressed seal mark to stem, 14cm. high Provenance Contemporary Applied Arts, London 15th March 1994.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 44.

102

‡ 103. Chris Carter (born 1945) a slender Hilted bottle vase with flaring rim, covered in a pitted matt blue, green and ochre glaze, surface textured with angled sgraffito lines, impressed seal mark to the base, 41cm. high £120-180 Provenance Hart Gallery, 25th May 1999.

Literature Chris Carter Deep Feelings for the Earth, Hart Gallery, 2010, page 6-7 for two similar Hilted vases illustrated.

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‡ 104. Joanna Constantinidis (1927-2000) a porcelain vase, swollen, shouldered form with slender neck and modelled rim, covered to the shoulder with a lustrous glaze over grey, impressed seal mark to side, 17cm. high £120-180 Provenance Contemporary Ceramics, Christie’s London, 21st November 1988 lot 147.

‡ 105. Joanna Constantinidis (1927-2000) a porcelain vase, swollen form covered in a pale cleadon glaze to the foot with cobalt blue swirl, impressed seal mark to base rim, hairline crack, 18.5cm. high £120-180 Provenance Contemporary Ceramics, Christie’s London 23rd November 1987 lot 96.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 45.

‡ 106. Joanna Constantinidis (1927-2000) a porcelain flaring vase, with applied slip decoration and covered in a golden lustre glaze, impressed seal mark, 10.5cm. high £150-200 Provenance Adrian Sassoon Gallery, 17th June 1996.

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‡ 107. Joanna Constantinidis (1927-2000) a porcelain footed low bowl, covered in a pale celadon blue glaze, impressed seal mark to the base, 25.5cm. diam. £120-180

105

106

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107

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

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‡ 108. Joanna Constantinidis (1927-2000) a cylindrical porcelain vase, with slip swirl, covered in a golden lustre glaze, impressed seal mark to foot rim, small frit chip to top rim, 13cm. high £180-200 Provenance Adrian Sassoon Gallery, June 1996.

‡ 109. Joanna Constantinidis (1927-2000) a porcelain solifleur vase, slender, cylindrical form with squeezed wing to top, covered with an antique gold lustre glaze, impressed seal mark, 27.5cm. high £200-300

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Provenance Paul Rice Gallery November 2008.

‡ 110. Joanna Constantinidis (1927-2000) a leaning stoneware bottle, with swollen shoulder, covered in a golden metal oxide, impressed seal mark to side of base, 36.5cm. high £300-500 Provenance The Craftsmen Potters Shop, London 13th August 1998.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 46.

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‡ 111. Joanna Constantinidis (1927-2000) a tall, slender stoneware vase, asymmetric form sprayed gold with iron spots, impressed seal mark to side of base, 39cm. high £300-500 Provenance Gainsborough House Society, 21st April 1994, bottle no.20.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 47.

111

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‡ 112. Ulla Hansen (born 1953) a cut-sided stoneware vase, shouldered form with cylindrical neck, covered to the foot with a turquoise glaze, and a elliptical box and cover by Malene Mullertz, 29.5cm. high (3) £150-200 Provenance Eight Danish Potters Galerie Besson February 1990 (Hansen pot)

‡ 113. Estella Campavias (1918-1990) a stoneware shallow bowl, covered to the foot with a pale blue glaze, the interior streaked blue over lavender, unsigned, 25cm. diam. £150-200 Provenance Contemporary Ceramics, Christie’s 23rd June 1987 lot 213.

112

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 35, illustrated inside back cover.

‡ 114. Gabriele Koch (born 1948) Tall Red Vessel Form Piece 2, a tall and slender hand-built earthenware vase, swollen, elliptical section, smoke fired and burnished in black with red patches, incised signature, small chip to base rim, 63cm. high £300-500 113

Provenance Crafts Council Shop at the V&A, 9th September 1998.

‡ 115. Gabriele Koch (born 1948) a small hand-built bowl form, smoked fired and burnished with black and green patches, incised signature, 10cm. high £120-180 Provenance Hart Gallery, London 9th November 1995.

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114 both sides

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

‡ 116. Gwilym Thomas (1914-1995) a stoneware bottle, painted with swirling foliage design in blue and olive on a silver-grey ground, unsigned, firing crack to foot rim, 48cm. high £150-200 Provenance Paul Rice Gallery, London September 1999 Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 34, illustrated page 26 and on the front cover.

‡ 117. David Lloyd Jones (1928-1994) an ovoid porcelain vase with flaring neck, covered in a matt buff glaze with mushroom, the top rim with dripping manganese band, impressed seal mark, 20cm. high £120-180 Provenance Geoffrey Godden Collection The Geoffrey Godden Collection of Studio Pottery, Bonhams, London 29th November 1995 lot 269.

‡ 118. Audrey Blackman (1907-1990) Opus 19 Going o the Encaecia Dinner, 1986 a porcelain figural sculpture, signed A Blackman and dated in the base, re-stuck head, 21cm. high £80-120 Provenance Contemporary Ceramics, Bonhams, London 16th April 2008 lot 240.

117

‡ 119. David Howard Jones (born 1953) a slab built stoneware vase, the twisted asymmetric body glazed with grey, brown and black linear design, incised mark to base, £120-180 professional restoration to top rim, 43cm. high Provenance Kenilworth Crafts, 6th November 1994.

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119 118

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‡ 120. Jill Fanshawe Kato (born 1943) a tall stoneware jug, slab-built, impressed and incised surface texture, painted with two birds in colours, impressed seal mark to base, 33.5cm. high £120-180 Provenance Joanna Bird Gallery, 13th January 2005, a pair of these jugs purchased, catalogue number 7.

‡ 121. Peter Hayes (born 1946) standing form, a raku pottery sculpture on a polished slate base, £120-180 unsigned, 19.5cm. high Provenance Leigh Gallery, November 1995.

‡ 122. John Maltby (born 1936) 3 Knights, a stoneware sculpture mounted on wood, glazed stoneware figures of three reclining knights signed, titled and dated in pencil to the reverse, paper Galerie Besson label, 26.5cm x 24cm. £120-180 Provenance Galerie Besson, London 27th November 1996.

Exhibited John Maltby Kings, Queens and Angels, Galerie Besson, London November-December 1996. (JM92)

120

121

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122

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

‡ 123. John Maltby (born 1936) Three Figures and a Wall, a stoneware sculpture on slate base, signed and titled to base, artists paper label, 26cm. high, 30cm. wide £300-500 Provenance Galerie Besson, London 18th July 2001.

Exhibited John Maltby Figures in Landscape, Galerie Besson, July-August 2001.

‡ 124. John Maltby (born 1936) Small Suffolk Seaport, 1991, a tall spade vase, painted to one side with houses, the reverse with a boat, in black, blue and white on a buff ground, painted Maltby to base, 20.5cm. high £800-1200 Exhibited 20th Century British Studio Pottery from the collection of an Oxford Graduate Ashmolean Museum 14th April-14th August 1994, catalogue number 59.

‡ 125. John Maltby (born 1936) a stoneware sculptural form, flat disc with side aperture, mounted on Portland stone plinth, the black glazed body slip decorated and painted with fishing boat motif to one side, the reverse with a net, in blue and white painted Maltby to base, 24.5cm. high £120-180

123

Provenance Contemporary Ceramics, Bonhams, London 15th May 1997 lot 144.

125

124

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JENNIFER LEE

‥ 126. Jennifer Lee (born 1956) a coil-built stoneware pot with asymmetric rim, blue graduating to dark with some speckles, painted marks, 18cm. high £3,000-4,000 Provenance Galerie Besson, October 1992.

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

‡ 127. Jennifer Lee (born 1956) a coil-built stoneware vase, built with bands of grey, buff and blue rim, painted JL monogram to base, paper Galerie Besson label, 15cm. high £3,500-4,500 Provenance Jennifer Lee, Galerie Besson, October-November 1997 catalogue number 15.

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‥ 128. Jennifer Lee (born 1956) a small coil-built vessel, pale cream with speckled and olive green bands, painted JL mark to base, 9.5cm. high £1,500-2,000 Provenance Galerie Besson, London 3rd December 1999.

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

‡ 129. Jennifer Lee (born 1956) a coil-built stoneware vase, sand rich stoneware vase, asymmetric form, painted JL monogram, Galerie Besson label, 18cm. high £4,000-6,000 Provenance Jennifer Lee, Galerie Besson, October-November 2000, no.18.

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‡ 130. Ashraf Hanna (born 1967) a hand-built and burnished raku vase, ovoid, with burnished neck rim and vertical columns incised marks, 10.5cm. high £500-800 Provenance Oxford Fair, 2000 (Oxford Ceramic Fair).

‡ 131. Abdo Nagi (1941-2001) an ovoid vase, with cylindrical neck, covered in a speckled, volcanic matt blue glaze impressed seal mark to side of base, 23.5cm. high £150-250 Provenance Contemporary Ceramics, Bonhams, London 13th June 1990 lot 179.

130

‡ 132. Abdo Nagi (1941-2001) a large thrown porcelain vase, tapering cylindrical form with collar neck, covered in a shiny blue glaze with matt grey sprayed bands, impressed seal mark to base, 41cm. high £300-500 Provenance Contemporary Ceramics, Bonhams, London 10th June 1998 lot 31.

Catalogue Notes Abdo Nagi came to England in 1967 from the Yemen. He started potting in 1975 working between 1978-2001 from his studio in Greylands, Letchworth in Hertfordshire.

‡ 133. Abdo Nagi (1941-2001) a large flaring porcelain bowl, covered with a graduating cobalt blue to turquoise matt glaze, with bronze rim, impressed seal mark to base, 32.5cm. diam. £300-400 Provenance Contemporary Ceramics, Bonhams, by repute.

131

68

132

133

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

‡ 134. John Ward (born 1938) a coil-built stoneware vase, cylindrical form covered in a matt white glaze, impressed seal mark, 13cm. high £700-1,000 Provenance Contemporary Ceramics, Bonhams London, 27th February 1989, lot 114.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 52.

‡ 135. Julian Stair (born 1955) a porcelain vase, shouldered form with cylindrical neck, white with irregular incised bands with cobalt blue pigment colouring, the interior glazed dark blue, impressed seal mark to base, 21cm. high £150-250 Provenance Crafts Council Gallery, 4th February 1992.

134

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 60.

Literature Lucie Rie, Hans Coper and their Pupils, Sainsbury Centre for the Visual Arts, page 77 catalogue number 146-147 for comparable vases.

‡ 136. Emmanuel Cooper (1938-2012) a footed porcelain bowl, the conical bowl glazed to the foot with a running apple green glaze, with bleeding bronze rim, apparently unmarked, 14.5cm. diam. £120-180 Provenance Lisle Street Gallery, 1994.

‡ 137. Emmanuel Cooper (1938-2012) a stoneware vase, black oxide covered in a running white volcanic glaze, impressed seal mark to base, paper label no.47 to side of base, 10cm. high, 13cm. diam. £120-180 Provenance Fine Art Society, London 8th October 2003 catalogue number 47.

Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 53.

135

136 interior

136

137

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‥ 138. Edmund De Waal (born 1964) Jar for a Branch, 1997, a tall waisted porcelain vase, covered in a pale celadon glaze impressed seal mark to base, paper labels, 36cm. high £800-1,200 Provenance Galerie Besson, 22nd August 1997.

Exhibited Edmund De Waal Galerie Besson 16th July-14th August 1997, catalogue number 36.

British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September - 8th November 2009, catalogue number 64.

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END OF SALE

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BRITISH ART POTTERY

Thursday 14th December 2017

Three Doulton stoneware mice groups by George Tinworth: Play Goers Estimate £2,500 - £3,000 The Wheelwright Estimate £800 - £1,200 Crossing the Channel Estimate £2,500 - £3,000 ENQUIRIES Michael Jeffery Tel: +44 (0) 1722 424505 mj@woolleyandwallis.co.uk

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MODERN BRITISH & 20TH CENTURY ART INCLUDING THE COLLECTION OF THE LATE DR PETER MANGOLD Wednesday 29th November 2017

Graham Vivian Sutherland OM (1903-1980) Maize and Gourd, Standing Maize Signed and dated 1948 Watercolour, gouache, chalk and charcoal 38 x 47cm Provenance: William Weston Gallery, London, 23rd March 1988, No. 8432/1 The Collection of Dr Peter Mangold This watercolour relates to the lithograph titled Maize of 1948, one of Sutherland's most important prints of this period in his career.

Estimate: £10,000 - £15,000

ENQUIRIES Victor Fauvelle | Tel: +44 (0)1722 424503 | vf@woolleyandwallis.co.uk Jo Butler | Tel: +44 (0)1722 424592 | jb@woolleyandwallis.co.uk

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FINE PORCELAIN & POTTERY Tuesday 20th February 2018 Entries are now being accepted for this sale

A Cantagalli Iznik-style large ewer and basin, c.1900, 44cm max.

Estimate: £800 - £1,200

ENQUIRIES Clare Durham | +44 (0)1722 424507 | cd@woolleyandwallis.co.uk

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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays.

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

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

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

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval.

There is a 3% + VAT charge for this service.

In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

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

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

The colours printed in the catalogue are not necessarily true.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

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

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

Alban Shipping

01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk

Mailboxes

01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

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

BUYER’S PREMIUM ASIAN ART SALES 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.

ALL OTHER SALES The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter.

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

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

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction.

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega ( ) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

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

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

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

Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof.

For further information, please contact Ned Cowell.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it.

Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price.

Asian Art sales: 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.

All other sales: The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol ( ) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory.

Charges may be applicable for export licences. Ask us if you need help.

The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form.

Some form of identification will be required if you are unknown to us.

Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss

with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. .

Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls.

Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.

The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.

The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

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

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE Asian Art sales: 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.

All other sales: The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

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

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements.

Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable.

Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

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

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

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

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

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

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

Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000

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Valuations PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required.

Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

Valuations are a core part of our business and are usually carried out by a senior specialist or directors.

Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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

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

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

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

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WOO L LE Y & WA L LI S Absentee Bid Form The Studio Pottery Collection of Professor Luke Herrmann

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 13th December 2017 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

Billing Name (please print)

Address

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

Signature

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

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www.woolleyandwallis.co.uk

Auction Calendar 20TH CENTURY DESIGN 13th December 2017 – The Studio Pottery Collection of Professor Luke Herrmann 14th December 2017 – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk MEDALS & COINS, ARMS & MILITARIA 22nd November 2017 3rd May 2018 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk PAINTINGS 29th November 2017 – Modern British & 20th Century Art 7th February 2018 – Modern British Art from the estate of the late Geoffrey Harley Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 10th January 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk SILVER 23rd & 24th January 2018 – Silver & Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 25th January 2018 – Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk WATCHES 25th January 2018 – Jewellery & Watches Adrian Hailwood +44 (0) 7775 788500 • ah@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 20th February 2018 – Fine Porcelain & Pottery Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 21st February 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 22nd & 23rd May 2018 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Jeremy Morgan +44 (0) 7812 601098 • jm@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk

www.woolleyandwallis.co.uk