Woolley & Wallis by Jamm Design Ltd

BRITISH ART POTTERY INCLUDING THE DARYL FROMM COLLECTION OF MARTIN WARE THE GEORGE TWYMAN COLLECTION OF MARTIN WARE

Wednesday 27th November 2019

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

20TH CENTURY DESIGN

VALUATIONS FOR INSURANCE & PROBATE

Michael Jeffery Zoe Smith

424505 446955

Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA Amanda Lawrence (PA)

424509 424598 424509

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

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MARKETING Sally Trench Megan Corbett

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ACCOUNTS CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

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GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Sarah Bennie

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

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SALEROOM MANAGER Matt Hill

CASTLE GATE MANAGER JAPANESE ART Alexandra Aguilar Sarah Lopez-Ferreiro

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CASTLE GATE RECEPTION Sally Litherland

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

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MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

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PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

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BOARD OF DIRECTORS John Axford MRICS ASFAV Chairman Clive Stewart-Lockhart FRICS FRSA Deputy Chairman Natalie Milsted FCCA Managing Director Paul Viney ASFAV Non-Executive Director

ASSOCIATE DIRECTORS SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

339752 446980

424500

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

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BRITISH ART POTTERY & DESIGN INCLUDING THE DARYL FROMM COLLECTION OF MARTIN WARE THE GEORGE TWYMAN COLLECTION OF MARTIN WARE

Wednesday 27th November 2019 at 10.30am at our Castle Street Salerooms, SP1 3SU VIEWING IN LONDON (Highlights of Martin Ware) 17 Clifford Street, 2nd Floor, W1S 3RQ Thursday 14th November

1.00pm - 7.00pm

VIEWING IN SALISBURY Saturday 23rd November Monday 25th November Tuesday 26th November Wednesday 27th November

LIVE BIDDING 10.00am – 1.00pm 10.00am – 3.00pm 10.00am – 3.00pm 9.00am – 10.30am

PLEASE NOTE, WE NOW OFFER OUR OWN LIVE ONLINE BIDDING SERVICE, FREE OF CHARGE

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 26th November

ENQUIRIES BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 26th November CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults COLLECTION OF LOTS

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

Please note that all lots will be cleared from the saleroom back to Castle Gate on Friday 29th November If you are collecting items on or after this date please contact the department to arrange in advance Thereafter, collection will be from our new Castle Gate Office Unit 1B Castle Gate Business Park Old Sarum, Salisbury SP4 6QX Our Castle Gate address details and map are at the back of this catalogue All accounts to be settled prior to collection Payment is still made at Castle Street

ILLUSTRATIONS Front cover: lots 5, 6, 49, 50, 52 Back cover: lot 139 Inside front cover: a selection of gourd vases from Daryl Fromm’s Collection Catalogue £12.00 (£15.00 by post)

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 169 for full details.

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THE MARTIN BROTHERS The joy of collecting is the unexpected find and in this regard the potters the Martin Brothers never fail to surprise. The originality and sheer diversity of their output of salt-glazed pottery over so many years continually astounds. Much of this is due to the creative genius Robert Wallace Martin (1843-1924) whose practice of seldom if ever repeating a design or decoration, laid the pattern for making by himself and his brothers, Walter Fraser (1857-1912) and Edwin Bruce (1860-1911). A major contributor in later years was another brother Charles Douglas (1846-1910), recruited to run their shop. A good listener, he fed back to the Brothers customers’ desires, suggesting new designs. He was also a persuasive salesman: Edward F. Spence, for The Artist 1 December 1887, wrote: A visit to the little gallery in Brownlow Street, Holborn, and a conversation with Mr. Charles Martin, would be sufficient to seriously injure the nervous system of a political economist. So, beside Charles’ salesmanship, what was and is the Martin magic that makes their designs so desirable? Individually modelled and decorated and often quirky, there is a tactility about them which invites you, to pick them up, feel the modelling and turn them over in the hand. This inter-connectivity with the maker is reinforced when looking at the base of many, each inscribed in the then damp clay by hand with ‘Martin Bros’, or by Wallis with his emphatic ‘R. W. Martin’, and, finally, accompanied by the date the piece was formed. We are not alone in feeling the lure to possess such often unique examples of their art. It was ever thus. In 1909 Ernest Marsh (18631945) wrote to fellow Martin collector, architect Sydney Greenslade (1867-1955), about the visit to his Kingston home of Dugald S. McColl (1859-1948), Keeper of the Tate Gallery, ostensibly to look at some prints for a possible loan: He then began to handle the Martin ware –you know the insidious touch of it! … I could see the fatal poison was stealing through him & at last he began to discuss how he could contrive to get a Case for the Tate!! Anyone seriously interested in the fascinating lives of these potters and their enthusiastic band of collectors should possess a copy of Malcolm Haslam’s (1978) The Martin Brothers Potters published by Richard Dennis. The Martin family lived for a time in Bridge Street, Westminster where under Architect Sir Charles Barry, the Gothic splendour of the new Houses of Parliament was rising by the Thames. Barry’s recognition of Wallace’s drawing and carving skills led to a position as assistant to stonemason and carver William Field and later the sculptor Alexander Munro. Taking advantage of evening classes in drawing at the recently founded Lambeth School of Art he subsequently obtained his own sculptural commissions. A close friend at the Lambeth school, George Tinworth, later became a prominent ceramic sculptor at Doulton’s of Lambeth. In the 1870s Wallace fired some of his work at C. J. Bailey’s Pottery in Fulham. Brother Walter worked as a colourist at Doulton’s, with Edwin taking his place after an accident. Never happy with the constraints of working for others, with Walter and Edwin’s newly acquired skills Wallace saw an opportunity to set up an independent business. The family soon moved in 1873 from Newington to Pomona House, near to the Fulham Pottery, where they could fire their pots. Regarded by many today as the pioneers of Studio Pottery, they created the designs, made, decorated, fired and marketed them. Their work quickly acquired a following of discerning collectors, none more so than Holborn ironmonger Frederick Nettlefold (1833-1914) who not only rented them their shop in Brownlow Street but also in 1877 loaned money for them to buy the old soap works at Southall on which to erect a kiln. These must have been exciting times for the Brothers. Robert Wallace’s sculptural work in surface decoration and modelling of his imaginative designs, particularly the grotesques, suggest he ploughed a largely independent furrow throughout the life of the pottery. Even so, sculpture remained a powerful influence on the three dimensional possibilities of everything they made, whether pot or figure. However, other influences do appear. But, the Martin’s creative gift was to interpret them in such a way that each piece is distinctive as being made by them. Owen Jones 1856 Grammar of Ornament with its emphasis on geometry is clearly evident and Wallace himself in later years voiced ideas suggestive of the influence of Christopher Dresser. Others too brought new insights: Walter made pots for artist Jean-Charles Cazin to decorate while Cazin was at Fulham Pottery and Mark Marshall, later at Doulton’s, worked for them for a while. An introduction to H. F. Fawcett, an artist who worked for a while as a decorator for de Morgan led to flora and fauna decoration in the Japanese manner and Renaissance designs. Sydney Greenslade met the Martins in the late 1890s and, as well as becoming a major patron, fostered a wider interest in the French potters Bigot and Delaherche. The joy, therefore, of so much that the Brothers made is not just its individuality but also tracing the life of the pottery through its stylistic progressions over so many years. Dr. Christopher Jordan

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THE DARYL FROMM COLLECTION OF MARTIN WARE Daryl Fromm’s pottery collection is outstanding for many reasons. Daryl is the consummate collector; finding, choosing, assembling and cataloguing with a focused zeal that leaves you breathless. We first met in 1977 in the shop in Kensington Church Street – his enthusiasm was evident, he had a particular way of handling pots and talking about them – a need to possess, a passion for discussion, always looking for perfection and keen to engage in dialogue with potters and their families. Daryl exhibited much of his collection, which is indeed very catholic, in Worthing Art Gallery in 2003. An unusual and very personal exhibition mounted in his own distinctive style. Martinware is Daryl’s first love and we see wonderful examples offered here. Two landmark pots passed through Daryl’s hands that are part of the folk law of Martin collecting. The Crab (currently refused an export licence) he found, enjoyed and passed on via Kensington Church Street. The Giant Owl (as at the Bohemian Club, San Francisco) was the prize that he broke the bank for - but had to eventually pass on as his pockets were not as deep as his passion for collecting. Daryl’s idiosyncratic collecting has only been possible with the love and loyalty of his partner Carol. Richard Dennis OBE

Carol with the Giant owl’s head.

Daryl Fromm with a Katherine Pleydell-Bouverie vase in 2006.

The Giant Owl photographed next to the Martin Bird (lot 6) showing its immense scale.

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1. An unusual Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1885, incised with stylised spiders on palm shaped leaves and spider’s web repeat in black and ochre on a buff ground incised 2-85 Martin Bros London & Southall, 24cm. high £1,000-1,500 Provenance Burstow & Hewett Valuers, Battle, 20th August 2014 lot 246. Catalogue notes This was the last vase purchased for the collection by Daryl. 2. A rare Martin Brothers stoneware cameo vase by Edwin and Walter Martin, dated 1898, shouldered form with flaring neck, the vase covered in a matt blue glaze, sgraffito carved with two birds flying amongst clematis flowers, incised 10 - 1898, Martin Bros London & Southall, 24.5cm. high £800-1,200 Provenance Purchased at Bermondsey Market in November 1979. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 98. Literature Judy Rudoe Decorative Arts 1850-1950 A Catalogue of the British Museum Collection, page 199 catalogue no.184. for a comparable vase illustrated. 3. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1896, shouldered ovoid form, incised with hummingbirds flying amongst slipper orchids, glazed in ochre, green and tan on a mushroom ground, incised 11 1896 R W Martin & Sons, London & Southall, 25.5cm. high £3,000-5,000 Provenance Design 1860 to the Present Day Bonhams Edinburgh, 14th October 2009 lot 33.

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4. A fine Martin Brothers stoneware Aquatic vase and cover by Edwin and Walter Martin, dated 1896, shouldered form, incised and painted with grotesque fish, jelly fish, crabs and aquatic creatures swimming amongst waterweed, a large lobster at the base of the vase, in shades of brown, cream and black on a pale mushroom ground, the flat circular cover with raised limpet knop, incised 10 1896 Martin Bros London & Southall, Martin Brothers paper label, Richard Dennis Exhibition label, 20cm. high ÂŁ5,000-10,000 Provenance Martin Brothers Pottery Exhibition, Richard Dennis 1978, catalogue number 302. Exhibited Martin Brothers Pottery Exhibition, Richard Dennis 1978, Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003 catalogue number 95 Fantasies in Clay, Martin Brothers Art Pottery, Blackwell, 2008 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis publications, page 125 figure 193 this actual vase illustrated.

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5. A rare Martin Brothers stoneware Birdman jar and cover by Robert Wallace Martin, modelled seated and holding his leg, glazed, with white and black highlights, on ebonised wood base, incised R W Martin & Bros, London & Southall to neck, base incised 7-12-1907 R W Martin & Bros, London & Southall, 23.5cm. high ÂŁ25,000-30,000 Provenance Dennis Attewell collection. Harriman-Judd collection, part 2, Sothebyâ&#x20AC;&#x2122;s New York, 6th October 2001, lot 139. Exhibited Birmingham City Museum, loaned by Dennis Attewell from 1971 to 1978. Martin Brothers Pottery Exhibition, Richard Dennis, 1978, catalogue number 720, (loaned by Dennis Attwell). Gorgeously Grotesque, Worthing Museum and Art Gallery, catalogue number 13. Fantasies in Clay, Martin Brothers Art Pottery (1873-1923), Blackwell, 2008. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 129 figure 197 for a comparable birdman figure.

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6. A fine Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, modelled standing upright, forward facing with open broad beak, glazed in shades of royal blue, green and ochre, highlighted in white, on ebonised wooden base, incised Martin Bros London & Southall, 26.5cm. high (2) ÂŁ30,000-50,000 Provenance Jack Lucas collection, bought by Daryl in 1982. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number12.

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7. A large Martin Brothers earthenware Dragon vase by Edwin and Walter Martin, dated 1898, shouldered form, finely incised and painted with fighting dragons in grey, green and yellow on a blue ground, incised 1 1898 Martin Bros London & Southall, repaired damage and losses, 45cm. high ÂŁ500-1,000 Provenance Applied Arts, Phillips, New Bond Street, 15th July 1982 lot 348, purchased by Richard Dennis for Daryl. Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 76. Literature Holbrook Jackson Martinware, published in T.P.â&#x20AC;&#x2122;s Magazine, 1910, this or a near identical vase illustrated on page 1.

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8. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, baluster form, incised and painted with grotesque fish, an eel and aquatic creatures swimming amongst waterweed, in brown, blue and green, highlighted in white on a tan ground, incised Martin Bros London & Southall, 20.5cm. high ÂŁ1,500-2,000 Provenance Claudine Casier, purchased by Daryl in 1977. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 97.

9. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, shouldered baluster form, incised with grotesque fish swimming amongst jellyfish, a seahorse, other aquatic creatures and waterweed, in brown and white on a streaked blue and mushroom ground, incised 9 1908 Martin Bros London & Southall, 26cm. high ÂŁ2,000-3,000 Provenance Andrew Lineham, collection Rhys Morgan collection, purchased by Daryl from Rhys in October 1982. Derek Garrod collection, then re-purchased by Daryl from Garrod in 1993. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue no.14 9

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10. A fine Martin Brothers stoneware Dragon vase by Edwin and Walter Martin, dated 1899, shouldered form, incised and painted with large ferocious Oriental dragons fighting, in brown, highlighted in white on a mushroom ground, incised 5-1899 Martin Bros London & Southall, 32cm. high ÂŁ10,000-15,000 Provenance Classic Arts and Crafts, Christieâ&#x20AC;&#x2122;s South Kensington, 2nd November 2000 lot 57. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 77. Literature Michael Jeffery Arts and Crafts Style, Pavilion Books, page 113 this vase illustrated.

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11. A large and impressive Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1902, modelled on one side with a smiling face, the reverse modelled with pursed lips, glazed tan and brown, highlighted with black and white, incised 5 1902, R W Martin & Bros London & Southall, 21cm. high ÂŁ3,000-5,000 Provenance A J Colls collection, Phillips, 2nd March 1954. Sothebyâ&#x20AC;&#x2122;s Belgravia, 20th January 1972 lot 77 purchased by Richard Dennis. Jeremy Cooper, purchased by Daryl in 1982. Exhibited Gorgeously Grotesque Worthing Museum and Art Gallery, 2003 catalogue number 104. Literature E Lloyd Thomas Victorian Art Pottery, Guild Art, page 183 figure 22. Geoffrey Godden British Pottery, Barrie & Jenkins, page 319.

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12. A Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1905, modelled to one side with a smiling face, the reverse a more smug grin, glazed brown with white and black highlights, incised 1-1905 R W Martin & Bros, London & Southall, paper label numbered 78, 17cm. high £2,000-4,000 Provenance Martin Brothers Pottery Exhibition, Richard Dennis 1978, catalogue number 459. Christie’s South Kensington, circa 1980. Exhibited Martin Brothers Pottery Exhibition, Richard Dennis 1978, catalogue number 459. Martin Brother’s, Tokyo 1979, Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003 catalogue number 103. Fantasies in Clay, Blackwell House, 2008.

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13. A tall Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1900, shouldered form, modelled with vertical ribs and incised veins, covered in a sage green and mushroom glaze, incised 7-1900 Martin Bros, London & Southall, Christie’s lot label, 26.5cm. high £800-1,200 Provenance Frank Trier, friend and financial supporter of the Martin Brothers, thence by descent British Decorative Arts, Christie’s South Kensington, 10th June 1997 lot 176, purchased by Daryl. Exhibited The South London Pottery Exhibition, Camberwell Art Gallery, 1922, loaned by Frank Trier for the exhibition. Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 7. British Studio Pottery from Bernard Leach to Lucie Rie, Chichester Cathedral exhibition/Pallant House, catalogue number 2.

14. A tall Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1903, shouldered from, modelled with vertical ribs and incised veins, glazed green and pale blue on a mushroom ground, incised 3-1903 Martin Bros, London & Southall, 26cm. high £800-1,200 Provenance Neal, Son & Fletcher Auction rooms, 25th November 1998 lot 154. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 3.

15. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1903, shouldered, ribbed form, incised and glazed in shades of green and pale blue on a buff ground, incised 11 1903, Martin Bros London & Southall, Richard Dennis paper label, 24cm. high £800-1,200 14

Provenance Martin Brothers Pottery Exhibition, 1978, Richard Dennis, catalogue no.456 Literature Malcolm Haslam English Art Pottery 1865-1915, ACC Books, page 197 figure 195 this vase illustrated. Malcolm Haslam, The Martin Brothers Potters, Richard Dennis Publications, page 143 figure 225 this vase illustrated.

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16. A large Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1900, shouldered, ribbed form with fine incised veins, glazed brown and buff, incised 7-1900 Martin Bros London & Southall, Richard Dennis paper label, 26cm. high £800-1,200 Provenance Sotheby’s 16th January 1975 lot 209, purchased by Richard Dennis. Rhys Morgan Collection, purchased by Rhys at the 1978 exhibition by Richard Dennis. Purchased by Daryl from Rhys in 1981. Exhibited Martin Brothers Pottery Exhibition, 1978 Richard Dennis, catalogue no.384 Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003 catalogue no.1 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, illustrated page 118 figure XVIII.

17. A tall and impressive Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1905 shouldered form, modelled in relief, with incised veins, glazed blue and green on a tan ground, incised 2 1905 Martin Bros London & Southall, 22cm. high £800-1,200

Provenance Charles de Grunchy. De Grunchy was one time architect master at the Royal Academy Schools and is listed as a patron on the Martin Brothers. He loaned pots (probably gourds) to the Fulham exhibition of pots and prints, 1929. John Radcliffe Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue no. 9. British Studio Pottery From Bernard Leach to Lucie Rie, Chichester Cathedral (Pallant House), 2005, catalogue number 1. Fantasies in Clay, Martin Brothers Art Pottery (1873-1923), Blackwell The Arts and Crafts House, Bowness, 2008. Literature Dr Jeffrey Jones Studio Pottery in Britain 1900-2005, A & C Black Publishers, page 34 this vase illustrated. Page 35 includes an identical vase, in unfired state, is shown in a portrait photograph of Walter Martin in the studio, circa 1900. 17

18. A large Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1900, shouldered ribbed form with fine incised decoration, painted in shades of peach and green on an off-white ground incised 3-1900 Martin Bros London & Southall, 25.5cm. high £800-1,200 Provenance Martin Brothers Pottery Exhibition Richard Dennis Gallery, 1978 catalogue number 383. The Geoffrey Godden Collection Decorative Arts from 1880 to the Present Day, Christie’s South Kensington 13th April 1988 lot 58 Decorative Arts from 1860, Bonhams, 16th October 2012 lot 17. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 118 this vase illustrated. 18

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20 19. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, ovoid twisted form, with incised veins, glazed in green and brown on a buff ground, 6-1889, Martin Bros, London & Southall, 19.5cm. high £1,000-1,500 Provenance New Century Gallery, Harry Lyons, 2001. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 11. 20. A large Martin Brothers stoneware gourd vase by Edwin and Walter Martin, slender, pulled ovoid form modelled with vertical ribs and fan-like foliage, glazed green on a buff ground unsigned, professionally restored, 34cm. high £800-1,200 Provenance Richard Dennis Christie’s South Kensington, purchased by Derek Holman Purchased by Daryl in 2007 Catalogue notes This vase was photographed in the Martin Brothers studio, circa 1915, by John Cooper Ashton (the photograph is in the John Cooper Ashton archive held at Glasgow University). 21. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1904, square section, modelled with ribs to the corner, the body with raised limpet shells, glazed pale green and blue on a buff ground, the square rim highlighted in brown, incised 2-1904 Martin Bros London & Southall, paper label, 17.5cm. high £500-800 Provenance The Edward Spencer collection (Artificers Guild), thence by descent to his godson Decorative Arts since 1860, Dreweatt Neate Auctions, 25th June 2003 lot 1350 Arts and Crafts, Woolley and Wallis Auctioneer’s 18th June 2008 lot 13.

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22. A near pair of Martin Brothers stoneware gourd vases by Edwin and Walter Martin, dated 1901, double gourd form with vertical ribs, one with pierced ribs, and incised veins, glazed in shades of green and brown on a buff ground, incised 1-1901 Martin Bros London & Southall, one with paper label no.377, 15.5cm. high, (2) ÂŁ2,000-4,000 Provenance Decorative Arts 1860 to the Present Day, Christieâ&#x20AC;&#x2122;s South Kensington, December 1981 Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003 catalogue number 8 Literature The Studio Year Book, 1908 this or an identical vase with solid vertical ribs, illustrated B210.

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23. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1902, shouldered, square section with flaring circular neck, painted with white spots highlighted in blue on a tan ground incised 2-1902 Martin Bros London & Southall, 12.5cm. high £400-600 Provenance Gorringes Auctioneer’s, circa 1995 Brian Page Oriental Ceramics, Brighton purchased by Daryl in 1995. Exhibited Gorgeously Grotesque Worthing Museum and Art Gallery, 2003, catalogue number 47. 24. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1902, ribbed form, slip decorated with vertical fine veins, in cream on a tan ground, the shoulder highlighted in brown, incised 2 1902 Martin Bros London & Southall, Richard Dennis paper label, 13.5cm. high £500-800 Provenance Ian Bennett collection, purchased in 1979 by Daryl. Exhibited Martin Brothers Pottery Exhibition, 1978, Richard Dennis Publications, catalogue number 441. Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003 catalogue number 19. 25. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1900, swollen cylindrical form with modelled vertical ribs, glazed olive green with blue highlights on an off white ground, incised 7-1900 Martin Bros London & Southall, 13cm. high. £400-600 Provenance George Kingham 25

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26. A fine pair of Martin Brothers stoneware gourd vases by Edwin and Walter Martin, dated 1909, the shouldered, fluted body with eight loop handles to the rim, each covered in a deep bronze metallic glaze incised 2 1909 Martin Bros London & Southall, remains of collection number 176, 25.5cm. high (2) £3,000-5,000 Provenance Photographic evidence shows a pair of identical vases in the collection of Ernest Marsh. Sotheby’s 1st April 1996 lot 276, purchased by Richard Dennis for Daryl’s collection. Exhibited Gorgeously Grotesque Worthing Museum and Art Gallery, 2003, catalogue number 6.

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27. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1906, slender faceted body with everted rim, painted with spots in blue and white on a chestnut brown ground, incised 1 1906 Martin Bros London & Southall, Richard Dennis paper exhibition label, 14cm. high £400-600 Exhibited Martin Brothers Pottery Exhibition, Richard Dennis Publications, catalogue number 524 28. A tall pair of Martin Brothers stoneware gourd vases by Edwin and Walter Martin, dated 1909, tapering form modelled with vertical ribs and knopped neck, painted with silver spots on a blue ground, incised 3-1909 Martin Bros London & Southall, 16cm. high, (2) £800-1,200 Provenance Daryl records this pair of vases purchased from a Lady in Battle, East Sussex, January 1977. Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 20. Literature The Studio, 1907, page 112 fig.12 for a comparable vase illustrated. 29. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1901, twisted form, the shouldered ovoid pot incised and glazed in shades of green on a mushroom ground, incised 6 1901 Martin Bros London & Southall, paper collection number 75, 8.5cm. high £400-600 Provenance Rhys Morgan, bought by Daryl in 1981 from Rhys. 27

Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 33. 30. A Martin Brothers stoneware gourd perfume flask by Edwin and Walter, dated 1906, flattened disc form, incised with vertical veins, painted green, with brown spots on a buff ground, incised 5-1906 Martin Bros London, paper catalogue number 76, 6.5cm. high £300-500 Provenance Ernest Marsh collection. It is believed Marsh purchased this piece directly from the Martin Brothers. Sotheby’s Belgravia 17th September 1981 lot 158. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 35. Literature Blacker, ABC of English Saltglaze Pottery, page 132 top plate (far right vase).

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31. A rare Martin Brothers stoneware gourd perfume flask by Edwin and Walter Martin, dated 1906, flattened disc form, incised with sprays of prunus in blue and ochre on a buff ground, incised 1906 Martin Bros London & Southall, 6.5cm. high £300-500 Provenance Ernest Marsh collection. This vase is illustrated in one of Marsh’s own photographs (held in the Twyman collection), dated 25th May 1916) Woolley and Wallis Auctioneers, 17th January 1980 lot 290. Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 31. 32. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1901, tapering, cylindrical form, painted with brown spots on a buff ground, incised 6-1901 and marks original paper label, 10.5cm. high £400-600 Provenance F.D Spooner collection, Sotheby’s Belgravia 31st March 1976 lot 472 (probably this vase) Martin Brothers Pottery, Richard Dennis Gallery catalogue number 679, purchased by Rhys Morgan. Rhys Morgan collection, purchased by Daryl in 1982 from Rhys.

Exhibition Martin Brothers Pottery, Richard Dennis Gallery, 1978 catalogue number 679. Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 42. Literature Malcolm Haslam The Martin Brothers Pottery, Richard Dennis Publications, page 119 this vase illustrated. 33. A Martin Brothers gourd vase by Edwin and Walter Martin, dated 1905, ribbed double gourd form, with fine engraved decoration, glazed in ochre on a buff ground, the top rim glazed brown, incised 1-1905 Martin Bros, original Richard Dennis exhibition paper label, 11cm. high £400-600 Provenance The Abbott family collection, purchased directly from the Martin Brothers Sotheby’s 16th January 1975 lot 198 purchased by Richard Dennis Exhibited Martin Brothers Pottery Exhibition, Richard Dennis Publications, 1978 catalogue number 649. Gorgeously Grotesque Worthing Museum and Art Gallery, 2003, catalogue number 38.

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34. A Martin Brothers stoneware miniature gourd vase by Edwin and Walter Martin, dated 1903, ovoid modelled with splits and warts, glazed ochre highlighted in pale green incised 6-1903 Martin Bros London & Southall, paper exhibition/collection numbers to base, 6.5cm. high £300-500 Provenance Rhys Morgan Collection, purchased by Daryl in 1982. Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 41.

35. A Martin Brothers stoneware minature gourd vase by Edwin and Walter Martin, dated 1906, ovoid with collar rim, incised with vertical ribs glazed ochre highlighted in green incised 5-1906 rest of incised marks concealed by exhibition paper label, 4.5cm. high £300-500 Provenance S.W. Abbott Family Collection (who purchased directly from the Martin Brothers). W J Rickard Collection, The Martin Brothers Exhibition, 1978, Richard Dennis, catalogue number 657. Gorgeously Grotesque Worthing Museum and Art Gallery, 2003, catalogue number 28.

37 38. A Martin Brothers stoneware miniature gourd vase by Edwin and Walter Martin, dated 1907, ovoid, urchin form with incised vertical ribs, glazed olive green, highlighted in white, incised marks and 5-1907 to base, Richard Dennis Exhibition label to base, 4cm. high £300-500 Provenance Martin Brothers Pottery Exhibition, Richard Dennis Gallery, 1978, catalogue number 686 Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 37.

Literature Malcolm Haslam The Martin Brothers Potters Richard Dennis Publications, page 119-120.

Illustrated Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 119 this vase illustrated.

36. A Martin Brothers stoneware miniature gourd vase by Edwin and Walter Martin, dated 1903, shouldered, square section, glazed ochre with painted white vertical veins, incised 6-1903 Martin Bros London & Southall, 8cm. high £400-600

39. A Martin Brothers stoneware miniature gourd vase, ovoid form, painted with blue slip spots on a deep olive green glaze incised 10-1901 Martin Bros London, 3.5cm. wide £300-500

Provenance Sidney Greenslade Reverend Webb, thence by descent to his son David, Richard Dennis - A Potted History Bonhams Auctioneers, 12-13th March 2008 lot 69. 37. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1906, shouldered, cylindrical from incised with vertical ribs, glazed in shades of ochre highlighted in pale blue incised 5-1906 Martin Bros London & Southall, 6cm. high £400-600 Provenance Sidney Greenslade, architect. Reverend Webb, thence by descent to his son, David. Richard Dennis A Potted History Bonham’s,12/13th March 2008 lot 69.

Provenance Abbott collection, purchased directly from the Martin Brothers. Sotheby’s Belgravia 16th January 1975 lot 201 purchased by Rhys Morgan for £18. Rhys Morgan collection, purchased by Daryl in 1983. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003 catalogue number 49. 40. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1903, compressed form with vertical ribs, glazed brown and green highlighted in black, incised 9 1903 Martin Bros London & Southall, Richard Dennis Exhibition paper label, 5cm. high £400-600 Exhibited Martin Brothers Pottery Exhibition, Richard Dennis Publications, 1978, catalogue number 634. Literature The Studio, 1907, page 113 fig.18 for a comparable gourd vase.

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Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003 catalogue number 29.

44. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1906, shouldered ovoid form, incised decoration glazed green on an off-white ground, the rim highlighted in ochre, incised N1 Martin London 1906, 5cm. high £300-500 Provenance Sidney Greenslade Reverend Webb, thence by descent to his son David. Richard Dennis A Potted History Bonham’s,12/13th March 2008 lot 65.

42. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1902, ovoid with modelled with warts glazed in a pitted mushroom and cream glaze incised 1902 Martin Bros London & Southall, 9.5cm. high £400-500

45. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, ovoid with raised slip veins in white on an olive green ground, incised 6-1913, Martin Bros London & Southall, Richard Dennis paper label, 7cm. high £400-600

Provenance F P Spooner, Sotheby’s Belgravia 2nd July 1976 lot 328, purchased by Iain Bennett. Iain Bennett Collection, purchased by Rhys Morgan Rhys Morgan collection, purchased by Daryl in 1982.

Provenance Martin Brothers Pottery Exhibition, 1978, Richard Dennis, purchased by Daryl.

41. A Martin Brothers stoneware gourd vase by Edwin and Walter, dated 1901, ovoid form with collar neck, decorated with thick grey slip dots, on a buff ground, incised 2-1901 Martin Bros London & Southall, paper collection number 49, 6.5cm. high £400-600 Provenance Malcolm Haslam collection Ian Bennett collection, sold to Daryl in 1979.

Exhibited Martin Brothers Pottery, Richard Dennis Gallery, 1978, catalogue number 442. British 20th Century Studio Ceramics The Iain Bennett Collection, Christopher Wood Collection, 1980, illustrated page 43 plate no.2 Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 48. 43. A Martin Brothers stoneware miniature gourd vase by Edwin and Walter Martin, dated 1907, shouldered form with textured and veined surface, glazed with patches of green incised marks, paper auction label, 4.5cm. high £400-500 Provenance Arts and Crafts Woolley and Auctioneers 17th June 2015 lot 41.

Wallis

Exhibited Martin Brothers Pottery Exhibition, 1978, Richard Dennis Publications, catalogue number 700. Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 22. Literature Malcolm Haslam The Martin Brothers Pottery, Richard Dennis, page 119 this vase illustrated in fig XIX. 46. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1911, shouldered cylindrical vase incised with vertical ribs, glazed brown highlighted with green horizontal bands, incised 11-1911 Martin Bros London & Southall, 5cm. high £300-500 Provenance Malcolm Haslam Jill Rumsey, purchased by Daryl circa 1993.

Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 45.

END OF COLLECTION 46

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GEORGE PATRICK TWYMAN (1935-2019) ‘Anything that had Martin on the bottom, I would buy if I could, and that’s how my collection grew’. An aspiring actor, while studying at RADA, George worked as a runner for a Portobello Road Market jeweller and antique dealer. Thus began his lifelong love of collecting. While he had a number of parts in films, such as a chauffeur in The Pink Panther and kept his Equity card until recent years, marriage dictated a more regular occupation. Moving to Southall, London Borough of Ealing in the 1960s he worked in the roofing trade and for a period for Ealing Council while, with partners, building a successful roofing company. Immersing himself in the life of his community, he became a leading light in the Southall Chamber of Commerce, the Southall Local History Society, Southall and Yeading Football Clubs (a lifelong Queens Park Ranger fan), Dormers Wells Residents Association, First School, Nursery and its Community Trust. A force to be reckoned with, if George took anything on, it was always with total commitment. A major figure in reviving the annual Remembrance Day Parade, until recently and with no fear of heights, he would climb on the roof of Southall Town Hall to raise the flag. On local planning issues his time with Ealing Council and knowledge of the building trade led him to become a well-known voice on local affairs. In contrast to his public presence, his collecting interests were known to very few. An admirer of the Southall potters the Martin Brothers, George rarely attended auctions but found that over many years local boot sales would produce occasional examples of Martin ware from local families, so that in time he amassed a considerable collection. I first met George twenty years ago when researching my PhD based on the life of the Martinware collector Ernest Marsh. In 1986 the Borough of Ealing had received 260 items of Martinware, the bequest of Dr. John and Mrs Hull Grundy. It was made very clear to me that if I wanted to know anything about the Southall activities of the Brothers and the collection I had to see George. This was to be an interesting experience. George was passionate about the Martin Brothers, one might say obsessively so, and protective of their legacy. Like the great 19th century collector Frederick Nettlefold, George most admired the earlier works by the Martin Brothers – which to him showed such originality of conception and execution, rather than their later output which he felt was a response to external influences. Nevertheless he acquired examples from all periods by the Martins and other potters. He made it quite plain to me that he had no time for nosey people and time wasters. Selecting a jug at random from a case he hefted it in his hand and said tell me about this. It was an early jug deeply and freely carved by Wallace, with brown and green glazes. We discussed its virtues: I said to modern taste it might seem somewhat crude but to me it spoke of the hand of the maker in its apparent spontaneity and originality of design. Fortunately for me he agreed. Only when my credentials were accepted was I made welcome. I soon discovered that his collection and archive of Martinware and other potters was a researchers dream find. Not only had he built a large ceramic collection but by chance had also acquired by auction in the dim and distant past an immense Edwardian Perken magic lantern projector and significant documentary and photographic archive, all formerly belonging to the collector Ernest Marsh. George was modest about his wide knowledge and understanding of the Martin Brothers’ life and their creative achievement. For Southall Local History Society he produced (1995) ‘The Martin Brothers, the Southall Potters’- still in print. Like the Martins, George had moved out of London to Southall. With the same energy he gave to his other local interests, he fought for their wider local recognition, for example constantly pushing for better cataloguing and display of the Ealing collections. Robert Wallace, Walter, Charles and Edwin Martin were buried in Havelock cemetery, Southall but due to a family dispute over a legacy from a fifth brother, James, some graves remained unmarked. As chairman of the Southall Local History Society, George campaigned for this to be rectified. Jointly funded by the Society and Ealing Council all four graves were marked with new headstones in 2006. George recognised that he was one of a continuum of collectors hooked on the Martin Brothers. It gave us both great satisfaction that his collection was to form a meaningful part of my research and it gave me even greater pleasure to eventually present him with a copy of my PhD. His legacy as a fighter for the continuing public recognition within Southall of the Martin Brothers is the George Twyman Room at the Dominion Centre and Library in Southall. Opened in 2014, it displays a fine selection of from the Hull Grundy bequest, now visited by Martin enthusiasts from across the world. My thanks to Dr. Jonathan Oates, Sue Kirby, Leslie Porter and the Twyman family for assistance in writing this article. Dr. Christopher Jordan Christopher Jordan was formerly Keeper of the South London Gallery Permanent Collection, now the Southwark Art Collection. Chairman of the Spode Society, he is an independent curator, lecturer and writer on, amongst other things, 19th and early 20th C. ceramics.

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47. A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, dated 1900, modelled playing blocks, covered in a white glaze incised 7-1900, Martin Bros London & Southall, professional restoration, 12cm. high £1,500-2,000 Provenance The George Twyman Collection of Martin Ware.

48. A Martin Brothers stoneware Imp Musician by Robert Wallace Martin, modelled playing the cornet, glazed white, on ebonised wood base, incised Martin Bros, London, 11cm. high £1,500-2,000 Provenance The George Twyman Collection of Martin Ware.

49. A Martin Brothers stoneware Imp Musician figure by Robert Wallace Martin, modelled seated playing a harp, glazed white incised Martin Bros, professional restored, 11cm. high £700-1,000 Provenance The George Twyman Collection of Martin Ware. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 134 for an example of this Imp illustrated.

49 48

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50. The Norwich Cryer a Martin Brothers stoneware figure by Robert Wallace Martin, dated 1900, modelled standing one arm raised the other holding a large hand-bell, the base with incised title The Norwich Cryer, glazed off white, on ebonised wood base, incised to base rim R W Martin & Bros, London & Southall, 1900, 16.5cm. high. ÂŁ3,000-5,000 Provenance The George Twyman Collection of Martin Ware. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 83 figure 104 for a comparable figure illustrated. Figure 105 shows a contemporary photograph of the bellman, a character called Will Childerhouse ringing his bell

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51. Sir William Richard Drake FSA a terracotta plaque by Robert Wallace Martin, dated 1888, oval panel, in oak frame incised R W Martin Sct Oct 1888, 50 x 39cm (panel) ÂŁ1,500-2,500 Provenance The George Twyman Collection of Martin Ware. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 82 figure 103 for a portrait medallion of Sir William Drake, dated 1887, illustrated. This portrait of Drake, the chairman of the Burlington Fine Arts Club, was exhibited at the Royal Academy in 1888.

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52. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1907, modelled with long beak and staring gaze, glazed blue and green on a silver-grey ground, on wooden base, incised 2-3-1907, R W Martin & Bros, London & Southall to neck, base inscribed R W Martin & Bros Southall, minor professional restoration to head and wing tip, 22cm. high, (2) ÂŁ5,000-10,000 Provenance The George Twyman Collection of Martin Ware.

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53. Sidney Greenslade a rare Martin Brothers stoneware plaque by Robert Wallace Martin, dated 1907, oval in ebonised wood frame, covered in a white paint, incised R W Martin Sc. Southall, 1907 titled to reverse S Greenslade, 22cm. high (plaque) £500-800 Provenance The George Twyman Collection of Martin Ware. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 148 figure 233 for a later version of this plaque with Sidney Greenslade modelled examining a Martinware vase.

54. A Martin Brothers stoneware spoon warmer probably by Robert Wallace Martin, compressed, circular form with over-slung handle and elliptical aperture, incised with foliate bands, glazed in shades of brown, blue and ochre, incised Martin London & Southall, minor glaze loss, 15cm. wide £200-300 Provenance The George Twyman Collection of Martin Ware.

55. A large and early Martin Brothers stoneware jug by Robert Wallace Martin, dated 1881, ovoid with over-slung handle, incised with a geometric overlapping fan motif in brown and black on a buff ground, impressed R W Martin, Southall mark, incised 15.1.81, museum restoration to side, 25cm. high £150-200 Provenance The George Twyman Collection of Martin Ware. 54

55 both sides

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56. A Martin Brothers stoneware face jug by Robert Wallace Martin, modelled in relief with a smiling face to both sides, glazed brown and tan with white and black highlights incised R W Martin London & Southall, 15cm. high ÂŁ800-1,200 Provenance The George Twyman Collection of Martin Ware.

57. A Martin Brothers stoneware face jug by Robert Wallace Martin, modelled to one side with a smiling face, the other a pouting face, glazed in dark bronze/black over olive green, highlighted in white incised R W Martin & Bros London & Southall, 14cm. high ÂŁ600-900 Provenance The George Twyman Collection of Martin Ware. 56 both sides

57 both sides

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58. An early Martin Brothers stoneware wall vesta by Robert Wallace Martin, dated 1875, shield shaped, with cylindrical container, incised with simple flower head and stylised foliate band, glazed in shades of blue and brown incised R W Martin London 1-1875, 13.5cm. high £120-180 Provenance The George Twyman Collection of Martin Ware.

59. A rare Martin Brothers stoneware charger by Walter Fraser Martin, Pomona House period, incised and modelled with scrolling foliage and raised flowerheads to the rim and radiating flowers to the well, glazed blue and green on a buff ground, incised W F Martin London No.3, stress hairlines and small rim chips, 31cm. diam. £120-180 Literature Malcolm Haslam The Martin Brothers Potters Richard Dennis Publications, page 36 figure 31 for a comparable example illustrated. Provenance The George Twyman Collection of Martin Ware. 60. An early Martin Brothers stoneware stand by Robert Wallace Martin, dated 1876, circular, incised to the centre with a portrait of a man in a turban, glazed brown and blue, incised 3 R W Martin London 12-1876, 16cm. diam. £120-180 Provenance The George Twyman Collection of Martin Ware. 61. An early Martin Brothers stoneware bud vase by Robert Wallace Martin, lobed form with flaring tube necks, incised flowers and foliage, in green, blue and buff, another early Martin vase incised with ivy and another vase incised marks to base, 13cm. high (3) £120-180 Provenance The George Twyman Collection of Martin Ware.

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62. An early Martin Brothers stoneware jug by Robert Wallace Martin, dated 1874, shouldered from with angular buttressed handle, incised with japoniste flower and foliage band on textured ground, the spout with heraldic lion shield, in blue and brown on a buff ground incised R W Martin 3.2.74, Fulham, professional restoration, 20cm. high £120-180 Literature Charles R Beard The Collection of Martinware Formed by Mr Frederick John Nettlefold, Private Press, page 45 plate 5 for a comparable jug illustrated. Provenance The George Twyman Collection of Martin Ware. 63. A rare and early pair of Martin Brothers stoneware Egyptian Revival vases by Robert Wallace Martin, dated 1876, cylindrical form, incised with seated pharaoh and characters, in tan, highlighted in blue and green on a buff ground incised 4 and 5 R W Martin London 4-1876, professional restoration, 23cm. high, (2) £300-500 Provenance The George Twyman Collection of Martin Ware.

62 two views

64. A Martin Brothers stoneware lamp base by Robert Wallace Martin, pierced and cast architectural form, glazed in shades of brown, green and blue with brass mounts, incised R W Martin & Bros London & Southall, hairline to top rim, 33cm. high £150-200 Catalogue notes This electric lamp was originally the body of an oil lamp. Provenance The George Twyman Collection of Martin Ware. 65. A rare and early Martin Brothers stoneware watch stand by Robert Wallace Martin, dated 1875, the circular stand supported on tripod stand and circular base, modelled and pierced with stylised foliate borders in green and blue on a buff ground incised no.2 R W Martin London 3-1875, 14cm. high £200-400 Provenance The George Twyman Collection of Martin Ware.

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66. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1878, slender, shouldered form, decorated with a heraldic shield of a white stag, in blue, white and brown on an off white ground, and two other commemorative jugs by the Martin Brothers and a small dimpled beaker incised 2-45 R W Martin Southall 1878, damages 20cm. high (4) £120-180

69. A Martin Brothers stoneware tobacco jar and cover by Walter Fraser Martin, dated 1882, shouldered form, incised and painted with scrolling flowers and foliage and shield inscribed EFH, in blue, green and brown, and another Martin Brothers stoneware tobacco jar incised 5-582 W.F.Martin Southall Pottery, restored cover, 16cm. high, (3) £120-180

Provenance The George Twyman Collection of Martin Ware.

67. A Martin Brothers stoneware jug probably by Clement Martin, dated 1891, the bellied jug cast in low relief with the coat of arms for Norwich, with incised foliage decoration, glazed brown and tan, and another Martin Brothers stoneware jug with the coat of arms for Norwich, incised 8-1891 Martin Bros London & Southall,, professional restoration to top rim, 22cm. high, (2) £150-200

70. An early Martin Brothers stoneware jug by Robert Wallace Martin, shouldered, tapering cylindrical form, incised with a classical mask flanked by griffin roundel, the handle modelled with a mask, glazed brown and blue on a buff ground, and another Martin Brothers stoneware Classical jug dated 1878, incised R W Martin Southall Middx, professional restoration, 23cm. high, (2) £120-180

Catalogue notes Clement Martin started working at the family pottery on a permanent basis in 1891.

Provenance The George Twyman Collection of Martin Ware.

Provenance The George Twyman Collection of Martin Ware. 68. A Martin Brothers stoneware jug, probably by Robert Wallace Martin, bellied form the spout modelled with a mask, glazed streaked green and chestnut brown and a Martin Brothers stoneware jug incised with ivy, incised Martin, chips to foot rim, 21cm. high, (2) £120-180 Catalogue notes This is an early example of what would become the Eskimo jug.

Provenance The George Twyman Collection of Martin Ware.

71. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1887, shouldered ovoid form with cylindrical, knopped neck, the body decorated with foliate sprays in brown on a buff ground, and a Martin Brothers stoneware jug decorated with pendulous flowers incised 2-1887 R W Martin & Bros London & Southall, 20.5cm. high (2) £150-250 Provenance The George Twyman Collection of Martin Ware. 72. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1884, ovoid form with collar rim, incised with fern fronds, in brown on a buff ground and another early Martin Brothers jug dated 1878, incised 5.3.84 R W Martin & Bros London & Southall, Richard Dennis exhibition paper label 17cm. high, (2) £120-180 Provenance Martin Brothers Pottery Exhibition, Richard Dennis, 1978, catalogue number 147. The George Twyman Collection of Martin Ware.

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73. A Martin Brothers stoneware jug by Robert Wallace Martin, angled, shouldered body with cylindrical neck, incised with geometric panels in blue, green and ochre, and two other jugs similar, incised marks, minor chips, 22cm. high (3) £120-180 Provenance The George Twyman Collection of Martin Ware.

74. A large Martin Brothers stoneware vase by Robert Wallace Martin, dated 1894, pear shaped, incised with scrolling foliage in buff on a brown ground, with pale blue highlights, incised 5-1894, Martin Bros London & Southall, firing crack to top rim, 28cm. high £150-200

Provenance The George Twyman Collection of Martin Ware.

75. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1884, swollen, shouldered form, incised with stylised sunflowers glazed white and chestnut on a buff ground, incised 30.1.84 R W Martin & Bros, London & Southall, 20.5cm. high £120-180 Provenance The George Twyman Collection of Martin Ware.

76. An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1875, shouldered form, incised with bands of stylised foliage glazed pale blue and ochre,incised 12 R W Martin London 1875, small chip to top rim, 12.5cm. high £120-180

Provenance The George Twyman Collection of Martin Ware.

77. A Martin Brothers stoneware vase by Robert Wallace Martin, shouldered ovoid form with collar rim, incised with large leaves, in chestnut, on a mottled buff ground, incised Martin Bros London & Southall, 19.5cm. high £120-180 Provenance The George Twyman Collection of Martin Ware.

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78. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1885, incised and painted with a pair of Australian mocking birds perched in a tree, glazed brown and ochre on a buff ground, incised 3-85 R W Martin & Bros, London & Southall, professional restoration to top rim, 22cm. high £120-180 Provenance Purchased from E R Harvey (valuer), Norwich in February 1954 by Dr A Adam Kelly, College. The George Twyman Collection of Martin Ware. 79. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1890, incised with finches flying amongst wild roses, in ochre, green and white on a buff ground, and another Martin Brothers vase incised with blossom sprays, incised 61890 R W Martin & Bros, London & Southall, professional restoration to top rim, 24.5cm. high, (2) £150-200 78

Provenance The George Twyman Collection of Martin Ware. 80. A Martin Brothers stoneware Orchid vase by Edwin and Walter Martin, dated 1898, shouldered, baluster form, incised and painted with two hummingbirds flying amidst frilled orchid flowers, in green, ochre and white with blue highlights, incised 10-1898 Martin Bros London & Southall, minor professional restoration to top rim, 23.5cm. high £200-300 Provenance The George Twyman Collection of Martin Ware. 81. A Martin Brothers stoneware jardiniere by Robert Wallace Martin, dated 1888, shouldered ovoid form, incised with finches flying and perched in a blossom tree, in shades of green, blue and brown on a buff ground, incised 9-1888 R W Martin & Bros London & Southall, professional restoration to top rim, 18.5cm. high £120-180 Provenance The George Twyman Collection of Martin Ware.

82. A Martin Brothers stoneware coffee pot and cover by Robert Wallace Martin, dated 1885, Persian form, incised and painted with flowers and foliage in brown and white on a buff ground, base incised 9-6-85 R W Martin & Bros, London & Southall, firing crack to spout, 24cm. high, (2) £150-200 Provenance The George Twyman Collection of Martin Ware. 83. A rare Martin Brothers stoneware coffee pot and cover by Edwin and Walter Martin, tall, slender form, painted with simple blossom sprays in white and ochre on a tan ground and a Martin Brothers stoneware ewer incised Martin Bros London & Southall, 27.5cm. high (3) £120-180 Provenance The George Twyman Collection of Martin Ware.

84. A Martin Brothers stoneware beaker by Edwin and Walter Martin, dated 1890, conical form, incised and painted with finches flying and perched amongst wildflower stems, in green. blue and white on a buff ground, between brown bands, another early Martin Brothers stoneware beaker by Robert Wallace Martin dated 1874, and a C.J.C Bailey Fulham Pottery beaker with white metal rim, main beaker incised 10-1890 Martin Bros London & Southall, applied paper collection label to base and paper priced label, hairlines, 12cm. high, (3) £150-200 Provenance Cheltenham Collection MW3 (main beaker) The George Twyman Collection of Martin Ware.

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85. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1898, painted with a grotesque mask amongst scrolling foliage with dragon head terminals, in brown and ochre, highlighted in white on a deep ochre ground, incised 3-1898 Martin Bros London & Southall, 22cm. high £150-200

Provenance The George Twyman Collection of Martin Ware. 86. A large Martin Brothers stoneware vase by Robert Wallace Martin, dated 1892, baluster form, incised with scrolling flowers and foliage in shades of blue and brown on a buff ground, incised 2-1892, R W Martin & Bros, London & Southall, professional restoration to neck, 44cm. high £300-500 Provenance The George Twyman Collection of Martin Ware.

87. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1885, ovoid with collar neck and flaring rim, applied with strap handles, incised with stems of white lily flowers, glazed white and chestnut on a buff ground, the neck highlighted with blue, incised 10-1885 R W Martin & Bros London & Southall, 19cm. high £150-200 Provenance The George Twyman Collection of Martin Ware. 88. A tall Martin Brothers stoneware jug by Robert Wallace Martin, dated 1891, tapering cylindrical form, incised with panels of musical instruments and scrolling foliage, in shades of ochre highlighted in white incised 31891, R W Martin & Bros London & Southall, repaired damages to base and top rim, 35.5cm. high £200-300 Provenance The George Twyman Collection of Martin Ware. 88

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89. A pair of early Martin Brothers stoneware vases by Robert Wallace Martin, numbered 56 and 57, shouldered form with cylindrical necks, each deeply incised with stylised foliage, glazed blue, green and ochre on a buff ground, incised 56 and 57 R W Martin, Southall, 20.5cm. high, (2) £150-250 Provenance The George Twyman Collection of Martin Ware.

90. An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1878, shouldered, flaring cylindrical form, applied with twin mask handles, the body incised with scrolling classical foliage, between geometric bands, in shades of blue and ochre, incised R W Martin 2-78 and a hashed cipher, museum restored top rim, hairline to body, 33cm. high £200-300 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 45 figure IV for an identical example. Provenance The George Twyman Collection of Martin Ware.

91. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1880, shouldered from with cylindrical neck, incised and painted with a pair of birds perched in tree boughs, in green, blue and brown on a mushroom ground, and another similar dated 1886 modelled with cranes, main vase incised 13.1.80 R W Martin London & Southall, restored, 24cm. high, (2) £150-200 Provenance The George Twyman Collection of Martin Ware.

92 92. A Martin Brothers stoneware dragon jug by Robert Wallace Martin, dated 1885, shouldered form, incised and painted with classical dragons amongst scrolling foliage, in buff on a brown ground, and another taller Martin Brothers jug decorated with flowers, incised 7-8-85 R W Martin & Bros London & Southall, cracked, 17.5cm. high (2) £120-180 Provenance The George Twyman Collection of Martin Ware. 93. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1880, slender, shouldered form, incised with foliage in green and brown, incised with a large A glazed blue, and another Martin Brothers stoneware jug incised to the neck A Fair Face is Half a Portion, incised 711 R W Martin London & Southall, 1880 and paper collection label, 26cm. high, (2) £120-180 Provenance The George Twyman Collection of Martin Ware. 94. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1885, shouldered form, incised with scrolling flowering foliage, with roundel inscribed JWL, in brown and mushroom, highlighted in white and blue, and another Martin jug incised 19-6-85 R W Martin & Bros London & Southall, 20.5cm. high, (2) £150-200 Provenance The George Twyman Collection of Martin Ware. 95. A Martin Brothers stoneware vase made for the Exeter Exhibition 1880, twinhandled urn form, incised with simple flowers and Mary Wreford to one side the reverse incised Exeter Exhibition 8.10.80, a Martin Brothers stoneware jug painted with blossom, two pierced vases, a small vase and three other items, stamped RWMartin Southall, 77, 8.5cm. high (8) £120-180 Provenance The George Twyman Collection of Martin Ware.

part, detail

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96. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1899, shouldered, baluster form of rectangular section, incised with a butterfly flying above a wild flower, the reverse with a bee above a white anemone flower, the sides with companion panels, glazed green, blue and white on a buff ad brown ground, incised 9-1899 Martin Bros London & Southall 30cm. high £200-300 Provenance The George Twyman Collection of Martin Ware. 97. A Martin Brothers stoneware bird vase by Edwin and Walter Martin, dated 1900, baluster form, incised and painted with birds catching insects whilst flying amidst prunus blossom, in ochre and white on a tan ground, incised 11-1900, Martin Bros London & Southall, firing fault to top rim, 23.5cm. high £150-250 Provenance The George Twyman Collection of Martin Ware. 98. A Martin Brothers stoneware vase by Robert Wallace Martin, twin-handled urn form on cruciform base, incised with exotic birds perched on a tree bough, the reverse with a bird flying past another exotic bird, inside scrolling foliage border, glazed brown on a tan ground, on ebonised wood base, repaired to foot, 27cm. high £800-1,200 Provenance The George Twyman Collection of Martin Ware.

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99. A Martin Brothers stoneware jug by Edwin and Walter Martin, dated 1903, tapering cylindrical from, incised with scrolling foliage in blue on a buff ground, another square section Martin jug and another shouldered jug incised 1903 Martin Bros London & Southall, damages 22cm. high (3) £120-180 Provenance The George Twyman Collection of Martin Ware.

100. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1884, swollen, shouldered form, incised with borders of stylised foliage in ochre on a textured tan ground and another vase painted with flowers incised 6-84 Martin Bros, London & Southall, 20cm. high (2) £120-180 Provenance The George Twyman Collection of Martin Ware. 101. An early Martin Brothers stoneware tobacco jar and cover by Robert Wallace Martin, dated 1880, swollen cylindrical form, incised with stylised flowers, glaze in brown highlighted with blue on a tan ground and a Martin Brothers stoneware jardiniere, incised 1.9.80 R W Martin London & Southall, 17.5cm. high, (3) £150-200 Provenance Woolley and Wallis Auctioneer’s 27th May 1993 lot 319. The George Twyman Collection of Martin Ware. 102. A Martin Brothers stoneware jug by Edwin and Walter Martin, dated 1889 ovoid with pulled handle and spout, incised with scrolling foliage, in buff on a mottled brown ground, and two other Martin Brothers jugs incised 89 Martin Bros London & Southall, 12cm. high (3) £120-180

100

Provenance The George Twyman Collection of Martin Ware. 103. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1885, bellied ovoid with collar rim, incised with flowers and foliage, glazed green and white on a buff ground, incised 8-85 R W Martin & Bros London & Southall, 19.5cm. high £120-180 Provenance The George Twyman Collection of Martin Ware. 101

104. A Martin Brothers stoneware jug with silver rim and cover by Edwin and Walter Martin, dated 1894, shouldered form, incised with passion flowers and foliage, in brown, highlighted with white on a brown ground, with silver rim and hinged cover, incised 6-1894 Martin Bros London & Southall, dated London 1901, 26.5cm. high £150-200 Provenance The George Twyman Collection of Martin Ware. 105. A Martin Brothers stoneware baluster tobacco jar and cover by Robert Wallace Martin, cylindrical form, modelled in low relief with a band stylised foliage between chevron borders, the domed cover with pierced finial, a Martin Brothers vase painted with a bird perched on a tree bough, and four other vases incised R W Martin Southall to cover rim, damages 20cm. high (7) £120-180

102

103

Provenance The George Twyman Collection of Martin Ware.

104

105

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106

106. A Martin Brothers stoneware vase by Edwin and Walter Martin, shouldered ovoid form, incised with finches flying amongst tall grasses in brown on a buff ground, incised Martin Bros London & Southall, 8.5cm. high £150-200 Provenance The George Twyman Collection of Martin Ware.

107

107. A large Martin Brothers stoneware bird jardiniere by Edwin and Walter Martin, dated 1891, shouldered form, incised with grotesque birds wading and fishing amongst reeds, a flock of ducks flying in the distance, glazed green and brown, highlighted with white on a tan ground incised 11-1891 R W Martin & Bros, London & Southall, 22cm. high £800-1,200 Provenance The George Twyman Collection of Martin Ware. 108. A Martin Brothers stoneware bird jug by Edwin and Walter Martin, dated 1898, tapering cylindrical form, incised with grotesque anthropomorphic birds glazed pale mushroom with blue highlights, incised 3-1898 Martin Bros London & Southall, hairline to top of handle, 20cm. high £200-300 Provenance The George Twyman Collection of Martin Ware. 109. A Martin Brothers stoneware aquatic vase by Edwin and Walter Martin, dated 1905, shouldered, square section, the biscuit fired vase incised grotesque scaly fish swimming, highlighted with white glaze, incised 1905 Martin Bros London & Southall, 24.5cm. high £150-200 Provenance The George Twyman Collection of Martin Ware. 108

109

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110. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1890, baluster form, incised and painted with clematis flowers in brown and green on a buff ground incised 12-1890 Martin Bros London & Southall, paper number, 23.5cm. high £150-200 Provenance The George Twyman Collection of Martin Ware.

110

111. A Martin Brothers stoneware vase by Edwin and Walter Martin, shouldered for with applied loop handles, incised and painted with white anemone flowers in a brown ground, another Martin Brothers stoneware vase incised with wild flowers, and another Martin Brothers shouldered vase incised with wild flowers, incised Martin Bros London & Southall, damages, 9.5cm. high, (3) £150-200

111

Provenance The George Twyman Collection of Martin Ware. 112. A Martin Brothers stoneware vase by Robert Wallace Martin, shouldered form with cylindrical neck, incised with a band of foliage in green and ochre on a buff ground, with blue bands, and two other Martin Brothers vases R W Martin Southall, restored, 23.5cm. high (3) £120-180 Provenance The George Twyman Collection of Martin Ware. 113. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1879, tapering, cylindrical form, incised with stylised foliage glazed blue between brown bands, and two other Martin Brothers stoneware jugs incised 21.11.79 R W Martin London & Southall, 22cm. high, (3) £120-180 Provenance The George Twyman Collection of Martin Ware.

112

114. A Martin Brothers stoneware vase, tapering cylindrical form with flaring neck, incised and painted with lily of the valley stems, in ochre and white on a buff ground, and three other small Martin Brothers vases incised Martin London 14.5cm. high (4) £150-200 Provenance The George Twyman Collection of Martin Ware. 115. A small Martin Brothers stoneware tile, square, incised with flowers and foliage in brown on an ochre ground, framed, and three Martin Brothers kerb tiles and two shards from a grotesque, impressed Martin Brothers London, 7.5cm. square (6) £120-180

113

Provenance The George Twyman Collection of Martin Ware. 116. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1886, swollen form, painted with scrolling foliage in brown on a buff ground, and another similar dated 1889, incised 12-1886 RWMartin & Bros London & Southall, 9cm. high (2) £150-200 Provenance The George Twyman Collection of Martin Ware.

114

115

116

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117. A Martin Brothers stoneware Dragon vase by Robert Wallace Martin, baluster form, incised with a dragon fighting a serpent, in ochre and blue on a grey ground, LGB R W Martin & Bros London & Southall, 20.5cm. high ÂŁ800-1,200 Provenance The George Twyman Collection of Martin Ware. 117 both sides

118. A Martin Brothers stoneware Dragon flask vase by Edwin and Walter Martin, dated 1914, the flattened body with twin-loop handles to shoulder, incised with a ferocious dragon to either side, in green on a blue ground, incised 8-1914 Martin Bros London & Southall, minor glaze loss to handle and foot rim, 19cm. high ÂŁ700-1,000 Provenance The George Twyman Collection of Martin Ware. 118 both sides

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119. A Martin Brothers stoneware jug by Robert Wallace Martin, dimpled ovoid form with angled neck and modelled handle, glazed with a spotted blue and brown glaze, and a Martin Brothers stoneware jug impressed RWMartin Southall mark, 16cm. high £120-180 Provenance The George Twyman Collection of Martin Ware. 120. A Martin Brothers stoneware Marred pot by Robert Wallace Martin, shouldered form, compressed, incised with inscription And the Vessel that he made of clay was marred in the hand of the Potter - Jer 10-4, highlighted in black on a pitted buff ground, and another Martin Brothers stoneware Marred pot, incised Martin Bros London & Southall, 22cm. high, (2) £150-200

119

Provenance The George Twyman Collection of Martin Ware.

120

121. A Martin Brothers stoneware gourd pot, swollen square section, covered in a mottled olive green glaze a Martin Ware vase and a jug each with mottled brown glazes incised Martin Bros, damages to vase and jug, 8.5cm. high (3) £120-180 Provenance The George Twyman Collection of Martin Ware. 122. A large Martin Brothers stoneware tankard by Robert Wallace Martin, dated, cylindrical form, incised and painted with birds perched amongst wild flowers and foliage, in green and white on a buff ground, another Martin Brothers tankard smaller and a smaller mug incised indistinct date R W Martin & Bros, London & Southall, 14.5cm. high (3) £150-200

121

Provenance The George Twyman Collection of Martin Ware.

123. A Martin Brothers stoneware inkwell by Edwin and Walter Martin, tapering square section with brass mounts, incised with panels of birds and butterflies flying amongst blossom and flower sprays in blue, green and white on a buff ground and a Martin Brothers gourd inkwell, incised Martin London to side and base, and 81 to base, stress hairlines, 10cm. high (2) £120-180 Provenance The George Twyman Collection of Martin Ware. 124. A Martin Brothers stoneware egg cup stand and three egg cups by Edwin Martin, dated 1891, the circular pedestal base with central handle, six aperture for egg cups, incised and painted with blossom in white and chestnut brown on a buff ground, the three egg cups probably by Clement Martin, painted with blossom in blue, green and white on a buff ground base incised Martin Bros London & Southall 9-1891, cups variously incised 16.5cm. diam, (4) £120-180 Provenance The George Twyman Collection of Martin Ware. 125. A Martin Brothers salt by Robert Wallace Martin, dated 1877, shaped, square section, modelled in low relief foliate band between rope borders, another salt, a jar and cover, a candlestick, a small Martin Brothers tazza, and nine other Martin pieces, incised RWMartin London 4-1877, 10cm, wide (14) £120-180 Provenance The George Twyman Collection of Martin Ware. 126. A Martin Brothers stoneware gourd pot, footed ovoid twisted body with tall solifleur neck, covered in an ochre glaze, another Martin Brothers stoneware vase incised with flowers and three other Martin Brothers vases, incised Martin London, 12.5cm. high (5) £120-180 Provenance The George Twyman Collection of Martin Ware.

122

123

124

125

126

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127. A Martin Brother’s stoneware grotesque salt by Edwin and Walter Martin, dated 1901, hexagonal form, modelled with five grotesque eels, in shades of green, ochre and mustard, indistinct marks to base, professional restoration, 11cm. wide. £150-200 Provenance The George Twyman Collection of Martin Ware. 128. A Martin Brothers stoneware Aquatic ewer by Edwin and Walter Martin, dated 1888, shouldered, square section with overslung handle modelled with an eel top, the body incised with grotesque fish and eels amongst waterweed, in shades of ochre, blue and green on a buff ground incised 1088 R W Martin & Bros, London & Southall, professional restoration, 24.5cm. high £300-500

127

Provenance The George Twyman Collection of Martin Ware. 129. A Martin Brothers stoneware aquatic jug by Edwin and Walter Martin, dated 1895, ovoid with loop handle, incised with a large scaly fish swimming amongst jelly fish, a lobster and waterweed, in green on a blue ground, incised 12-1895 Martin Bros London & Southall, 16cm. high £150-200 Provenance The George Twyman Collection of Martin Ware.

128 both sides

129 both sides

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130. A Martin Brothers stoneware aquatic vase by Robert Wallace Martin, baluster form, incised with grotesque fish swimming, glazed in blue on a green ground, incised R W Martin & Bros Southall, repaired damages, 19cm. high £120-180 Provenance The George Twyman Collection of Martin Ware.

131. A Martin Brothers stoneware aquatic vase, shouldered ovoid form with cylindrical neck and everted rim, incised and painted with grotesque fish amongst waterweed, in blue, green and ochre on a buff ground incised Martin Bros London , restored top rim, 9.5cm. high £500-800 Provenance The George Twyman Collection of Martin Ware.

130

131

132. A Martin Brothers stoneware aquatic vase by Edwin and Walter Martin, dated 1901, modelled, swollen square section, painted with a jelly fish to each side, in green on a pale celadon ground, the rim highlighted with brown, incised 1-1901 Martin Bros London and Southall, museum restoration to one top rim corner, 8cm. high £200-300 Provenance The George Twyman Collection of Martin Ware.

132 two views

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133. A large and impressive stoneware aquatic jardiniere by Edwin and Walter Martin, dated 1911, shouldered form, incised and modelled with grotesque fish swimming amongst aquatic creatures and waterweed, in green and buff on a dark blue ground, incised 8 1911 Martin Bros London & Southall, 32cm. high ÂŁ3,000-4,000 Provenance The George Twyman Collection of Martin Ware.

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134 134. Walter Martin (1857-1912) nature studies of flowers and berries pencil on paper, some with plant names, and an ink on card study of a thistle, unsigned, 29.5 x 23cm (sketch sheets), 37 x 27cm (thistle board), (6) £200-300 Provenance The George Twyman Collection of Martin Ware. Catalogue notes George Twyman dates the sketches to the 1880s. 135. The Collection of Martinware formed by Mr Frederick John Nettlefold, a book by Charles Beard, privately published 1936, printed by Waterlow & Sons, 37 x 28cm. £120-180 Provenance The George Twyman Collection of Martin Ware.

135

136. The Martin Brothers in their Studio at Southall Middlesex 1908, a photograph of Walter, Robert and Edwin working in the studio, framed, annotated in pencil, 29 x 20.5cm (image) £120-180 Provenance The George Twyman Collection of Martin Ware. 137. The Martin Brothers Potting a promotional photograph printed on wood, depicting Robert Wallace modelling a double bird group, Edwin and Walter working on vases, framed 33 x 28cm. £150-200

136

Provenance The George Twyman Collection of Martin Ware. 138. The Martin Brothers Potters a saltglaze stoneware invite designed by Ian Gregory, inviting Rhys Morgan to the 1978 Richard Dennis Exhibition, modelled as the Martin Brothers pottery ay 16 Brownlow Street, impressed marks, annotated to Rhys Morgan, 25.5cm. high £120-180 Provenance The George Twyman Collection of Martin Ware.

137

138

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139. A large archive compiled by George Twyman relating to the Martin Brothers, including a magic lantern projector with case by Perken Son & Co Ltd, used by Ernest Marsh for illuminated lectures, The Martin Brothers Potters by Malcolm Haslam, Gorgeously Grotesque Worthing Museum and Art Gallery catalogue, Martin Brothers Pottery Exhibition catalogue, Richard Dennis Gallery, 1978, a catalogue of the Frank Knight collection of Martinware and a large collection of photographs relating to the Martin Brothers, William Staite Murray and their contemporaries including ephemera from Ernest Marsh, (a lot) ÂŁ200-300 Provenance The George Twyman Collection of Martin Ware.

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140. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, ovoid with tall, tapering cylindrical neck, modelled with vertical ribs, glazed mottled grey-blue highlighted with white spots, incised 11-1907 Martin Bros, London & Southall, 13.5cm. high £200-400 Provenance The George Twyman Collection of Martin Ware. 141. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1901, ovoid with tapering with tall tapering neck with knop, modelled with vertical ribs, incised veins, glazed mushroom highlighted with brown and green 6-1901, Martin Bros London & Southall, 16.5cm. high £800-1,200 Provenance The George Twyman Collection of Martin Ware.

140

142. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, swollen octagonal form with modelled ribs and horizontal veins, glazed ochre over tan, and another Martin Brothers stoneware gourd vase incised GX No.3 BM, 13.5cm. high, (2) £120-180

141

Provenance The George Twyman Collection of Martin Ware. 143. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, pear shaped, modelled in low relief with textured ground and white flowerheads, another Martin Brothers gourd vase glazed blue and a tall brown pear shaped gourd vase, incised Martin London, crack to base of main vase, 7.5cm. high (3) £150-200 Provenance The George Twyman Collection of Martin Ware. 142

143

144. A Martin Brothers stoneware gourd vase by Robert Wallace Martin, shouldered square section with modelled lug handles, slip decorated with turbulent water design in mushroom, green and pale aubergine with blue rim, and another Martin Brothers stoneware gourd vase by Edwin and Walter Martin dated 1913, incised R W Martin & Bros, Southall, 12.5cm. high, (2) £150-200 Provenance The George Twyman Collection of Martin Ware. 145. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1902, swollen square section, with flared rim, covered in a mottled chestnut brown glaze, and a ribbed candlestick and a late Martinware gourd vase, incised 2-1902 Martin Bros, London & Southall, no.7, professional restoration to top rim, 24cm. high, (3) £150-200 Provenance The George Twyman Collection of Martin Ware.

144

145

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146 147 146. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1913, shouldered ovoid form, modelled in relief with warts, glazed blue incised 6-1913, Martin Bros, London & Southall 7cm. high £120-180 Provenance The George Twyman Collection of Martin Ware. 147. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1907, waisted hexagonal form, with painted green ribs on a buff ground incised 7-1907 Martin Bros London & Southall, 12.5cm. high £150-200 Provenance The George Twyman Collection of Martin Ware. 148. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1896, shouldered form, with simple rib decoration, glazed brown over buff, and another Martin Brothers stoneware gourd incised 2-96 Martin Bros London 8.5cm. high (2) £150-200 Provenance The George Twyman Collection of Martin Ware.

148

149. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1903, shouldered form, incised decoration to the shoulder, glazed green with grey highlights, and another Martin Brothers stoneware gourd with simple bid decoration, incised 8-1903 Martin Bros London & Southall, second vase hairline top rim, 8cm. high, (2) £150-200 Provenance The George Twyman Collection of Martin Ware.

149

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150 151 152

153

150. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1910, shouldered form with light vertical modelled ribs, glazed matt bronze with chestnut brown rim, incised 5-1910 Martin Bros, London & Southall, 16.5cm. high £150-200 Provenance The George Twyman Collection of Martin Ware. 151. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, modelled with curved ribs and fine veins, covered in a deep ochre glaze incised 1 -1915 Martin Bros Southall, firing crack to base, 10.5cm. high £120-180 Provenance Academy Auctioneers 28th June 1997 lot 621. The George Twyman Collection of Martin Ware. 152. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1907, tapering square form with loop handles, incised horizontal bands, covered in a black lustrous glaze, incised 6 1907 Martin Bros London & Southall, 23cm. high £150-200 Provenance The George Twyman Collection of Martin Ware.

154

153. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1907, hexagonal section with three handles, covered in a deep chestnut brown glaze, and a Martin Brothers stoneware gourd fern pot, incised 11-1907 Martin Bros London & Southall, 12.5cm. wide, (2) £150-200 Provenance The hexagonal vase was purchased by George Twyman 25th October 1995, (lot 99) The George Twyman Collection of Martin Ware. 154. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, lobed cylindrical form with pierced top rim, covered in a bronze glaze incised Southall Potteries, Martin Bros, 13cm. high £120-180

155

Provenance The George Twyman Collection of Martin Ware. 155. A Martin Brothers stoneware gourd pot by Edwin and Walter Martin, dated 1903, fluted cylindrical form with modelled and incised vertical ribs and veins, glazed green and blue on a buff ground, and another similar dated 1915, incised 51903 Martin Bros London & Southall, damages, 9.5cm. high, (2) £150-200 Provenance The George Twyman Collection of Martin Ware. 156. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1906, ovoid with collar rim, incised with overlapping bands glazed in brown with a pink highlight, and two Martin Brothers stoneware vases glazed green/blue incised 7-1906 Martin Bros London & Southall, 11.5cm. high (3) £120-180

156

Provenance The George Twyman Collection of Martin Ware.

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157

158 157. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1904, square section, shouldered form, modelled in low relief with limpet motif, glazed in shades of ochre and green on a buff ground, incised 2-1904 Martin Bros London & Southall, minor restoration, 16cm. high £200-300 Provenance The George Twyman Collection of Martin Ware.

158. A large Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1902, swollen, square section, the flaring squared collar neck with incised veins, the body painted with green veins on a buff ground, incised 3 1902 Martin Bros London & Southall, professional restoration, 24cm. high £500-1,000 Provenance The George Twyman Collection of Martin Ware. Literature The Studio October 1907 page 111 for a comparable vase illustrated figure 9.

159. A tall Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1907, shouldered form, incised with vertical ribs, glazed pale brown on tan with dark brown highlights, incised 81907 Martin Bros London & Southall, 23cm. high £700-1,000 Provenance The George Twyman Collection of Martin Ware. 159

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161

160

160. Five Martin Brothers biscuit glazed miniature vases, two modelled as gourds, and a small bowl, incised marks, one dated 1901, tallest 8.5cm. high, (6) £120-180 Provenance The George Twyman Collection of Martin Ware. 161. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, ovoid with everted rim, finely incised with vertical veins, glazed green, brown and yellow, two miniature Martin Brothers vases and two small Martin Brothers vases, incised Martin Bros London & Southall, indistinct date possibly 1-98 to main vase, 7.5cm. high (5) £150-200 Provenance The George Twyman Collection of Martin Ware.

162

162. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1901, simple gourd form with applied silver rim, covered in a green glaze, the rim incised Martin Bro London & Southall, and two later Martin Brothers stoneware gourd vases, covered in a pitted metallic bronze glaze over blue, incised 5-1901 Martin Bros London & Southall, 24cm. high, (3) £120-180 Provenance Woolley and Wallis Auctioneer’s 25th November 1993 lot 282 (main vase). The George Twyman Collection of Martin Ware.

163

163. A Doulton Lambeth Silicon Ware vase by Eliza Simmance, Emily Robinson and Kate Hughes, shouldered form, incised and modelled with daffodils, between stylised bands of flowerhead motif, glazed in shades of blue, white and brown, highlighted in gilt on a mushroom ground, a Doulton Lambeth stoneware bowl by Francis E Lee and three other items impressed marks, incised monograms, 26.5cm. high, (5) £120-180 Provenance The George Twyman Collection of Martin Ware. 164. A tall pottery bird jar and cover by R C Kew, dated 1993, inspired by the Martin Brothers birds, modelled with long, hooked beak his eyes casting a sideways glance, in colours, on an ebonised wood base, another barrister bird jar and cover by R C Kew, a spoonwarmer by R C Kew and another bird jar and cover, incised marks, 39cm. high (7) £150-200 Provenance The George Twyman Collection of Martin Ware. 164

165. An A G Sangnell Dragon vase inspired by the Martin Brothers, dated 1930, swollen square section, incised and outlined in green with a dragon to each side, a ewer painted with grotesque birds, another with a potter holding a long stick both by Sangnell, a face jug and a modern pottery model of the Martin Brothers working in the studio by RC Kew dated 1986 incised marks, 19cm. high (5) £100-200 Provenance The George Twyman Collection of Martin Ware.

165

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166 part 166. A Barge Ware large teapot and cover, applied with flower and bird modelled panels, and plaque inscribed with love from Frank to Annie, glazed in colours on a streaked brown ground, the domed cover with applied teapot finial, another teapot and cover similar inscribed Home Sweet Home, three Barge ware jugs and a mug, sold with a portrait photograph of Annie Mathews, unsigned, main pot restored, 31cm. high (9) £150-200 Provenance Annie Matthews (nee Bowyer), 1870-1956 and Frank Anderson Frank Anderson was the father of Doris Rachel Twyman (nee Matthews), George Twyman’s mother. George Twyman. The George Twyman Collection of Martin Ware.

166

167. A C.J.C Bailey Fulham stoneware vase by Eric Kettle, cylindrical form with pierced rims, incised and painted with a birds perched in scrolling foliage around a nest with chicks in, glazed blue, green and tan on a buff ground incised C.J.C Bailey, Fulham and EK monogram, 27cm. high £120-180 Provenance The George Twyman Collection of Martin Ware. 168. A pair of Fulham Pottery vases, ovoid with cylindrical necks, incised with bands of stylised foliage in green and blue on a buff ground, with white beadwork borders, three Fulham Pottery water bottles, a pair of Royal Doulton Slater’s patent vases, another small vase, and a Royal Doulton Whitbreads Ale and Stout advertising water jug, impressed marks incised artist monogram, 14cm. high (9) £120-180 Provenance The George Twyman Collection of Martin Ware 169. Bernard Leach, attributed a Leach Pottery stoneware pot and cover, circular form, the cover incised with a simple Japanese character, covered in a celadon glaze impressed Leach Pottery seal mark, annotated in pencil Bernard Leach, 9.5cm. diam. (2) £80-120

167 both sides

Provenance The George Twyman Collection of Martin Ware.

END OF COLLECTION

169

168

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MARTIN WARE 170. A rare Martin Brothers stoneware teapot, cover and stand by Robert Wallace Martin, dated 1879, tapering form with applied handle and spout, incised with bands of scrolling foliage bordering a central band of trellis, in blue, brown and green, the domed cover with ball finial, and an en suite footed teapot stand, incised to the rim with chevron, incised 4 11 79 R W Martin, London & Southall to teapot, stand dated 22..12.79, cover dated 1880, small glaze nick to neck rim, firing fault to stand, 22cm. high (total), (3) £400-600 Provenance Private collection of Martin Ware, West London 170

171

Catalogue Notes The design for this teapot is included in a sketchbook held in the Ealing Archive, pg.27 (Cat.No.496) 171. A Martin Brothers stoneware Marred pot, the collapsed pot inscribed with verse `And the vessel that he made of clay was marred in the hand of the potter’, highlighted in black on a mottled mushroom ground, incised Martin Bros London & Southall, 18.5cm. high £120-180 172. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1884, shouldered ovoid form with collar neck, incised with classical masks and scrolling foliage in buff on an ochre brown ground, a blue band to the foot rim, incised 12.6.84 R W Martin & Bros London & Southall, 21cm. high £400-500 Provenance Private collection of Martin Ware, West London

172

173

173. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1880, slender, shouldered form, incised with a pigeon perched on a tree bough, glazed in shades of blue and green on a buff ground, incised 450, 15-1-80, R W Martin London & Southall, neck off and missing, 18cm. high £120-180 Provenance Private collection of Martin Ware, West London 174. A pair of Martin Brothers stoneware candlesticks by Robert Wallace Martin, tapering cylindrical form, incised with alternating bands of scrolling foliage and beadwork, the sconce with a band of foliage, in shades of blue, green and brown, incised R W Martin Southall, 21cm. high, (2) £300-400 Provenance Private collection of Martin Ware, West London 175. A Martin Brothers stoneware salt probably by Robert Wallace Martin, dated 1900, the square section bowl supported on four grotesque fish, glazed green and blue on a buff ground, incised 2 1900 Martin Bros London & Southall, 8.5cm. high £150-250

174

176. A Martin Brothers stoneware Bird vase by Edwin & Walter Martin, dated 1890, shouldered form, painted with a heron wading amongst bull rushes on a riverbank, a flock of ducks flying above the river, in green and blue on a buff ground, incised 10-1890, Martin Bros London & Southall, museum restored, 9.5cm. high £250-350 Provenance Private collection of Martin Ware, West London

175

176

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177. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1901, shouldered square section, with ribbed corners, each side incised with a frog swimming, glazed in ochre, pale blue and green, incised 9-1901 Martin Bros London & Southall, kiln fault to top rim, 18cm. high £800-1,200 Provenance Private collection of Martin Ware, West London

178. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1896, shouldered form, painted with grotesque goat masks inside scrolling trellis, in brown on a buff ground, incised 101896 Martin Bros London & Southall, 21cm. high £600-1,000

177

Literature British Art Pottery, Woolley and Wallis Auctioneers, 25th November 2009, lot 13, for a comparable but larger vase.

179. A Martin Brothers stoneware face jug designed by Robert Wallace Martin, dated 1900, cast in relief with a smiling face, the reverse with a smirking face, highlighted in white and black, incised 1-1900 Martin Bros London & Southall, 18cm. high £1,200-1,800

178

179 both sides

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180. A Martin Brothers stoneware miniature vase by Edwin and Walter Martin, dated 1907, sea urchin form, with modelled vertical ribs, glazed brown, incised 11-07 Martin Bros London, 3.5cm. high £250-350 Provenance Sidney Greenslade Reverend William Henry Spottiswood Webb, thence by Descent British Art Pottery, Woolley and Wallis Auctioneer’s 25th November 2015, lot 4.

180

181. A Martin Brothers stoneware miniature gourd vase by Edwin and Walter Martin, dated 1907, shouldered, ribbed form, covered in a mottled brown glaze, with incised dashes, incised 11-1907 Martin Bros, London & Southall, 4.5cm. high £250-350

181

Provenance Sidney Greenslade Reverend William Henry Spottiswood Webb, thence by Descent British Art Pottery, Woolley and Wallis Auctioneer’s 25th November 2015, lot 1. 182. A Martin Brothers stoneware gourd vase, shouldered, ribbed form with everted rim, covered in a deep brown glaze, incised, Martin Bros London, 6cm. high £200-300

182

183. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1905, shouldered square section, incised with a flower inside scrolling foliage to each side, in cream, green and brown on a buff ground, incised 6-1905 Martin Bros London & Southall, 8cm. high £200-300

183

184. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1904, shouldered cylindrical form, vertical modelled ribs, glazed green on a buff ground, and a small Martin Brothers stoneware gourd jug, incised 3-1904 Martin Bros London & Southall, restored, 14cm. high, (2) £150-200 185. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, swollen square section, painted with dark brown spots on a tan ground incised 3-1907 Martin Bros London & Southall, 8cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswood Webb, thence by Descent British Art Pottery, Woolley and Wallis Auctioneer’s 25th November 2015, lot 26.

184

185

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186. A good Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1903, flattened disc form on shallow foot, with looped handles, the body painted with green dots, on a cream ground, incised 11 1903 Martin Bros, London & Southall, 19.5cm. high ÂŁ700-900 Provenance Private collection of Martin Ware, West London

186

187. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1903, flattened disc form on shallow foot, with twin-looped handles, covered in a deep blue veined glaze, incised 10-1903, Martin Bros London & Southall, 17.5cm. high ÂŁ500-800 Provenance Private collection of Martin Ware, West London

187

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DOULTON WARE 188. A Doulton Lambeth Faience vase by Ada Dennis, baluster form, painted with a young boy fishing with a rod, inside elliptical panel, with prunus background, painted in colours impressed marks, painted monogram, 19.5cm. high £800-1,200 189. A Royal Doulton stoneware Pixie bibelot designed by Harry Simeon, the pixie modelled seated on the side of a shaped dish, glazed in colours impressed marks to rim, 10.5cm. high £120-180

189

Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 260 for this bibelot design illustrated 190. A Doulton Lambeth stoneware vase by Hannah Barlow, tapering cylindrical form, with flaring top rim, incised with a broad band of corn ears and wild grasses, two roundels one incised with a lurcher and geese, the other incised with a goose chasing the dog, with applied bead borders, between bands of applied florets and carved foliage, in blue, olive green and brown on a buff ground, incised marks, HB monogram and HB monograms to roundels, original foot missing, 28.5cm. high £200-400

188

191. A Doulton Lambeth stoneware Art Union of London urn and cover by Eliza Simmance, twin-handled form, slip decorated with blossom branches on a textured ground, between bands of stylised foliage, in shades of blue, green and brown on a buff ground, a pair of Doulton salts, a small jug by Frank Butler, another vase a three piece cruet set and a small heart shaped scent bottle possibly continental, impressed marks, incised monogram, 30cm. high, (10) £120-180

190 both sides

191

192

192. A pair of Doulton Burslem Aesthetic Movement vases, shouldered form with waisted rectangular section neck, printed and painted in colours with birds flying past flowers and foliage, highlighted in gilt on a cream ground, and a Royal Doulton terrier wall mask, impressed and printed marks, repaired damages, 22cm. high (3) £50-100

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193

193. A rare Royal Doulton stoneware Mouse Musician clock by George Tinworth, tapering rectangular section supporting circular case with dial, surmounted with a mouse playing the cello, flanked by mice playing a trumpet, glazed in shades of ochre, the circular dial with Arabic numerals, impressed factory marks to back, repaired damages, 32cm. wide. £1,000-1,500

194. A Doulton Lambeth stoneware Mouse Musician menu holder by George Tinworth, dated 1886, modelled as a mouse playing the harp accompanied by another on the piano, glazed in shades of green, ochre and blue, impressed Doulton mark 1886 and incised GT monogram, professionally restored to feet of piano playing mouse, 8.5cm. high £600-1,000

194

195. A Doulton Lambeth stoneware jardiniere by George Tinworth, dated 1883, flaring, shouldered cylindrical form, incised with a broad band of scrolling foliage with applied florets and beads, between similar bands of foliage, in shades of blue, green and brown on a buff ground, impressed mark and date, incised monogram to side, 17.5cm. high. £120-180 195

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196. A Royal Doulton Kingsware tobacco jar and cover, cylindrical form, decorated in low relief with a medieval sorcerer, holding a smoking phial, in colours in a brown ground, and a Royal Doulton Veined Flambe vase, printed factory marks, 15cm. high (tobacco jar), 27.5cm. high (vase), (3) £120-180 197. A Royal Doulton Flambe vase by Charles Noke and Fred Moore, footed, flaring cylindrical form, covered in a red flambe glaze with green and brown patches, printed factory mark, painted Noke signature and FM monogram, 15cm. high £120-180

197

196

198. ‘Beefeater The Illustrated London News’ a rare Royal Doulton Advertising figure, painted in colours printed factory mark, 19.5cm. high £150-200 199. A Royal Doulton porcelain vase painted by Roland Holdcroft, entitled David Garrick as Abel Drugger in Ben Jonson’s The Alchemist, shouldered, cylindrical form, painted with a scene from Ben Jonson’s The Alchemist, printed factory mark and painted inscription, painted signature, 42cm. high £400-600 200. A Royal Doulton Sung box and cover by Charles Noke and Fred Moore, swollen cylindrical form, the flat cover set with elephant finial, covered in a streaked flambe glaze with blue and purple splashes, 16cm. high (2) £500-800 201. An impressive Royal Doulton Chang vase and cover designed by Charles Noke, decorated by Harry Nixon, shouldered form with circular cover with knop finial, covered in a thick and crackled white, blue and green glazed with flambe patches, painted Doulton Chang mark, Noke signature and HN monogram, minor chips to rims, 18cm. wide, (2) £400-600

198

199

200

201

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202. A Burmantofts Faience Anglo Persian vase by Leonard King, pattern D-70, ovoid with double knopped cylindrical neck, painted with carnation flower and Persian cartouche, in shades of blue, turquoise, aubergine, green and brown on a white ground, impressed marks, painted monogram and pattern details, minor glaze loss, 33cm. high £700-900

202 203. A rare Burmantofts Faience Anglo Persian wall charger by Leonard King, design no.72, painted to the well with a galleon at full sail, another sailing on the horizon, a large scaly fish swimming in for foreground, in shades of blue, turquoise, aubergine and brown on a white ground, impressed factory marks, painted LK monogram and pattern details, minor restoration to the rim, 31cm. diam. £700-900

204. A rare Burmantofts Faience grotesque dragon, model no.1102, covered in an olive green glaze, a Burmantofts Faience model of a monkey and a stylised fish spill vase, both glazed turquoise blue impressed marks, glaze chips to dragon and restoration to monkey, 10cm. wide. (3) £150-200 Literature A Private Collection of Burmantofts Faience Pottery, Woolley and Wallis Auctioneer’s 22nd June 2017 lot 786 for a comparable dragon.

203

204

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205

205. A stoneware albarello vase, shouldered, cylindrical form with raised bands, painted with columns of scrolling foliage and beadwork, between bands of stylised geometric panels, in red lustre on a pale grey ground, painted monogram to base and number IX 17, 21cm. high £200-300 206. A William De Morgan lustre charger by Charles Passenger, painted with a classical dolphin to the well, the rim with a frieze of classical dolphins, in ruby lustre on a mushroom ground, impressed marks, painted CP monogram, 43cm. diam. £1,000-2,000 207. A William De Morgan Persian bottle vase, ovoid with knopped neck, painted with panels of foliage, in blue, turquoise and green on a white ground, the shoulder with stylised birds in pink, impressed tulip mark, minor glaze loss to top rim, 20cm. high £800-1,200 Provenance British Art Pottery Woolley and Wallis Auctioneer’s, 3rd December 2014, lot 64. Private collection.

206

207

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208. A William De Morgan Sunset and Moonlight Suite wall plate by Charles Passenger, painted with an eagle tending her nest with two chicks, blue and pink lustre on a dark blue ground painted CP monogram, paper label, 25cm. diam. ÂŁ5,000-6,000

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TILES 209. Gillow a William De Morgan four tile panel, each tile painted with two carnation design, in shades of blue, turquoise and green on a white ground, framed, 33.5cm. square £250-350 Literature Martin Greenwood The Tiles Designs of William De Morgan, Richard Dennis Publications, page 133 figure 719 for the original design illustrated. 210. Gillow a William De Morgan four tile panel, each tile painted with two carnation design, in shades of blue, turquoise and green on a white ground, framed, 33.5cm. square £250-350

209

210

Literature Martin Greenwood The Tiles Designs of William De Morgan, Richard Dennis Publications, page 133 figure 719 for the original design illustrated. 211. An Aesthetic Movement Maw six tile panel in the manner of Walter Crane, comprising three shepherdess tiles glazed tan and three birds perched in a tree bough glazed green, set alternately in an ebonised wood frame, 15.5cm. square. £300-500 Provenance Paul Reeves An Eye for Design, Lyon & Turnbull,14th February 2019, lot 126. 212. Four large Wedgwood Midsummer Night’s Dream Shakespeare tiles designed by Helen J Miles, each printed in sepia on a cream ground, comprising, Puck, Cobweb, Hermia and Moth, impressed marks, 20.5cm. square, (4) £150-200 Literature Maureen Batkin, Wedgwood Ceramics 1846-1959, Richard Dennis, page 112 plate 245 for the Midsummer Night’s Dream tiles illustrated. 213. Five Minton encaustic floor tiles designed by Augustus Welby Northmore Pugin, from Southwark Cathedral, the central circular panel with a lamb of god motif, flanked by four cruciform tiles with geometric cruciform and fleur de lys terminal design, in colours impressed marks, damages and losses, 27cm wide (largest tiles), (5) £200-300

211

Provenance A private tile collection. 214. Three Minton Pottery tiles designed by Dr Christopher Dresser, printed in brown with panels of stylised flowers, inside geometric borders, in brown on a cream ground, framed impressed marks, 15.5cm square £150-200

212

213

214

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215 215. A Pre-Raphaelite tile plaque probably Copeland, painted with a classical maiden, seated and reading from a large book, in shades of blue, in silvered metal mount, marks concealed in framing, cracked, 29 x 14cm (tile) £120-180 216. A set of twelve Minton Rustic Humours tiles, printed in brown with character roundels, mounted in ebonised wood mirror frame, comprising pride, humility, ignorance, industry, suspicion, ambition, contentment, affection, terror, greed, rage, and idleness, impressed marks to reverse, 70cm square. £300-500

216

Literature Terence A Lockett Collecting Victorian Tiles, ACC Books, page 182 plate 49 for two comparable tiles. 217. A Craven Dunnill three tile fireplace, the side panels cast in low relief with a child gathering roses in her dress before butterflies, the other with a cherub before a cage playing pan pipes and enchanting swallows, the rectangular top panel with a cherub flying and catching swallows, holding a small cage, the corners with square panels of trellis and flowering clematis, glazed in shades of ochre, impressed marks, minor chips to edges, 77.5 x 16cm. (3) £250-350 218. ‘Daisy’ a Dutch four tile panel designed by William Morris, painted with clumps of flowers in shades of blue, green and yellow on a pale blue ground, framed, 43cm. square £250-350 Literature Richard and Hilary Myers William Morris Tiles, Richard Dennis Publishing, page 37 figure 5c for a comparable version of the Daisy tile.

217

218

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219. ‘Ride a Cock Horse’ a rare Pilkington’s Lancastrian Nursery Rhyme tile designed by Margaret Pilkington, rectangular tubeline decorated with medieval figures, in colours unsigned, minor glaze frits 23 x 15cm. £500-800 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and tiles, Richard Dennis, page 16 plate XIV for six tiles from the nursery rhyme series illustrated. British Art Pottery, Woolley and Wallis, 11th December 2013, lot 80 for another example, ‘Little Jack Horner’, illustrated. Provenance Private collection.

220. A Pilkington’s Lancastrian Pottery vase by William S Mycock, dated 1913, shouldered form, painted with panels of carnation flowers and scrolling foliage in ruby and rich golden lustre impressed marks, painted artist cipher and date mark, 1913, repaired top rim, 17.5cm. high £150-200 219 221. A pottery bust of a knight in armour, the young knight holding a keepsake to his chest and casting a downward glance, glazed in colours, apparently unsigned, 21cm. high £150-200

222. A Della Robbia Pottery vase by EJ, dated 1901, shouldered form with pulled handles, incised and painted with scrolling bands in yellow, green and turquoise incised factory mark, dated and monogrammed EJ, 11.5cm. high £250-350

223. A Della Pottery charger by Annie Smith, incised with radiating Art Nouveau flowers from the well, the rim with larger, similar flowerheads in blue, green, yellow and brown incised marks, painted monogram, 38cm. diam. £400-600

220

221

222

223

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224 224. A Della Robbia pottery plaque designed by Ellen Mary Rope, modelled in low relief with a child riding a tortoise, glazed in white and olive green, in wooden frame, incised marks to back, 25 x 10cm. (plaque) ÂŁ800-1,200

225. A tall and impressive Della Robbia vase by Gertrude Russell, cylindrical form with flaring neck, painted with wild poppy stems in pink and green on a turquoise ground, incised mark, painted GR monogram, minor professional restoration, 40cm. high ÂŁ1,200-1,800 225

226. A large Della Robbia Pottery wall charger by Gertrude Russell, incised and painted with radiating stems of flowers and foliage, in shades of pink, white, yellow and brown on a turquoise incised mark, 955, incised C and painted GR monogram, minor professional restoration, 50cm. diam. ÂŁ2,500-3,000

226

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227. A Castle Hedingham vase by Edward Bingham, the domed foot with modelled flowers supporting quattro lobed stem and cup form neck, modelled in relief with four masks, glazed in shades of brown and white on a tan ground incised E Bingham Castle Hedingham, minor glaze chips, 32cm. high £250-350 228. A C.H. Brannam Barum vase by William Baron, dated 1889, slender, shouldered from, painted with panels of scaly fish in cream and brown incised marks, 43cm. high £300-400 229. A pair of C.H. Brannam Barum pottery grotesque candlesticks, each modelled as a horned, winged beast, glazed in shades of blue and green unmarked, restored horns, chip to base rim, 20cm. high (2) £300-400

227

230. A rare C.H Brannam Barum pottery bat wall pocket, modelled in relief and glazed in shades of blue, incised marks, LC monogram, professional restoration to wings, 20cm. high £500-600

228

231. Reginald Fairfax Wells (1877-1951) A Coldrum Pottery vase, shouldered ovoid form, covered in a streaked blue glaze over purple, impressed Coldrum, 24cm. high £120-180 232. A Farnham Pottery bowl, resist decorated with a frieze of ducks swimming, covered in a sand glaze, and a Farnham Pottery jug decorated in low resist with a band of Celtic knot motif, bowl incised Helena Jagger, Yellow, minor glaze chips, 13cm. diam. (2) £150-200 233. A Farnham Pottery bowl, flaring, shouldered form, covered in a streaked green glaze, and a pair of Farnham Pottery cylinder vases incised marks, 28.5cm. diam. (3) £120-180 229

230

232

231 233

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â&#x20AC;Ą 234. Denise Wren (1891-1971) St George for Merry England a rare Oxshott Pottery bowl, dated 1921, inscribed to the rim and decorated with a George Cross shield, the interior with incised band, glazed blue and red on a buff ground, incised Denise K Wren, Oxshott, 1921, 19cm. diam. ÂŁ2,000-2,500

Catalogue notes The font and decoration to the interior is based on designs by Archibald Knox.

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235

236

236A

237

235. A pottery vase probably Ault or Linthorpe the design attributed to Dr Christopher Dresser, shouldered form, modelled with two Chinese dog masks, above stylised foliate bands, glazed streaked aubergine to blue glaze unmarked, 25cm. high £120-180 236. A Sunflower Pottery vase by Sir Edmund Elton, ovoid with flaring rim, slip decorated with a stylised flower and foliage in red and green on a streaked green and blue ground, another smaller and a jug painted Elton, 16cm. high (3) £120-180 236A. A Ruskin Pottery high-fired stoneware vase by William HowsonTaylor, slender, shouldered form with cylindrical neck, covered in a mottled moss green souffle glaze, impressed WHT monogram, 231 shape no and remains of Ruskin Pottery paper label, 11cm. high £400-500

237A

Provenance Private collection. The remains of a paper label on the base of the vase proudly alludes to the occasion of the pottery winning the Grand Prize at the St Louis International Exhibition in 1904. 237. A Ruskin Pottery stoneware vase by William Howson-Taylor, dated 1906, baluster form, covered in a mottled matt green souffle glaze impressed marks, paper label, 18cm. high £300-400

238

239

Provenance Private collection. 237A. A large Ruskin Pottery stoneware ginger jar and cover designed by William Howson Taylor, shouldered form covered in a matt blue banded glaze bleeding into orange impressed Ruskin England, 31.5cm. high £150-250 238. A Bernard Moore bowl, painted to the well with a heron on a riverbank, inside oriental geometric border with chrysanthemum and prunus roundels, in black on a red flambe ground, signed Bernard Moore and artist monogram, hairline to rim, 26cm. diam. £120-180

240

241

239. A large Bernard Moore ginger jar painted by Dora Billington, decorated with scaly fish swimming amongst waterweed in flambe red on a mushroom ground, painted Bernard Moore and artist monogram, 26.5cm. high £200-300 Provenance Decorative Arts, Christie’s South Kensington, 1992. 240. An unusual Bernard Moore leaf dish, fluted square section, the well painted with a wading bird, in red flambe signed Bernard Moore mark and artist monogram, 21 x 20cm. £160-180 241. A pottery vase possibly Bough designed by Elizabeth Amour, shouldered form, printed and painted with classical figures in a formal garden setting, incised A to base, 20cm. high £120-180

242. A Minton Pottery wall charger by Ellen Welby, dated 1887, painted to the well with an enigmatic maiden sailing on a clam shell, her red shawl forming a sail, the rim with a band of classical cherub holding shield and mask panels, in colours impressed factory marks, painted signature and date, hairline crack to rim, 43cm. diam. £250-300 242

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243

244

245

‡ 243. Joyce Bidder FRBS (1906-1999) and Daisy Borne (1906-1998) Cretan Father and Son, a pottery figure covered in a white glaze incised DJB, dated 1948 in ink to interior, 29.5cm. high £200-300

Provenance Decorative Arts, Christie’s South Kensington, 1992. ‡ 244. David Evans (1893-1959) Diana, 1927 a porcelain figure, covered in a white glaze, with wooden stand impressed Evans David and date, damages, 33cm. high (2) £200-300

Exhibited Living British Artists, City of Manchester Art Gallery, 1927. ‡ 245. Joyce Bidder FRBS (1906-1999) Bacchanalian Centaur, 1939 a pottery figure, glazed in colours, on wooden base, impressed Joyce Bidder 1939, 32cm. high £200-300 ‡ 246. Stanley Nicholson Babb FRBS (18731957) Sea Horses, 1926 a pottery sculpture, glazed in cream and blue painted signature and date 18cm. wide £200-300 Provenance Decorative Arts, Christie’s South Kensington, 1992

246

247

‡ 248. Zelda Wallace Salome with the Head of John the Baptist, a pottery figure, covered in a celadon glaze, applied paper label to base, 36cm. high £120-180 Catalogue notes This figure was shown at both Heal’s Tottenham Court Road and the Hornsey College of Art.

‡ 249. Charles Vyse (1882-1971) The Morning Ride earthenware figure, glazed in colours, minor damages, 22.5cm. high £250-300

Literature Decorative Arts, Christie’s South Kensington, 1992.

‡ 247. Joyce Bidder FRBS (1906-1999) Ariel a pottery figural sculpture, glazed translucent pale blue, on fitted wooden base impressed mark, applied paper label with title, 23cm. high, 27cm wide £200-300

248

249

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250

250. Royal Yacht Osborne a rare Wedgwood pottery jug, printed and painted with the royal yacht crest in colours highlighted in gilt on a terracotta ground, and four Wedgwood Royal commemorative mugs by Richard Guyatt, impressed marks, 16cm. high (5) £150-200 251. ‘Woodland Bridge’ a Wedgwood Fairyland Lustre bowl designed by Daisy Makeig-Jones, printed and painted in colours on a black ground, highlighted in gilt, the interior on a pearl lustre ground, printed and painted marks to base, hairline crack, 16cm. diam. £150-200

251

252. A Wedgwood Pottery Alphabet mug designed by Eric Ravilious, cylindrical printed in black with alphabet and related vignette on pink bands, printed factory marks, 8cm. high £120-180 253. Edward VIII a Wedgwood Pottery Coronation mug designed by Eric Ravilious, dated 1937, printed in colours, and an Edward VIII commemorative silver spoon printed factory marks, hairlines to side, 10.5cm. high, (2) £150-250

252

253

254. ‘Pomona’ a Bursley Ware bowl designed by Charlotte Rhead, pattern no.456, tubeline decorated with pomegranates, glazed in colours printed factory marks, unsigned, restored, 21.5cm. diam. £120-180 Literature Bernard Bumpus, Collecting Rhead Pottery, Kevin Francis, page 36 plate 12 for this design illustrated. 255. A pair of Maling Pottery vases, pattern no.5415, waisted form printed and painted with an oriental dragon design, in colours highlighted in gilt, another pair of Maling vases pattern 6156, and another vase, printed and painted marks, 22.5cm. high (5) £120-180 256. A Fulham Pottery flower vase the design attributed to Constance Spry, footed form, flaring central vase flanked with flower tubes, matt finish, the interior glazed impressed and incised marks V2, 18.5cm. high £120-180

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WEMYSS WARE 257. A Wemyss Pottery Cabbage Rose pair of candlesticks, each on square plinth base, tapering cylindrical column with flaring sconce, painted with flowers in pink and green on a white ground, and a Wemyss Cabbage Rose ring tray, impressed Wemyss to candlesticks, paper exhibition label to ring tray, 30.5cm. high, (3) £150-200 Provenance Wemyss Exhibition, 1976 Rogers de Rin/Sothebys (ring tray) 258. A pair of small Wemyss Pottery pigs, retailed by Thomas Goode & Sons, painted with black spots and pink highlights, impressed, printed and painted marks, restored ears, 15cm. wide, (2) £300-500 259. A large Wemyss Pottery pig, retailed by Thomas Goode & Sons, modelled seated glazed with black patches and pink highlights, impressed mark and Thomas Goode mark, tail chipped off, 43cm. wide £600-800

259

260. A large Wemyss Pottery pig, retailed by Thomas Goode & Sons, modelled seated glazed with black patches and pink highlights, impressed mark painted Thomas Goode mark, chip to ear, 43cm. wide £600-800 261. A tall Wemyss Pottery Jazz vase and cover designed by Karel Nekola, swollen, shouldered form, the cover with pierced decoration, painted with roses in pink on a mottled yellow, blue and green ground painted Wemyss 213 to the base, 42cm. high, (2) £400-600

260

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POOLE POTTERY 262. A red lustre bottle vase probably Carter’s Poole Pottery, shouldered ovoid form with tapering neck and flaring rim, covered in a rich red lustre glaze, and another lustre vase painted LXK5 to base, 26cm. high, (2) £120-180

262

263

263. A Carter Stabler and Adams Poole Pottery twin-handled vase by Gwen Haskins, pattern PB, painted with bluebirds flying past art deco flowers, in colours on a white ground, and a Poole Pottery jardiniere, pattern CO by Ann Hatchard, impressed marks, painted monogram, 18cm. high (2) £150-200

264. A Carter’s Poole Pottery tile probably designed by Edward Bawden, printed with three stylised fish leaping from the water, in green and black on a cream ground, and another Carter’s tile decorated with Poole Pottery table lamp and book design, impressed marks, 13cm. square, (2) £200-300 Provenance Clarice Cliff, Art Deco & 20th Century Design, Woolley and Wallis Auctioneer’s 22nd March 2007 lot 117 (leaping fish tile) Private collection. 264 265. A Carter’s Poole Pottery tile probably designed by Edward Bawden, square section, printed with three fish swimming, in green and black on a cream ground, and another Carter’s tile printed with a seagull and fish design, impressed mark, 13cm. square, (2) £200-300 Provenance 20th Century Design, Woolley and Wallis Auctioneer’s, 20th September 2006 lot 534 (fish) Clarice Cliff, Art Deco & 20th Century Design, Woolley and Wallis Auctioneer’s 22nd March 2007 lot 116 (seagull) Private collection. 265 266. A Carter’s Poole Pottery tile probably designed by Edward Bawden, square, painted with Poole Pots and a leaping gazelle bookend, in green and black on a cream ground, unsigned, 13cm. square £150-250 Provenance Arts and Crafts and 20th Century Design, Woolley and Wallis Auctioneer’s 1st June 2006 lot 903. Private collection.

266

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270

269

271

267. A Poole Pottery Studio plate, painted with a geometric design in green, sand and turquoise outlined in black, and two Poole Pottery Aegean plates printed factory TV mark, 20.5cm. diam. (3) £120-180 268. A Poole Pottery Delphis plate, painted with a geometric design in blue and orange outlined in black on a red ground, and another Poole Pottery plate printed and painted marks, 20cm. diam (2). £160-200 269. A Poole Pottery Studio plate, painted with a geometric design, in orange and yellow, and another Poole Pottery plate printed factory marks, 20.5cm. high (2) £160-180

272

270. A Poole Pottery Studio plate, painted with a radiating sun motif, in orange, yellow and green and another Poole Pottery plate printed factory marks, 20.5cm. diam. (2) £160-180 271. A Poole Pottery Studio plate, painted with a geometric design in dark green, pink and white and another Poole Pottery plate printed factory marks, 20.5cm. diam. (2) £160-180 272. A Poole Pottery Delphis stick stand vase by Guy Sydenham, swollen cylindrical form, painted with geometric panels in colours on a red ground printed and impressed marks, incised GS monogram 38.5cm. high £150-200 273. A Poole Pottery black basalt Atlantis vase by Guy Sydenham, shouldered ovoid form, mottled black glaze with running silver-blue glaze impressed and incised mark, 24.5cm. high £300-350 274. A Poole Pottery black basalt Atlantis vase by Guy Sydenham, ovoid with collar rim, with incised geometric roundel glazed orange, the interior of the neck glazed speckled orange, impressed Poole England and GS monogram, 15cm. high £200-250

273

275. A Poole Pottery Atlantis vase by Catherine Connett, ovoid with carved vertical ribs, glazed black on a mottled pale green ground, and two other Poole Pottery Atlantis vases impressed Poole marks, various incised monograms, 12cm. high, (3) £120-180

275

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276. A Troika Pottery Tin Mine, modelled in relief, glazed in colours painted Troika Cornwall, 21.5cm. high £150-200 277. A Richard Parkinson Pottery Chess wall plate designed by Susan Parkinson, decorated with a medieval maiden, in blue on a white ground, impressed marks, 22cm. diam. £150-200 278. A penguin dish by Stella Crofts, three penguins modelled standing on the rim of a square pool, glazed in colours, etched Stella R Crofts to base, 9.5cm. wide £150-200 276

277

Literature Peter Hughes Stella’s Art Stella Crofts, Private Press page 171 catalogue number F. 279. Eric Marwick (1946-2018) Highland Beachcombers five tiles dated 1999, painted, each with a different figure on the beach, in colours signed with monogram and dated to reverse 15.5cm. square, (5) £120-180 280. Eric Marwick (1946-2018) a pair of framed pottery roundels dated 2004, each painted with a cat struggling with urban life, in blue, framed, and two others smaller signed with monogram, 18.5cm. diam. (4) £120-180

278

281. Eric Marwick (1946-2018) The Odd Couple, a pottery toast rack dated 2003, glazed in colours, and a walrus toast rack and a standing pig toast rack, painted marks, 17cm. wide (3) £150-200 282. Eric Marwick (1946-2018) The Canterbury Tales a pottery toast rack dated 2003, modelled as a man riding a horse, another modelled as two basking walrus and a pig toast rack painted monograms, 22cm. wide (3) £150-200

280

283. A pair of Highland Stoneware limited edition vases, dated 2000, ovoid with collar rim, low domed covers, decorated with a sunset, mountain landscape with tracery silhouette, in colours impressed and painted marks, 30cm. high (4) £150-200

279

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MOORCROFT POTTERY 284. ‘Iris’ a James Macintyre & Co Florian Ware solifleur vase designed by William Moorcroft, slip decorated in shades of blue and a James Macintyre & Co advertising booklet, printed and painted marks, 24.5cm. high (2) £150-200

285. ‘Iris’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, compressed body with long cylindrical neck and flaring, fluted rim, tubeline decorated in salmon pink and green on a salmon pink ground printed factory mark, painted green signature, minor professional restoration to top rim, 31.5cm. high £400-600

286. ‘Brown Chrysanthemum/Revived Cornflower’ a Moorcroft Pottery dish designed by William Moorcroft, circular with inverted rim, painted in shades of pink, purple and sand on a green ground impressed marks, painted green signature, 11cm. diam. £200-300 284

287. ‘Brown Chrysanthemum/Revived Cornflower’ a pair of James Macintyre & Co vases designed by William Moorcroft, waisted cylindrical form with twin loop handles, painted in shades of pink, blue, green and tan, the top rim with a band of yellow cornflowers to the interior, printed factory mark, painted green signature 20.5cm. high, (2) £500-800

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288. ‘Floral Panel’ a James Macintyre & Co vase designed by William Moorcroft, shouldered, swollen form, tubeline decorated with flower panels in shades of pink, blue and green on a white ground printed factory mark, painted green signature, 8.5cm. high £300-400

288

289

289. ‘Pansy’ a Moorcroft Pottery tobacco jar and cover designed by William Moorcroft, compressed ovoid form with screw neck, flat, circular cover, painted in shades of purple, yellow and green, painted green signature, chips to teeth, 10.5cm. high (2) £200-400 290. ‘Pomegranate’ a Moorcroft Pottery plate designed by William Moorcroft, painted in colours on a mottled green and blue ground, impressed marks, painted green signature, 21.5cm. diam. £120-180 291. ‘Frilled Orchids and Spring Flowers’ a Moorcroft Pottery vase designed by William Moorcroft, twin-handled form, painted in colours on a pale blue-green ground, impressed factory marks, painted blue signature, 19.5cm. high £150-200 292. ‘Wisteria’ a Moorcroft Pottery vase designed by William Moorcroft, twinhandled form, painted in shades of green, yellow, red and purple on a blue ground, impressed marks, painted blue signature, 20cm. high £150-250

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294

293. ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, painted in shades of pink, purple, yellow and green on a white ground, impressed marks, painted green signature, professional restoration, 9cm. high £150-200

294. ‘Eventide’ a Moorcroft Pottery footed bowl designed by William Moorcroft, painted in shades of blue and ochre on a sand ground with flambe highlights impressed marks, painted blue signature, 13cm. diam. £500-800 295

295. ‘Moonlit Blue’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered ovoid form, painted in shades of blue and green on a deep blue ground, impressed factory mark, painted green signature, 10cm. high £600-900

296. ‘Hazledene’ a Moorcroft Pottery baluster vase designed by William Moorcroft, painted in shades of green and blue on a celadon ground, impressed marks, painted green monogram, professional restoration to rims, 10cm. high £800-1,200

296

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298

297

297. ‘Iris’ a Moorcroft Pottery ewer designed by Rachel Bishop, produced for the Moorcroft Collector’s Club, painted in colours, a Moorcroft vase painted with anemones, a Finches cups and saucer and another vase impressed marks, 24cm. high (5) £150-200 298. ‘Yacht’ a modern Moorcroft Pottery vase originally designed by William Moorcroft, produced in 1997, tubeline decorated in shades of blue, a Moorcroft Pottery ‘Frilled Orchid’ footed bowl, a Moorcroft ‘Sonoyta’ pattern ewer designed by Kerry Goodwin and three other Moorcroft Pottery items printed and painted marks, 23.5cm. high (6) £150-200

299

299. Leopard’ a modern Moorcroft Pottery vase designed by Sian Leeper, waisted, cylindrical form, painted in colours impressed and painted marks, 21cm. high £200-300

300

300. ‘Cactus’ a modern Moorcroft vase, shouldered form, painted in colours printed and impressed marks, 22cm. high £120-180 301. ‘Carp’ a Moorcroft Pottery Trial vase designed by Sally Tuffin, dated 1990, compressed form, tubeline decorated and painted in shades of pink and blue on a cream ground, impressed and painted marks, 20cm. high £200-300 302. ‘Jonquilla’ a Moorcroft Pottery limited edition baluster vase designed by Rachel Bishop, painted in colours with daffodil flowers and a Moorcroft Pottery ginger jar and cover, printed and painted marks, 27cm. high, (3) £150-200 301

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DENNIS CHINAWORKS

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305 303. ‘Butterfly’ a Dennis Chinaworks Trial vase designed by Sally Tuffin, dated 2001, thrown by Rory Mcleod, shouldered form painted in brown, red and black on a graduated blue ground, impressed and painted marks, 27cm. high £120-180 Provenance Clarice Cliff & Art Deco, Woolley and Wallis Auctioneer’s 5th March 2014 lot 372. Private collection. 304. ‘Iris’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2000, thrown by Rory Mcleod, shouldered form, painted in colours on a pale blue ground impressed and painted marks, 35cm. high £150-200

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307

305. ‘Lobster’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2002, limited edition, painted in colours impressed and painted marks, 27cm. high £150-250 306. ‘Oak Leaf and Ladybird’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 1997, painted in colours, and an ‘Autumn Oak’ Dennis Chinaworks vase, impressed and painted marks, 19cm. high (tallest), (2) £150-200 307. ‘Leaping Salmon’ a Dennis Chinaworks Collector’s Day vase designed by Sally Tuffin, dated 2002, shouldered cylindrical form, painted in colours,and a Dennis Chinaworks ‘Datura’ Trial vase impressed and painted marks, 21cm. high, (2) £150-200 308. ‘Carp’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, thrown by Rory Mcleod, tall bottle form, with everted rim, painted in colours impressed and painted marks, 39.5cm. high £150-250 309. ‘Pelican’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2000, painted in colours on a graduated blue to green ground, impressed and painted marks, 29cm. high £120-180

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310

311 310. ‘Egyptian Lotus’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2002, thrown by Rory Mcleod, painted in shades of black, grey and brown impressed and painted marks, 21cm. high £150-200

312

311. Elephant Procession’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, dated 2003, thrown by Rory Mcleod, modelled with five elephants around a central lotus vase, painted in colours impressed and painted marks, numbered 8/20, 18.5cm. high £300-500

312. ‘Snake’ a Dennis Chinaworks Trial vase designed by Sally Tuffin, dated 2002, shouldered cylindrical form, painted in colours impressed and painted marks, 31cm. high £200-300

313. ‘Elephant’ a large Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, thrown by Rory Mcleod, shouldered form, painted in colours impressed marks, 47.5cm. high £300-500 313

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THREE UNIQUE DENNIS CHINAWORKS’ VASES MADE EXCLUSIVELY FOR WOOLLEY & WALLIS’ AUCTION

314. ‘Adele’ a unique large Dennis Chinaworks Conical shape vase designed by Sally Tuffin, dated 2019, decorated by Vanessa Thompson, thrown by Rory Mcleod, tubeline decorated with a portrait of Adele Bloh-Bauer after the portrait painted by Gustav Klimt in 1907, in colours on a cream ground, highlighted with gilt impressed and painted marks, WW16, 34cm. high £900-1,000

315. ‘Black Willow’ a unique Dennis Chinaworks Deco shape vase designed by Sally Tuffin, dated 2019, decorated by Theresa Blackmore, thrown by Rory Mcleod, incised with a weeping willow, highlighted in gilt on a sprayed black ground, impressed and painted marks, WW17, 34.5cm. high £750-1,000 Catalogue notes The design on the vase was inspired by Japanese lacquer work.

314

315

316. ‘Warming Stripes 1850-2019’ a Dennis Chinaworks Petaloid shape vase designed and decorated by Buchan Dennis, dated 2019, thrown and turned by Rory Mcleod, inspired by Professor Ed Hawkins, the coloured bands representing global warming time lines from 18502018, impressed and painted marks WW18, 24cm. high £800-1,200

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STUDIO POTTERY

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THE TONY HILL COLLECTION OF STUDIO POTTERY Tony Hill spent his working life as a teacher, the most noble of professions. Through this teaching he passed on his passion, insight and knowledge. He had superb craft skills and taught across many media; metalwork, woodwork and of course pottery - he was a potter of no mean skill. Tony enjoyed a long friendship with the influential pottery enthusiast, Bill Ismay, who happened to live close by in Wakefield. They were regularly attendees at exhibitions, gallery events and potters' studios around the North East and wider afield. He viewed pots from the perspective of a maker, possessing a deep understanding of the skill and craft involved in creating true things of eternal beauty in clay. Like all collector's, he had his favourites: Michael Cardew, Svend Bayer, David Lloyd Jones, Nic Collins and most notably Mo Jupp, with whom he developed a close friendship Tony Hill with Mo Jupp and Kate Malone

The pottery, paintings and books that he admired so much represent him and his passion to seek, acquire and live with objects of beauty, made by hand.

â&#x20AC;Ą 317. Mo Jupp (1938-2018) Helmet an earthenware sculpture painted with rust and black, unsigned, 21cm. high

Provenance The Tony Hill collection of studio pottery.

ÂŁ300-500

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â&#x20AC;Ą 318. Mo Jupp (1938-2018) tall standing female figure, earthenware with white slip highlights, incised marks to side of base, 80cm. high ÂŁ400-600 Provenance The Tony Hill collection of studio pottery.

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‡ 319. Mo Jupp (1938-2018) Standing figure an earthenware sculpture on rectangular base, splashed with white slip, unsigned, 20cm. high, (2) £150-250

Provenance Gifted to Tony Hill by the artist The Tony Hill collection of studio pottery.

320

‡ 320. Mo Jupp (1938-2018) Kneeling figure an earthenware figure on a white base signed to the base, applied paper exhibition number 3 8.5cm. high, 8cm wide £120-180

Provenance The Tony Hill collection of studio pottery.

319

‡ 321. Mo Jupp (1938-2018) Small torso an earthenware sculpture mounted on a white base incised signature to side of base, 15cm. high £120-180

Provenance The Tony Hill collection of studio pottery.

‡ 322. Mo Jupp (1938-2018) Torso earthenware sculpture mounted on metal stand, unsigned 22.5cm. high £120-180

Provenance The Tony Hill collection of studio pottery.

321

322

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‡ 323. Mo Jupp (1938-2018) Standing figure on plinth, 1991 an earthenware figure painted with blue, cast in an edition of 20 unsigned 43cm. high £200-300

Provenance Bedales The Tony Hill collection of studio pottery.

‡ 324. Mo Jupp (1938-2018) Standing figure an earthenware figure, on circular base signed to base 41.5cm. high £200-300

Provenance The Tony Hill collection of studio pottery.

323 ‡ 325. Mo Jupp (1938-2018) Standing figure on circular plinth an earthenware sculpture signed to underside of base 37cm. high

324

£250-300

Provenance The Tony Hill collection of studio pottery.

‡ 326. Mo Jupp (1938-2018) Standing figure beside a plinth earthenware figure on shaped rectangular base, incised signature to base 44.5cm. high £250-300

Provenance The Tony Hill collection of studio pottery.

325

326

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327. Michael Cardew CBE (1901-1983) a Wenford Bridge plate, painted with a simple foliate motif in blue on a speckled pale celadon ground painted with brown dashes, impressed seal marks, 24.5cm. diam. £120-180 Provenance The Tony Hill collection of studio pottery.

327

328

328. Michael Cardew CBE (1901-1983) a Wenford Bridge footed chalice, with modelled handles, painted in blue with simple foliate motif on a speckled celadon ground with brown dashes, an Ara Cardew teapot and cover painted with a fish motif, a Wenford Bridge beaker, a large Gwari pot and cover by Hewitt Mark, and a Wenford Bridge jug, impressed seal marks, 12cm. high, (7) £120-180 Provenance The Tony Hill collection of studio pottery. 329. Richard Batterham (born 1936) a cut-sided stoneware bowl, covered in a celadon ash tenmoku glaze, a Richard Batterham vase and a footed bowl, unsigned, 19cm. diam. (3) £120-180 Provenance The Tony Hill collection of studio pottery. 330. Peter Smith (born 1941) an earthenware vase, modelled cylindrical form with applied clay and metal link decoration, brushed glaze design, a pot and cover by Peter Smith and a small collection of studio pottery, impressed seal marks, 15cm. high £120-180 Provenance The Tony Hill collection of studio pottery.

329

331. Ray Finch (1914-2012) a Winchcombe Pottery charger, decorated with simple tenmoku brushed design on a speckled ash glaze, a Dolomite glaze charger possibly Lowerdown Pottery, a Chris Lewis tea canister and cover, a Chris Lewis charger, a Paul Barron vase and a large collection of studio pottery including Simon Leach, Clive Bowen and Svend Bayer impressed seal mark, 33cm. diam. (a lot) £150-250 Provenance The Tony Hill collection of studio pottery.

330

332. John Leach (born 1939) a Muchelney Pottery stirrup jug, with running ash glaze to the shoulder, another John Leach vase, a Lowerdown Pottery miniature vase painted with a fern design, a Svend Bayed bowl and six others, impressed seal marks, 26cm. high (10) £120-180 Provenance The Tony Hill collection of studio pottery. 333. Jim Malone (born 1946) an Ainstable Pottery stoneware unomi, with cut decoration, covered in a tenmoku glaze, another Jim Malone unomi covered in a white glaze and a footed bowl, a Mike Dodd unomi and two others and two Phil Rogers items, impressed seal marks, 9.5cm. high (8) £120-180 Provenance The Tony Hill collection of studio pottery.

331

332

333

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‡ 334. David Frith (born 1943) a tall stoneware bottle vase, shouldered form glazed to the foot in tenmoku with nuka pours, flooded seal mark, 51cm. high £150-250

Provenance The Tony Hill collection of studio pottery.

‡ 335. Richard Batterham (born 1936) a stoneware vase, shouldered form with flaring rim, the body incised with band of vertical cuts, ash glaze over celadon unsigned, 41.5cm. high £150-200

Provenance Purchased by Tony Hill in 1996.

336. Nic Collins (born 1958) A tall stoneware bottle vase, with cylindrical neck and uneven rim, with applied surface decoration, two other Nic Collins vases and a twin-handled bowl, incised signature, 37cm. high, (4) £120-180 Provenance The Tony Hill collection of studio pottery.

337. Nic Collins (born 1958) a salt-glaze stoneware twin-handled vase, tapering form with flaring rim, surface decorated finish, another smaller, a large bowl by Nic Collins, and three other salt-glaze vases, incised Nic Collins signature, 22.5cm. high (6) £120-180

334

Provenance The Tony Hill collection of studio pottery.

335

336

337

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‡ 338. David Roberts (born 1947) a tail hand coiled raku basket form, covered in a crackled black and matt white glaze, impressed seal mark, 53cm. high £150-200

Provenance The Tony Hill collection of studio pottery. Literature Lynne Green, Painting With Smoke, David Roberts page 33, plate 14 for two comparable pots.

‡ 339. David Roberts (born 1947) a large hand coiled raku flaring bowl, on small foot, the interior with white crackled glaze, unsigned, 56cm. diam, 27.5cm. high £150-200

Provenance The Tony Hill collection of studio pottery.

‡ 340. David Roberts (born 1947) a Giant’s Web hand coiled raku vase, the tapering, shouldered form with shallow knopped neck and central aperture, matt brown with orange surface decoration, impressed seal mark, 29cm. high £200-300 Provenance The Tony Hill collection of studio pottery.

338

339

340

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â&#x20AC;Ą 341. Magdalene Odundo OBE (born 1950) an early, ovoid earthenware vase with ribbed neck and flaring rim, the body incised with band of geometric decoration to the shoulder, glazed to interior of neck, unsigned, 23cm. high ÂŁ800-1,200

Provenance The Tony Hill collection of studio pottery. Literature Magdalene Odundo The Journey of Things, page 3 for a comparable, larger pot illustrated, dated circa 1976-77.

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‡ 342. Alan Caiger-Smith MBE (born 1930) a tin-glazed earthenware bowl, dated 1978, flaring footed form painted with geometric border in rush and blue on an off white ground painted monogram and date-mark , 31cm. diam. £150-200

Provenance The Tony Hill collection of studio pottery.

342 343

‡ 343. Janet Leach (1918-1997) a stoneware vase, ovoid with flaring neck and lug handles, with simple brushed ash motif to both sides, glazed interior, impressed seal marks, 25.5cm. high £120-180

Provenance The Tony Hill collection of studio pottery. 344. Waistel Cooper (1921-2003) a stoneware vase, footed form with flaring rim, covered in a matt brown glaze, a stoneware split form by Alan Wallwork, a twin-handled vase by John Kershaw and a vase incised AW to wallwork vase, 10cm. high (Cooper vase), (4) £120-180 Provenance The Tony Hill collection of studio pottery.

344

345. David Lloyd Jones (1928-1994) a porcelain footed bowl, flaring conical form, covered in a tenmoku glaze, a porcelain teapot and cover by David Lloyd Jones, a large stoneware teapot and cover by David Lloyd Jones, a coffee pot and cover by Glynn Hugo and another pot and cover, impressed seal mark, 15cm. diam. (9) £120-180 Provenance The Tony Hill collection of studio pottery. 346. Walter Keeler (born 1942) a salt-glazed stoneware bowl with extruded handle and rim, covered in a mottled blue glaze, and a Walter Keeler stoneware mug, impressed seal mark, 16cm. diam, (2) £150-200 Provenance The Tony Hill collection of studio pottery.

345

Literature Emmanuel Cooper and Amanda Fielding Walter Keeler, page 40 for a detail of a comparable Extruded handle.

346

347. Jane Hamlyn (born 1940) a salt-glaze stoneware canister and cover, tapering cylindrical form, the domed cover with applied scroll finial, glazed mottled blue with green highlights, a Jane Hamlyn twinhandled platter, a twin-handled tray, two covered jars and two mugs, impressed JH seal marks, 21cm. high, (11) £150-200 Provenance The Tony Hill collection of studio pottery.

100

347

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348

349

‡ 348. Jim Robison (born 1939) a slab built stoneware vase, elliptical section, dated 1993, irregular form, with incised and painted blue, pink and white highlights, signed plaque to side of vase, 77cm. high £150-250

Provenance The Tony Hill collection of studio pottery. ‡ 349. Jim Robison (born 1939) a slab built stoneware vase, elliptical section, irregular form, with painted blue, pink and white highlights, signed plaque to side of vase, 60cm. high £150-250

Provenance The Tony Hill collection of studio pottery.

350

‡ 350. Bruce Martin a stoneware vase, shouldered form with applied, twin-loop handles, the textured surface with running ash glaze to neck and shoulder, an Estelle Martin stoneware vase and two other stoneware vases, impressed marks, 25cm. high, (4) £120-180

Provenance The twin-handled vase purchased by Tony Hill in 2013 The Tony Hill collection of studio pottery. ‡ 351. Charles Bound (born 1939) a large stoneware vase, with cut side and applied lug, salt glazed finish with brushed and splashed decoration, impressed seal mark, 34cm. high £120-180

Provenance The Tony Hill collection of studio pottery.

351

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352. Ian Gregory (born 1942) Dog on a Plinth, a stoneware sculpture, saltglazed in brown and silver-grey, impressed seal mark, 33cm. high £120-180 Provenance The Tony Hill collection of studio pottery. 353. Eileen Lewenstein (1925-2005) a porcelain cylinder vase, tapering form with incised marks, covered in a cream glaze with rust speckles, a porcelain winged form by Maggie Barnes and a jug by Sheila Casson, impressed seal marks, 14.5cm. high (3) £120-180 Provenance Tony purchased the Eileen Lewenstein in 1988. The Tony Hill collection of studio pottery. ‡ 354. Emmanuel Cooper (1938-2012) a porcelain footed bowl, deep, slightly flaring cylindrical form, white glaze to the foot, with pale pink markings, impressed seal marks, 16cm. diam. 11.5cm. high £400-600

352

Provenance The Tony Hill collection of studio pottery.

354

353

355. Elspeth Owen (born 1938) a hand-built stoneware vessel, ovoid form with everted rim, green, layered slip decoration in sky blue, green and blue bands, with incised, textured surface decoration, and another smaller, paper labels, 15cm. high (2) £120-180 Provenance The Tony Hill collection of studio pottery. 356. Derek Clarkson (born 1928) a porcelain vase with solifleur neck, painted in rust and blue on a speckled off white ground, another vase larger, and three other vases, impressed seal marks, 17cm. high (5) £180-220 Provenance The Tony Hill collection of studio pottery. 357. Derek Davis (1926-2008) a porcelain solifleur vase, compressed body with streaked mushroom and brown glaze, a cup-form vase, two plates and three footed bowls by Derek Davis, painted signature 15cm. high, (7) £150-250

355

356

102

Provenance The Tony Hill collection of studio pottery.

357

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358 ‡ 358. Robin Welch (born 1936) a stoneware vase, cylindrical form. painted with a semi-abstract grassland scene in colours impressed seal mark, 13.5cm. high £120-180

Provenance The Tony Hill collection of studio pottery. ‡ 359. Robin Welch (born 1936) a tall stoneware cylinder vase with swollen knop, painted with panels in red, bronze and ochre on an off white ground, impressed seal mark, exhibition paper number, 59.5cm. high £150-250

Provenance The Tony Hill collection of studio pottery. 360. Geoffrey Swindell (born 1945) a porcelain vase, swollen footed form with pinched neck, spray decorated incised S monogram, 12cm. high £120-180 Provenance The Tony Hill collection of studio pottery. 361. Bryan Newman (born 1935) Bridge with Buildings, an Aller Pottery stoneware sculpture, impressed seal mark, 14cm. wide. £120-180 Provenance The Tony Hill collection of studio pottery. ‡ 362. Colin Pearson (1923-2007) Winged Pot, a porcelain vase form, glazed pale salmon and sand on a white ground impressed seal mark, 10.5cm. high £150-250

Provenance The Tony Hill collection of studio pottery.

360

359

361

362

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ERIC JAMES MELLON ‡ 363. Eric James Mellon (1925-2014) Theme of Tenderness with a Bicycle, a stoneware vase dated 2000, cylindrical with tapering neck and broad flaring rim, painted with naked lady riding a bicycle, and erotic figures resting, ash glazed in colours highlighted in gilt, the base with a woman playing a flute, signed, titled and dated to base rim, 20cm. high £150-200

Provenance The Tony Hill collection of studio pottery. 363

364

‡ 364. Eric James Mellon (1925-2014) Bust of a Woman, stoneware, dated 1981, chestnut glazed in colours, highlighted in gilt, with perspex stand, a Theme of Tenderness bowl by Eric James Mellon, dated 1985, and a vase with loop handled by Yolande Beer, signed, dated and glaze details to base, paper exhibition label, 8cm. high (including base), (3) £120-180

Provenance The Tony Hill collection of studio pottery.

365 front and back

366

‡ 365. Eric James Mellon (1925-2014) Theme of Tenderness - Daydreams, dated 1998, a stoneware bowl painted with an erotic scene of a naked woman before a flautist and an embracing couple on horseback, glazed in colours, Philadelphus ash, and highlighted in gilt, signed, dated, titled and glaze annotated to inside of foot rim, 27cm. diam. £150-250

Provenance The Tony Hill collection of studio pottery. ‡ 366. Eric James Mellon (1925-2014) a stoneware pedestal cup, dated 1981, painted with an erotic embracing couple, ash glazed in colours, two pedestal dishes glazed with fish to interior and a small stoneware bowl dated 1999 by Eric James Melon, painted signature, date and glazed details, 9cm. high, (4) £120-180

Provenance The Tony Hill collection of studio pottery. ‡ 367. Eric James Mellon (1925-2014) Theme of Tenderness a porcelain bowl with cut rim, dated 1983, painted to the interior, with erotic female figures, the exterior with a naked female figure with long flowing brown hair, riding a horse, with portrait roundel, ash glazed in colours, another Theme of Tenderness shallow bowl by Eric James Mellon, and a shallow bowl by Eric James Mellon decorated with a naked woman with flowing pink hair, painted title, date and glaze details to foot rim, paper exhibition number to inside rim, 16.5cm. diam. 10cm. high (3) £150-250

Provenance The Tony Hill collection of studio pottery.

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368

‡ 368. Eric James Mellon (1925-2014) Persephone with a Flautist, 1978 engraving on paper, framed signed, dated, titled, 3/20 in pencil 30 x 19cm (image), 56 x 48cm (frame)

£120-180

Provenance The Tony Hill collection of studio pottery.

‡ 369. Eric James Mellon (1925-2014) Persephone Enthroned in the Realm of the Dead, 1978 engraving on paper, framed signed, titled and dated, 2/15 in pencil 30.5 x 18.5cm (image), 57.5 x 46cm (frame)

369

£120-180

Provenance The Tony Hill collection of studio pottery.

‡ 370. Eric James Mellon (1925-2014) Persephone with Two Musicians, Ascalaphus, a Cat and a Fox, 1978 engraving on paper, framed signed, titled and dedicated to Tony & Viv Hill, 8/25 in pencil, 29 x 18cm (image), 61 x 46cm. (frame) £120-180

Provenance Gallery North The Tony Hill collection of studio pottery.

END OF COLLECTION 370

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371. Bernard Leach CBE (1887-1979), attributed a Leach Pottery slip-ware bowl, rounded rectangular form, combed tan and brown glaze to well, impressed seal mark, 33.5 x 25cm. £500-800

371

Literature Bernard Leach Potter and Artist, Crafts Council, page 103 catalogue number 105 for two comparable circular dishes.

372

372. Leach Pottery a stoneware jug, painted with a band of holly in iron on a buff ground, a Leach Pottery stoneware bowl and a Lowerdown Pottery bowl, impressed seal marks, 15cm. high, (3) £150-200

373 374

373. Bernard Leach CBE (1887-1979) a Leach pottery stoneware bowl, footed form, covered in a running hare’s fur glaze, and another Leach Pottery earthenware bowl impressed seal marks, chip to top rim, 17cm. diam. (2) £120-180 374. Jim Malone (born 1946) a stoneware, footed bowl, covered to the foot with a tenmoku glaze and copper pours, impressed marks, 17cm. diam. £120-180 Provenance Maltby Gallery, 2006. 375. David Leach OBE (1911-2005) a Lowerdown Pottery porcelain box and cover, circular, shallow domed form, painted to the top with a willow tree, in iron oxide, tenmoku and blue, a David Leach canister and cover and a stoneware canister and cover by Richard Batterham, impressed seal mark, 10.5cm diam. (6) £150-250

375

376. John Leach (born 1939) a tall Muchelney Pottery stoneware cider flagon, dated 1995, sack form with loop handle, salt glazed finish, impressed seal marks, dated 1995, 36cm. high £150-200 376

Provenance Purchased by the vendor directly from the potter in 1995. 377. Norah Braden (1901-2001) a stoneware bowl, covered to the foot with a celadon ash glaze, a Katherine PleydellBouverie pot and saucer, a Muchelney vase by John Leach a vase by Eileen Lewenstein, and another pot painted monogram to main bowl, hairline to top rim, 17cm. diam. (6) £150-200

377

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‡ 378. Jim Malone (born 1946) an Ainstable Pottery stoneware vase, bottle form with cylindrical neck and flaring rim, incised with simple comb columns and indents, covered to the foot in a translucent glaze impressed seal marks, 40cm. high £300-500

Provenance Galerie Besson, 1997 ‡ 379. Jim Malone (born 1946) an Ainstable Pottery Korean bottle vase, covered to the foot in a hakeme glaze, with painted fish coming to the surface, impressed seal marks, 30cm. high £200-300

Provenance Bettles Gallery, 1997 ‡ 380. Jim Malone (born 1946) an Ainstable Pottery stoneware bottle vase, painted with simple bamboo stems in cobalt blue, on hakeme glaze impressed seal marks, 32.5cm. high £250-300

Provenance Oxford Gallery, 1994. ‡ 381. Jim Malone (born 1946) an Ainstable Pottery porcelain teapot and cover, with incised comb to the shoulder, covered to the foot in a pale celadon glaze, with over-slung handle, impressed seal marks, 20.5cm. high £150-200

378

‡ 382. Jim Malone (born 1946) an Ainstable Pottery stoneware teapot and cover, with bamboo handle, resist decorated with bamboo motif, khaki glazed to the foot rim, impressed seal marks, 14.5cm. high £180-220

Provenance Purchased directly from the potter in 1995.

379

381

382

380

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383. Mike Dodd (born 1943) a cut-sided stoneware unomi, covered to the foot with an ash glaze, the interior celadon, and another larger Mike Dodd tea bowl covered in an ash glaze impressed seal mark, 12.5cm. diam, (2) £120-180 Provenance Purchased by the vendor directly from the potter.

383

384. Mike Dodd (born 1943) a tall, shouldered stoneware vase with flaring rim, covered to the foot with a translucent nuka over hawthorn ash glaze, the shouldered with simple finger wipe bands, impressed seal marks, 40cm. high £200-300 Provenance Amalgam Gallery, 1997 385. Mike Dodd (born 1943) a swollen stoneware vase with collar rim, impressed motif, covered to the foot with a hakeme and Corsican pine ash glaze, impressed seal mark, 30cm. high £150-200 Provenance Art in Clay, 1996. 386. Malcolm Pepper (1937-1980) a stoneware vase, faceted ovoid with everted collar rim, painted with two landscape roundels, and orchid flowerheads, in iron brown on a peppered oatmeal ground glaze flooded seal mark to side, 29.5cm. high £200-300 Provenance Studio Pottery, Christie’s South Kensington, 28th April 1999 lot 28.

385

384

‡ 387. Rupert Spira (born 1960) a stoneware bowl, painted to the well with a flying bird, in blue on a celadon ground, another bowl painted with grasses by Rupert Spira and a cup, saucer and side plate by Rupert Spira impressed seal marks, 17.5cm. diam. (5) £150-250 ‡ 388. Henry Hammond MBE (1914-1989) a small stoneware bowl, painted to the well in iron oxide on a celadon ground impressed seal mark 14cm. diam. £120-180 ‡ 389. Henry Hammond MBE (1914-1989) a stoneware bowl on shallow foot, painted with fish in iron oxide and blue on a celadon ground, and a small footed dish by Henry Hammond, impressed seal mark, 12cm. diam. (2) £150-200

386

‡ 390. Henry Hammond MBE (1914-1989) a stoneware bowl, painted to the exterior with a large, scaly fish, in iron on an ash glaze impressed seal mark, 21cm. high £300-500

Provenance New Ashgate Gallery, 1996. Literature Ian Bennett British 20th Century Studio Ceramics, Christopher Wood Gallery, 1980, page 29 catalogue no.11 for a comparable bowl decorated with a fish. 387

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390A

391

393

392

390A. An Omega Workshops stoneware ewer, tall, swollen form with strap handle, the pitted body covered in a mustard glaze impressed omega mark, 29.5cm. high £800-1,200 391. Charles Vyse (1882-1971) a stoneware vase, shouldered form, incised with large flowerhead motif, glazed celadon, incised C Vyse Chelsea 18cm. high £200-300 Provenance British Art Pottery, Woolley and Wallis Auctioneer’s 12th December 2018, lot 254. 392. Michael Cardew CBE (1901-1983) a Wenford Bridge Pottery handled bottle with screw cap, shouldered form with applied strap handle and flaring rim, incised with a band of grass motif, glazed mottled green and brown, impressed seal marks, 22.5cm. high £120-180 Provenance Jim Malone 393. Kevin Walker a Fortcustard Pottery vase, shouldered form, decorated with a sailing ship on a calm sea, the reverse with a dessert island with pelicans and a sea dragon, in sand on a brown ground incised marks, 25cm. high £150-200

394

395

394. Kevin Walker a Fortcustard Pottery vase dated 1992, swollen form with everted, fluted rim, painted with two large panels of a hawk perched in a tree bough, in colours incised marks, 28cm. high £150-200 395. Kevin Walker a Fortcustard Pottery vase dated 1992, shouldered form with cylindrical neck and flaring, fluted rim, decorated with panels of birds, glazed blue in resist incised marks, 30cm. high £150-200 ‡ 396. Takeshi Yasuda (born 1943) a stoneware footed bowl covered in a sancai glaze impressed seal mark, 17cm. diam. £150-200

Provenance Porticus, 1989. ‡ 397. Richard Batterham (born 1936) a tall stoneware vase, shouldered form with flaring rim, the body with a broad band of fluting, glazed to the base with an oak-ash glaze, impressed H to base, 41cm. high £300-500 Provenance Chestnut Gallery, 1989

396

397

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398

STUDIO POTTERY FROM THE COLLECTION OF MARY GIBSON-HORROCKS Mary studied at Wimbledon Art School. She was profoundly deaf from birth and learnt to lip read in her teens. Having met Bernard Leach at Eric Gill's home in Ditchling, Mary applied to be one of his students and went to study with him in St Ives in the mid 1940s. Mary became Bernard's chief kiln packer. Mary recalls that when she lived with Bernard Leach, "he was always having parties and my job was always to make the coffee and bring it in so I met all his guests. I met Barbara Hepworth and her husband Ben Nicholson." During WWII Mary went to Suffolk to start a pottery from scratch at Bulmers Brickworks (run by the Minter family). Sam Haile took on the pottery when Mary left and stayed there before going to a position at Dartington in Devon. The plate and jars painted with the date 1943 were made at Bulmers. In February 1946 six pieces of Mary's Pottery were in an exhibition of The Arts and Crafts Society at The Royal Academy, Piccadilly. Mary first met Hamada at Lucie Rie’s flat in London. Mary and Lucie had become friends during her first week studying at Bernard Leach's pottery. Lucie introduced Mary to her friends the Ehler's and she went to work for them at their pottery, Lowerdown, in Bovey Tracey in 1949. The pottery was later taken over by David Leach, son of Bernard. Mary met Michael Cardew at Kingswood pottery in Surrey and she studied with him there. Mary commented on Cardew's teaching, "He was a good teacher, really better than Bernard. I could never get my handles right with Bernard but Michael taught me in two days." Mary went to run the pottery at Buckfast Abbey in 1953. Although making the pottery sold in the Abbey shop Mary could make her own pots and they were sold through various outlets such as Heal's. A lot of her private work was also on commission.

399 398. Mary Gibson-Horrocks (born 1923) three stoneware tiles probably made at the Leach Pottery, St Ives, two dated 1946, each painted and incised with designs, one with Mary on a donkey with Joseph, a bird and a bell flowers on a riverbank, in blue and tenmoku on celadon ground, painted MGH and 1946, 10.3cm square, (3) £120-180 Provenance Mary Gibson-Horrocks

399. Mary Gibson-Horrocks (born 1923) Industrie et Spe, 1943 a slip decorated charger, slip decorated with a stylised bird perched on a rock outcrop, the rim with inscription Industrie et Spe (Courage and Hope), in brown on a sand ground, incised monogram and date 1943 to reverse 32cm. diam. £300-500 Provenance Mary Gibson-Horrocks Mary Gibson-Horrocks joined the Leach Pottery in 1944 before leaving in 1947 to set up a pottery in Surrey with MIchael Cardew. 400. Mary Gibson-Horrocks (born 1923) an earthenware jar and cover, dated 1943, swollen cylindrical form with applied lug handles, partially glazed and slip decorated with date and MGH monogram above handles, and another covered pot by Mary Gibson-Horrocks, painted signature, incised marks and date, minor chips, 22.5cm. high, (4) £150-200 Provenance Mary Gibson-Horrocks

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401

401. Mary Gibson-Horrocks (born 1923) a pottery teapot and cover, moulded in low relief with flowers, glazed bronze-dark brown, a part celadon service by Mary Gibson-Horrocks, and a collection of studio pottery including work by Simon Leach and David Leach impressed marks, 21cm. wide. (a lot) £200-400 Provenance Mary Gibson-Horrocks 402. Leach Pottery a porcelain teapot and cover, incised with a band of stylised leaf panels, glazed to the foot in celadon, a Leach Pottery jug and cover sugar basin, incised with an oak leaf motif, glazed celadon, five Leach Pottery bowls painted Z motif and a collection of Leach Pottery impressed seal marks, 15cm. high (teapot), (a lot) £200-300 Provenance Mary Gibson-Horrocks

402

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404

403 403. Michael Cardew CBE (1901-1983) a Wenford Bridge Soy pourer and cover, ovoid with flaring neck, the body incised with a band of angled columns, covered in a tenmoku glaze, impressed seal marks, repaired spout, 16.5cm. high, (2) £120-180 Provenance Mary Gibson-Horrocks

405

404. Michael Cardew CBE (1901-1983) An Abuja Pottery stoneware teapot and cover, compressed form with pie-crust band, painted arch repeat band in tenmoku, two Abuja tea cups and four saucers by Michael Cardew, a small jug and a covered bowl, an oil pourer with screw cover by Michael Cardew, all Abuja, impressed seal marks, one saucer repaired 20cm. wide (teapot), (13) £200-400 Provenance Mary Gibson-Horrocks 405. Michael Cardew CBE (1901-1983) a Wenford Bridge Pottery casserole and cover, with pie-crust band, painted with geometric panels in ochre and blue on an ash glaze impressed seal marks, 30cm. wide, (2) £300-500

406

Provenance Mary Gibson-Horrocks 406. Michael Cardew CBE (1901-1983) a Kingwood Pottery teapot and cover, painted with a tree motif in blue and green on a cream ground, a bowl and two pedestal dishes by Michael Cardew, four Wenford Bridge tea cups, saucers and side plates by Seth Cardew, a Wenford Bridge flagon and cover, and two tankards, impressed marks, damages to cover, 15cm. high (21) £150-250 Provenance Mary Gibson-Horrocks ‡ 407. Shoji Hamada (1894-1978) a stoneware footed vase, swollen form, painted with a simple leaf repeat in iron over nuka, unsigned, repaired damages, 16cm. high £500-800 Provenance Mary Gibson-Horrocks

407

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‡ 408. Bernard Leach CBE (1887-1979) a Leach Pottery shallow bowl, painted to the interior with two flowers in blue and tenmoku on an oatmeal ground, and a larger Leach Pottery bowl painted with Z brush stroke motif, painted BL to small bowl, repaired, 12cm. diam. (2) £120-180

Provenance Mary Gibson-Horrocks ‡ 409. Bernard Leach CBE (1887-1979) a large Leach Pottery tile, painted with a weeping willow tree, in blue and tenmoku on an off white ground, painted BL monogram and Leach Pottery mark to bottom corners, impressed seal marks to reverse, repaired damages, 15cm. square £200-300

408

Provenance Mary Gibson-Horrocks ‡ 410. Bernard Leach CBE (1887-1979) a large Leach Pottery tile, painted with a figure walking towards a hut, a range of rounded mountains in the background, in tenmoku on an off white ground, painted BL monogram and Leach Pottery mark to bottom corners, impressed seal marks to reverse, 15cm. square £300-500

Literature Bernard Leach A Potter in Japan, Faber, page 58 for a drawing of a comparable farmer. Bernard Leach Potter and Artist, Crafts Council, page 128 figure 141 for a dish with a comparable landscape illustrated. Provenance Mary Gibson-Horrocks ‡ 411. Bernard Leach CBE (1887-1979), attributed a Leach Pottery tile dated 1939, painted with a heraldic shield of a griffin rampant, in tenmoku on an oatmeal ground, painted Leach Pottery and 39 date, impressed Leach Pottery seal marks to reverse, 10cm. square £300-400

Provenance Mary Gibson-Horrocks

409

410

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412

413

‡ 412. Bernard Leach CBE (1887-1979), attributed a Leach Pottery stoneware tile painted with a climbing kiln with smoking chimney, a farmer working the land in the foreground, impressed Leach Pottery seal marks to reverse, 10.2cm. square £300-500

Provenance Mary Gibson-Horrocks Literature Bernard Leach A Potter in Japan, Faber, page 107 for a pen and ink drawing by Bernard Leach of Hamada’s small kiln, Mashiko, for comparison, and page 62 for illustrations of a Tamba Kiln. ‡ 413. Bernard Leach CBE (1887-1979), attributed a Leach Pottery tile, painted with a Japanese well, in tenmoku on an oatmeal ground, impressed Leach Pottery seal marks to reverse, repaired corner, chip to base rim, 10cm. square £300-400

Provenance Mary Gibson-Horrocks Literature Bernard Leach Potter and Artist exhibition, 11th December 1997-29th March 1998, Crafts Council Gallery, London, page 128 catalogue number 140 for a dish with a comparable image illustrated. ‡ 414. Bernard Leach CBE (1887-1979) a Leach Pottery tile painted with a windswept tree in a Japanese mountain landscape, in tenmoku on an oatmeal ground, painted BL and Leach Pottery monogram, impressed Leach Pottery seal marks to reverse, minor chips to edges, 10cm. square £300-400

Provenance Mary Gibson-Horrocks

414

415

‡ 415. Bernard Leach CBE (1887-1979) a stoneware tile painted with a cloud pine tree, dated 1934 in tenmoku on an oatmeal ground painted 34 and BL monogram to front, impressed M pottery seal marks to reverse, 10.5cm. square £300-500

Provenance Mary Gibson-Horrocks ‡ 416. Bernard Leach CBE (1887-1979) a stoneware tile dated 1934, painted with an exotic flower in tenmoku on an oatmeal ground, painted 34 date and BL monogram, impressed M Pottery seal marks to reverse, 10.5cm. square £300-500

Provenance Mary Gibson-Horrocks

416

Literature Bernard Leach Potter and Artist, Crafts Council page 125 catalogue number 137 for a comparable bird painted on a dish. ‡ 417. Bernard Leach CBE (1887-1979) a tile dated 1934, painted with a stylised flying hawk, in circular border the corners dated 1934, in tenmoku on an oatmeal ground, painted BL monogram, 1934 date and impressed M pottery seal marks to reverse, 10.5cm. square £300-500

Provenance Mary Gibson-Horrocks Literature Bernard Leach Potter’s Book, Faber & Faber, page 104 for a similar design of a dated tile with two swallows, illustrated.

417

‡ 418. Bernard Leach CBE (1887-1979) a Leach Pottery stoneware tile, painted with a seashell in tenmoku on an oatmeal ground, painted Leach Pottery seal mark and monogram, impressed Leach Pottery seal marks to reverse, 10.5cm. square £300-400

Provenance Mary Gibson-Horrocks

END OF COLLECTION

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‡ 419. Quentin Bell (1910-1996) a Fulham Pottery plate, painted to the well with a fish, the rim a band of blue with copper lustre spots incised Fulham Pottery Quentin Bell, 25cm. diam. £120-180

419

420

‡ 420. Quentin Bell (1910-1996) a Fulham Pottery plate, painted with a medieval maiden, in blue, pink and aubergine incised Fulham Pottery Quentin Bell, 23.5cm. diam. £120-180

421. Paul Clough an earthenware vase, dated 1991, swollen elliptical form with textured surface glazed mushroom on buff, a burnished raku vase by John Wheeldon, another vase, three large stoneware chargers and four other pots impressed marks, 31.5cm. high (10) £150-200

‡ 422. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery tin-glazed twinhandled soup tureen, cover and ladle, dated 1977, simple brush decoration in brown on a grey ground painted ACS and date code mark, 21cm. high (3) £200-300

421

‡ 423. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery chalice vase, painted in shades of blue and pink on a grey glaze, painted monogram, 16.5cm. high £150-200

423 422

‡ 424. Alan Caiger-Smith MBE, (born 1930) an Aldermaston Pottery footed bowl, flaring form painted with red lustre brush motif, highlighted in sand lustre on an off-white tin glaze painted monogram, AW mark and date code for 21.5cm. diam. £150-250

425. Jonathan Chiswell Jones (born 1944) an earthenware bottle vase, dated 2008, painted with carnation flowers in ruby and gold lustre on a midnight blue ground, painted marks, 25.5cm. high £150-200 Provenance De Morgan Centre, 2008.

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426

427

426. Mary Rich (born 1940) a large porcelain footed bowl, flaring form, decorated to the interior with gilt geometric bands, the exterior bands, on blue glaze bands, impressed seal mark, 30cm. diam. £120-180 Provenance Terrace Gallery, 1991.

428

427. Mary Rich (born 1940) a large porcelain flaring footed bowl, decorated with gilt geometric bands over turquoise impressed seal mark, 24.5cm. diam. £120-180 428. Mary Rich (born 1940) a small porcelain teapot and cover, decorated with geometric bands in gilt on a matt blue ground, a vase and a small dish by Mary Rich impressed seal mark,13cm. high (4) £120-180

429

429. Jane Perryman (born 1947) a raku pottery vase, shouldered, footed form with broad flaring rim, decorated with geometric bands in mushroom and yellow, and another smaller, impressed seal mark, 18.5cm. high, 27cm. diam. (2) £120-180 Provenance Terrace Gallery, 1989 (main vase) Bettles Gallery, 1992 (smaller vase). 430. Michael Allen a coiled slip covered vase, with tall flaring neck, the hammered, textured surface covered in a burnished and reduction fired brown glaze impressed seal mark, 25cm. high £120-180 Provenance Terrace Gallery, 1989.

430

431

431. Tim Andrews (born 1960) a raku flaring bowl, the burnished bowl with crackled blue glaze to well, impressed seal mark, 36.5cm. diam. £120-180 432. Andrew Hill (born 1964) a Raku pottery vase, tall, shouldered form with solifleur flaring aperture, covered in a green glaze, and another Andrew Hill raku vase smaller, incised AH monogram, 33cm. high (2) £150-200 Provenance Bettles Gallery, both vases purchased by the vendor in 1989. 432

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434

‡ 433. Abdo Nagi (1941-2001) a large flaring porcelain bowl, footed form, speckled blue and turquoise glaze with bronze rim, impressed seal mark, 35cm. diam. £400-600

Provenance Candover Gallery, 1989. ‡ 434. Estella Campavias (1918-1990) a flaring bowl covered in a yellow glaze, impressed E seal mark, 29.5cm. diam. £120-180

435

435. Sandy Brown (born 1946) a large earthenware platter, square section with painted design in blue, black and green on a cream ground, and a large tazza by Sandy Brown, signed to the corner Sandy Brown, small glaze frit to corner, 48cm. square, (2) £120-180 436. Susanne Silvertant, attributed a Terra Delft footed vase and cover, swollen, rectangular section, incised rectangular panels glazed blue and white, on linear ground, and a square dish with window incised signature, paper flyer, 33cm. high, (3) £150-250 437. John Pollex a square plate form, slip decorated with painted geometric design, in vivid colours, and a shouldered jug by the same artist impressed seal marks, 29.5cm. square, (2) £200-300 Provenance Gordon Hepworth Fine Art Private collection.

436

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438

MARIANNE DE TREY 439

438. Marianne De Trey CBE (1913-2016) a porcelain stem vase, flaring conical bowl, painted with mint spots on a mushroom and white ground, another similar, another decorated with blue spots on a red ground, and another square section vase, impressed marks, 9.5cm. high, (4) £120-180 439. Marianne De Trey CBE (1913-2016) a porcelain stem cup, painted with columns in flambe red and blue on a white ground, the interior with similar roundel, and two smaller footed vases impressed seal marks, 12cm. high (3) £120-180

440

440. Marianne De Trey CBE (1913-2016) a porcelain bowl, footed, flaring form painted with geometric abstract panels in red and blue on a white ground, and two porcelain vases of elliptical section with splashed mint-green and sang de boeuf glaze impressed seal marks, 17cm. diam. (3) £120-180 441

441. Marianne De Trey CBE (1913-2016) a porcelain footed bowl, flaring conical form, painted with radiating geometric panels in mint green, black, blue and pink, and another smaller, impressed seal marks, 20cm. diam. (2) £120-180 442. Marianne De Trey CBE (1913-2016) a porcelain bowl, footed, flaring conical form with pinched rim, glazed with geometric radiating design in pink and brown, a smaller pedestal bowl with flowerhead motif and two other pedestal bowls, impressed seal marks, 16.5cm. diam. (4) £120-180 443. Marianne De Trey CBE (1913-2016) a porcelain footed bowl, flaring conical form, glazed in shades of red and blue on a white ground, and two smaller bowls, impressed seal marks, 15.5cm. diam. (3) £120-180

442

443

444. Marianne De Trey CBE (1913-2016) an unusual stoneware vase, cylindrical with flaring cylinder rim, the body with impressed geometric decoration, glazed brown and oatmeal, impressed seal mark, 21cm. high £120-180 445. Marianne De Trey CBE (1913-2016) a porcelain vase, ovoid with flaring rim, painted with geometric design in red and blue on a white ground, a sack form vase and another smaller impressed seal marks, 14.5cm. high (3) £120-180

444

445

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A PRIVATE COLLECTION OF LINDA GUNN-RUSSELL WORKS

‡ 446. Linda Gunn-Russell (born 1953) Speckled jug, 1985, a streamlined terracotta jug form, painted and sponged colours, signed Linda GR 1985, 33cm. high £150-200

446

447

Literature Studio Pottery Christie’s South Kensington 15th November 2000, lot 86 for a comparable decoration on a vase form.

‡ 447. Linda Gunn-Russell (born 1953) Ice Cream Cone jug, angular form, painted with pink spots and blue grid panels, painted Linda GR to base, 29.5cm. high £120-180

‡ 448. Linda Gunn-Russell (born 1953) tall ewer with bird’s beak spout, dated 1988, terracotta, painted and sponged with a geometric pattern in blue, black and terracotta signed Linda GR, 1988, 41.5cm. high £300-400

‡ 449. Linda Gunn-Russell (born 1953) jug with spots, 1983, terracotta, resist decorated in green incised Linda GR 1983, small nick to rim, 29cm. high £150-250

448

449 ‡ 450. Linda Gunn-Russell (born 1953) ewer with bird’s beak spout, dated 1986, terracotta, sponged and painted, with blue panels, signed LindaGR and 1986, 27cm. high £150-200

‡ 451. Linda Gunn-Russell (born 1953) vase with diamond rim, dated 1986, terracotta, sponged and painted, with pink and blue panels, signed Linda GR 86, 28.5cm. high £150-200

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452

453 ‡ 452. Linda Gunn-Russell (born 1953) Vase in the form of a stylised figure, 1987, terracotta, textured grey with electric blue interior, painted Linda GR 1987, 36cm. high £120-180

‡ 453. Linda Gunn-Russell (born 1953) tall streamlined jug with beak spout, 1988 a terracotta jug form, painted blue with lilac interior, signed Linda GR 1988, 53.5cm. high £300-400

‡ 454. Linda Gunn-Russell (born 1953) Green Lady, 1990, a tall terracotta sculpture, painted green the interior lilac, signed LindaGR 1990, 72cm. high £800-1,200

454

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‡ 455. Linda Gunn-Russell (born 1953) Vase with triangular rim, dated 1984, terracotta, painted with blue and yellow, signed GR 1984 to the base, 36cm. high £150-250

‡ 456. Linda Gunn-Russell (born 1953) Vase with square neck, dated 1984, terracotta, painted with yellow decoration, signed Linda 84 to base, 34.5cm. high £150-200

‡ 457. Linda Gunn-Russell (born 1953) Torso, dated 1984, a pair of terracotta vases, with speckled decoration and black highlights, signed LGR 84 to base, 20.5cm. high, (2) £150-200

455

456 ‡ 458. Linda Gunn-Russell (born 1953) Cactus Pot, a terracotta vase form, painted in lime green and black, unsigned, 22cm. high £120-180

‡ 459. Linda Gunn-Russell (born 1953) Flaring bowl, 1983, terracotta, resist decorated with green stripes, incised LindaGR 1983, 35cm. wide £150-200

‡ 460. Linda Gunn-Russell (born 1953) jug with stripes, 1982, terracotta, resist decorated with a celadon green glaze signed Linda GR dated 1982, 28cm. high £150-250

457

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458

459

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462

461

‡ 461. Linda Gunn-Russell (born 1953) Coffee pot with over-slung handle, 1985, terracotta with painted yellow black decoration, painted Linda GR 1985 to base, 27cm. high, (2) £120-180

463

‡ 462. Linda Gunn-Russell (born 1953) Teapot and cover, dated 1985, ovoid with painted green, pink and white decoration, painted Linda GR 1985 16cm. high (2) £120-180

‡ 463. Linda Gunn-Russell (born 1953) Coffee pot and cover, dated 1983, terracotta, with splashed yellow and white glaze incised Linda GR 1983, 24cm. high, (2) £120-180

‡ 464. Linda Gunn-Russell (born 1953) Coffee pot and cover, 1984, terracotta, with sponged decoration, interior glazed lime green painted LindaGR 84, 27.5cm. high (2) £120-180

END OF COLLECTION

464

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‡ 465. Steve Buck (born 1949) Shell Form with bowl, an earthenware sculpture, glazed pale blue, terracotta and mushroom, unsigned, 38cm. high, 40cm. wide. £150-250

‡ 466. Steve Buck (born 1949) Shell Form, an earthenware sculpture, glazed in blue, terracotta and mushroom, unsigned, 40cm. high £150-250

Literature Oliver Watson Studio Pottery, Phaidon, page 156 catalogue number 65 for a hand built shell form piece dated to 1987.

465

‡ 467. Ben Arnup (born 1954) Optical vase, wide flattened form, resist decorated in brown, painted B10 Ben Arnup, 53cm. wide £150-200

“Constructing pots is a game, where I play with our perception of reality. Any wit or subtle humour in the ceramics is intended. The simple shapes and spaces described by the drawn illusion, is contrasted by the solidity of clay, where the surface patterns and textures give contrary evidence, that of a shallow form” Ben Arnup

466

467

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469 468

‡ 468. Philippa Cronin (born 1957) a stoneware vase, dated 1983, angular form, painted decoration, and another by the same artist, painted PJC 1983 to base 48cm. high, (2) £150-200

‡ 469. Jonathan Middlemiss (born 1949) a Boat Vessel Series vase, cut and reformed thrown ceramic, with optical design in shades of blue impressed seal mark, 26.5cm. high £150-200

‡ 470. Claire Ireland (born 1959) a small porcelain teapot and cover, flattened form, incised and painted with sky blue and green optical chequerboard design, signed to the side, 12.5cm.. high (2) £80-120

470

471

‡ 471. Renata Fontenla White Vessel, 1986, earthenware, textured finish, unsigned 29cm. high £120-180

Provenance Anatol Orient

‡ 472. Walter Keeler (born 1942) a salt-glazed stoneware platter, with applied scrolling twin-handles, impressed seal mark, 35cm. diam. £150-200

472

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474

WALTER KEELER

473

‡ 473. Walter Keeler (born 1942) a salt-glaze stoneware jug, angled form with strap handle, glazed blue/grey, impressed seal mark, 15cm. high £150-200

Provenance A private collection of Walter Keeler pottery. ‡ 474. Walter Keeler (born 1942) a salt-glaze stoneware jug, angled body and strap handle, glazed blue/grey, impressed seal mark, 19cm. high £150-200

Provenance A private collection of Walter Keeler pottery. ‡ 475. Walter Keeler (born 1942) a salt-glaze stoneware jug, tapering, elliptical body with vertical spout and strap handle, glazed mottled blue impressed seal mark, 22cm. high £150-200

Provenance A private collection of Walter Keeler pottery. ‡ 476. Walter Keeler (born 1942) a salt-glaze stoneware jug, elliptical section with applied strap handle and long streamlined spout, glazed speckled dark blue, impressed seal mark, 21cm. wide £200-300

Provenance Private collection. ‡ 477. Walter Keeler (born 1942) a salt-glaze stoneware vase, flaring, tear-drop section, glazed speckled blue impressed seal mark, 12.5cm. high £150-200

475

Literature Emmanuel Cooper and Amanda Fielding Walter Keeler, page 38 for a comparable vase illustrated. Provenance Private collection.

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476

477

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‡ 478. Walter Keeler (born 1942) a salt-glaze stoneware articulated jug, with blue and grey glaze applied seal mark, 37.5cm. high £300-500 Provenance Private collection.

‡ 479. Walter Keeler (born 1942) a salt-glaze stoneware fruit bowl, the fluted abstract Tyre bowl on tapering feet, blue and grey glaze impressed seal mark, 32cm. wide. £250-300 Provenance Private collection.

‡ 480. Walter Keeler (born 1942) a salt-glaze stoneware platter with loop handles, covered in a blue/grey glaze impressed seal mark, 35cm. wide £300-500

Provenance A private collection of Walter Keeler pottery.

478

‡ 481. Walter Keeler (born 1942) a salt-glaze stoneware dish with loop handles, elliptical covered in a blue/grey glaze impressed seal mark, 19cm wide £120-180

479

480 481

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‡ 482. Walter Keeler (born 1942) a salt-glaze stoneware storage jar and cover, elliptical form, the tapering cover with tall pierced arch finial, covered in a dark blue/grey glaze impressed seal mark, 24.5cm. high £150-200

‡ 483. Walter Keeler (born 1942) a Whieldon Ware angled jug with wavy handle, covered in a Whieldon glaze, sponged brown, yellow and green impressed seal mark, 20.5cm. high £120-180

482

‡ 484. Walter Keeler (born 1942) a Whieldon Ware stoneware charger with cut rim, covered with a whieldon glaze, dark blue with green and yellow splashes impressed seal mark, 36cm. wide £120-180

‡ 485. Walter Keeler (born 1942) a Cut Branch stoneware bowl with pipes, the round bowl set with twelve clusters of pipes to the rim, covered in a blue and olive Whieldon glaze, impressed seal mark to one pipe, 38cm. wide £500-800 Provenance Contemporary Potters Association, 2017 Private collection.

483

485 484

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486

487

‡ 486. Walter Keeler (born 1942) a salt glazed stoneware teapot with gun-barrel spout and twisted overslung handle, covered in a mottled blue glaze impressed seal mark, 20cm. high £250-350

Provenance Private collection. ‡ 487. Walter Keeler (born 1942) a salt-glazed stoneware teapot and cover, with tube handle and spout, glazed blue impressed seal mark, 28cm. wide. £250-300

Provenance Private collection. ‡ 488. Walter Keeler (born 1942) a salt-glaze stoneware teapot and cover, the ovoid body with offset aperture and cover, looped pipe handle and spout, covered in a mottled blue/grey glaze impressed seal mark, 30cm. wide £250-300

Literature Emmanuel Cooper and Amanda Fielding Walter Keeler, page 96 for a comparable teapot illustrated in detail, dated 1989.

488

‡ 489. Walter Keeler (born 1942) a salt-glaze stoneware teapot and cover, elliptical section with gunbarrel spout and over-slung handle, impressed seal mark, 17.5cm. high £250-350 Provenance Private collection.

489 both sides

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492

491

490

490. Alain Gaudebert (born 1937) a stoneware vase and cover, the swollen cylindrical vase on feet, with cut geometric patterns, the flat circular cover with modelled bull head finial, covered in a black glaze incised signature, one horn re-stuck, 35.5cm. high, (2) £150-200 Provenance Purchased by the vendor in Burgundy, 2004. ‡ 491. Siddy El Nigoumi (1931-1996) a rounded square section bowl, dated 1985, incised with geometric panel and borders in terracotta and brown incised Nigoumi 1985 to reverse, 27cm. wide £80-120

Provenance purchased by the vendor in 1990 at auction. 492. Donald Gilbert (1900-1961) a stoneware model of a panther, modelled walking, amongst grasses, on flaring rectangular base, covered in a speckled mushroom glaze, incised Gilbert to base, 12cm. wide. £120-180

493

494

493. Paul Young (born 1961) Tree, an earthenware candlestick, glazed in colours and a bird house money box, impressed seal mark, 28.5cm. high (2) £200-300 494. Paul Young (born 1961) Sheep Tree, an earthenware sculpture, glazed in colours impressed seal mark to base 35.5cm. high £200-300 495. Paul Young (born 1961) Howlin Wolf an earthenware figure, glazed in colours titled to base, unsigned, 25.5cm. high £350-450

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495

496

496. Hilary Brock (born 1933) a porcelain comical sculpture, modelled as a hunter being attacked by a tiger, a lady sitting on the back of the tiger, distracting the tiger with an umbrella, in colours painted monogram 19cm. high £150-200

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‡ 497. Peter Hayes (born 1946) a sack form raku sculpture, dated 1988, rounded form with solifleur neck, textured finish covered in a white glaze impressed seal mark, painted signature, dated 88, 22cm. high £120-180 ‡ 498. Peter Hayes (born 1946) a sack form raku sculpture, slender with narrow solifleur neck, textured finish with cream glaze impressed seal mark, incised signature, 29.5cm. high £120-180 ‡ 499. Peter Hayes (born 1946) a large sack form raku sculpture with keyhole and staples, dated 2004, on polished black slate base, incised P Hayes 04 to slate base, 68cm. high £600-1,000

497

‡ 500. Peter Hayes (born 1946) a tall, sack form raku vase, textured finish with small central aperture, covered in a matt white glaze unsigned, 53cm. high £500-800

Provenance Peter Dingley, 1989

498

499

500

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501. Nine books on studio pottery, comprising; Issey Miyake meets Lucie Rie Japanese exhibition catalogue, five various Lucie Rie catalogues, Walter Keeler by Emmanuel Cooper and Amanda Fielding, Lucie Rie Sale of a Lifetime Bonhams auction catalogue and another Bonhams catalogue, (9) £50-150

501

502. Alan Wallwork (born 1931) a stoneware split form vase, glazed in mushroom with turquoise pooling, a tall spiralled vase by Alan Wallwork and a pierced stoneware bowl by Alan Wallwork, incised AW, 10.5cm. high, (3) £150-250

502

Provenance Harlequin Gallery, Greenwich. 503. Robert Fournier (1915-2008) a stoneware disc form vase with two aperture, with splashed volcanic white glaze impressed seal mark to base 21cm. high £120-180 504. Mick Casson (1925-2003) a tall, stoneware vase, swollen cylindrical form, broad painted paradise flowers, in pale blue and ash green on a sand ground, impressed seal mark, 77cm. high £300-500 Provenance Wobage Farm, 1989. This tall vase is believed to have been produced in a small run of six.

503

505. Ursula Scheid (born 1932) a stoneware platter, dated 1988, near square section with shallow bowl, resist decorated with simple geometric design in salmon on a speckled mushroom glaze impressed seal mark with date, two small chips to back surface 37 x 38cm. £300-400

504

506. John Reeve (1929-2012) a tall stoneware vase, square section, shouldered form with cylindrical neck, incised decoration, covered to the foot with a celadon glaze impressed seal mark to base, 54cm. high £200-400

505

‡ 507. Colin Gorry (born 1952) a tall stoneware ewer form with mushroom and white volcanic glazes, and a hand-build vase with partial yellow/orange glaze by another potter indistinct impressed seal mark, painted A27 to base, 56.5cm. high (2) £200-300

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506

507

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508

509

508. Suzanne Bergne (born 1939) a white porcelain, beaker vase, flaring form with applied grey volcanic glaze impressed seal mark, 22.5cm. high £120-180 Provenance Beaux Arts, 1993.

‡ 509. Colin Pearson (1923-2007) a large Winged wall vase, covered in a semi-translucent white glaze impressed seal mark, 40cm. wide £1,000-1,500

‡ 510. Colin Pearson (1923-2007) a winged porcelain bottle vase, ovoid with tapering neck, and two applied wing-handles, covered to the foot with a crackled celadon ground impressed seal mark, 23.5cm. high £400-600

‡ 511. Gordon Baldwin OBE (born 1932) Painting in the form of a Bowl, hand built bowl, circa 1976 with simple painted design on dolomite glaze, painted signature to base, applied collection label 33cm. diam, 17cm. high £800-1,200

510

511 two views

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512

513

514

‡ 512. Wendy Hoare splitting pot, 1994, a large oval vessel with raised asymmetric torn neck with incised decoration, terracotta glaze impressed seal mark to side, 48cm. wide, 34cm. high. £200-400

Provenance London Potters, 1994. ‡ 513. Jack Doherty (born 1948) a porcelain hanging charger, with cut and brushed decoration in mushroom, brown and black on a speckled off-white ground painted monogram, 44.5cm. diam. £150-200

Provenance Porticus, 1989.

515

‡ 514. Norma Atherton a burnished earthenware vase, shouldered form with offset aperture, covered in a smoked mushroom glaze incised 96 to base 41cm. wide £120-180 ‡ 515. Jim Robison (born 1939) a large slab built vase, textured, irregular surface with painted decoration, incised signature, 65cm. high £200-300

Provenance Bettles,1990. ‡ 516. David Howard Jones (born 1953) a large bellied raku pottery vase, resist decorated with geometric panels in blue, black and pitted off white glazes, incised monogram, 47cm. high £300-400

Provenance Candover Gallery, 1988.

516

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517

518

‡ 517. Duncan Ross (born 1943) a terra-sigillata thrown and burnished earthenware vase, swollen form with flaring rim, impressed seal mark to base, 21.5cm. high £200-400 Literature Amanda Gane Contemporary British Crafts The Goodison Gift to the Fitzwilliam Museum, PWP, page 24 catalogue number 3 for a comparable vase.

Provenance Purchased from Duncan Ross by the vendor in 1990.

519

‡ 518. Duncan Ross (born 1943) a tall, slender burnished terra sigillata vase, geometric patterns in black and orange, incised monogram, applied label, 29.5cm. high £250-300 Provenance Candover Gallery, 1990. ‡ 519. Gabriele Koch (born 1948) a large burnished earthenware vase, ovoid with circular aperture, burnished terracotta with deep umber veins, incised signature to base, 37cm. high £400-600

Provenance Beaux Arts, Bath 1990. ‡ 520. Jenifer Jones (born 1940) a tall stoneware garden pot with pierced base, incised bands of triangles and stripes, glazed black and rust, impressed seal mark to outside top rim, 62cm. high £300-500

Provenance Patrons of Pots, 1989

520

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JOHN WARD

‡ 521. John Ward (born 1938) a hand-built stoneware vase, Tulip form, covered in a matt white glaze impressed seal mark, 21cm high £1,000-1,500

Provenance Craft Potter’s Association, 1990. 521

‡ 522. John Ward (born 1938) a hand-built stoneware vase, tapering form with, rectangular section rim, impressed seal mark, 10cm. high £700-1,000

Provenance Courcoux & Courcoux Private collection.

522

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â&#x20AC;Ą 523. John Ward (born 1938) a large hand-built stoneware vase, prow form, rounded with pulled rim, glazed with matt blue and black geometric panels, impressed seal mark, 37cm. high ÂŁ3,000-5,000

Provenance Beaux Arts, 1991.

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‡ 524. John Ward (born 1938) a hand-built stoneware vase, ovoid with tapering square neck, matt black with rust brown, the rim highlighted with turquoise impressed seal mark, 27cm. high £1,500-2,000

Provenance Courcoux & Courcoux Private collection. 524

‡ 525. John Ward (born 1938) a hand built stoneware vase, ovoid with cut angled rim, glazed with matt sand and blue panels, impressed seal mark, 22.5cm. high £1,500-2,000

Provenance Amalgam Gallery, 1991 525

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â&#x20AC;Ą 526. John Ward (born 1938) a hand-built stoneware vase, tapering cylindrical form with pulled point, white with turquoise stripes, impressed seal mark, 27.5cm. high ÂŁ2,000-3,000

Provenance Courcoux & Courcoux Private collection.

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528 527 527. Dan Kelly (born 1953) a stoneware vase, elliptical form, with impressed top rim, applied decoration metallic black glaze with white highlight, unsigned, 10cm. high £150-200 Provenance New Ashgate, 2005. 528. Takeshi Yasuda (born 1943) a small jug with applied handle, covered in a cream glaze, a Kevin de Choisy bowl with fluted rim, covered in a Whieldon glaze, and a Whieldon glaze teapot and cover, impressed seal mark, 13.5cm. high (jug), (4) £150-200 529. Peter Beard (born 1951) a stoneware vase with inlaid turquoise columns, matt grey, and a low disc form vase with knopped neck by Peter Beard covered in a golden glaze impressed seal mark, 12.5cm. high (2) £120-180

529

530. Peter Beard (born 1951) a swollen stoneware vase with lug handles, vertical columns, with pale blue and cream glazes,applied paper gallery label to base, 21cm. high £200-300 Provenance Peter Dingley, 1989. ‡ 531. Ian Godfrey (1942-1992) Bird Bowl, a stoneware sculpture, the winged bowl with horned mask, with applied animals and a village scene to the well, 20cm. wide £150-250

530

531

138

‡ 532. Ian Godfrey (1942-1992) a stoneware small teapot with birds, the teapot applied to the shoulder with eight birds, faceted spout and applied handle, the cover with ‘nest’ knop, covered in a soft white translucent glaze, unsigned, 9cm. high £300-400 Provenance Jim Malone

532

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‡ 533. Robin Welch (born 1936) a tall, swollen cylindrical stoneware vase with split rim, incised geometric Aboriginal landscape design, with orange wash glaze impressed RW seal, 52.5cm. high £200-300

Provenance Breaux Arts, 1991.

‡ 534. Robin Welch (born 1936) a tall, flaring cylindrical stoneware vase, with everted rim, painted with abstract landscape in yellow, green and red on a white ground, impressed RW seal 50.5cm. high £250-350

Provenance Beaux Arts, 1991.

‡ 535. Dame Lucie Rie DBE (1902-1995) a stoneware coffee pot and cover, with pulled handle, covered in a bronze glaze with sgraffito band to neck, and a smaller milk-jug covered in a bronze glaze by Dame Lucie Rie impressed seal marks, professional restoration, 23.5cm. high, (3) £400-600

533

534

535

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536

‡ 536. John Maltby (born 1936) a cased display of two Stoneshill Pottery stoneware gourd vases and a candlestick by John Maltby, produced for the Decorative Arts collection, Elmslie Philip Collection, Schools Museum Service Torquay, in plywood travel case, impressed seal marks, vase 8cm. high £600-800 ‡ 537. John Maltby (born 1936) a stoneware kidney shaped dish, painted with a goldfish pond design to the interior, painted Maltby signature, 20.5cm. wide. £120-180

537

Provenance First Gallery, 1989. ‡ 538. John Maltby (born 1936) a stoneware footed dish, rounded rectangular section decorated with a vase of flowers, a bowl decorated with trees on a riverbank by John Maltby and a chest of drawers ceramic sculpture by John Maltby painted Maltby signature to first two, chest with impressed seal mark, 18cm. wide (dish), (3) £150-250 ‡ 539. John Maltby (born 1936) Seabird, a stoneware sculpture with articulated fish, on ebonised wood base, signed to base, impressed seal marks, applied title and number labels, 31cm. high, 30.5cm wide. £300-500

Provenance Beaux Arts, 2006. ‡ 540. John Maltby (born 1936) a stoneware box and cover, the rectangular base on four feet, the cover with loop finial, painted with abstract flowers and trellis design in colours painted Maltby signature, applied number 12 label, 18.5cm. wide, (2) £200-300

538

Provenance Aberystwyth, 1989.

540

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541 ‡ 541. Ewen Henderson (1934-2000) an early stoneware unomi, the footed bowl of waisted form, covered in a semi-translucent ash glaze, and two watercolours by Ewen Henderson, watercolours monogrammed EH one dated 1972, 8.5cm. high, 11cm diam. (tea bowl), (3) £200-300

Provenance Jim Malone, the unomi was purchased in the 1970s from Camberwell School of Art.

‡ 542. Ewen Henderson (1934-2000) a stoneware unomi, irregular form with applied slip and glaze unsigned, 15cm. wide, 7.5cm. high £400-600

542

Provenance Jim Malone.

‡ 543. Ewen Henderson (1934-2000) a porcelain dish with curled rim, textured surface with splashed and running glazes unsigned, minor glaze chip to rim, 23.5cm. wide £150-250

‡ 544. Ewen Henderson (1934-2000) a large porcelain charger, with applied slips, textured surface decoration in white and pale blue unsigned, 49cm. wide £500-700

543 ‡ 545. Ewen Henderson (1934-2000) a stoneware vase with applied slips, ovoid with collar rim, textured banded surface in white and cream with blue highlights, unsigned, 21cm. high £400-600

544

545

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‡ 546. Emmanuel Cooper OBE (1938-2012) a stoneware jug with applied handle, covered in a banded white and translucent glaze impressed seal mark, 30.5cm. wide, 18cm. high £400-600

546

Provenance Private collection.

‡ 547. Emmanuel Cooper OBE (1938-2012) a porcelain footed bowl with bronze rim, internally decorated with radiating pink lines between blue bands, on a pitted white glaze impressed seal mark, 24cm. diam. £700-1,000

547

Provenance Private collection.

‡ 548. Emmanuel Cooper OBE (1938-2012) a stoneware vase, elliptical cylindrical form, covered in a running volcanic white glaze, impressed seal mark, painted VII to base, 22.5cm. high £500-1,000

Provenance Beaux Arts Bath

548

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KATE MALONE MBE

‡ 549. Kate Malone MBE, (born 1959) a stoneware vase, 2013, elliptical section, the footed vase with applied ball decoration, covered in an ochre glaze over yellow crystalline glaze, incised Kate Malone, 2013, 17.5cm. high £150-250

Provenance Purchased directly from the artist.

‡ 550. Kate Malone MBE, (born 1959) Magma Pot, 2015, stoneware vase with applied ball and cubes, covered in a sand and blue crystalline glaze, incised Mrs Kate Malone 2015, EPR 102 pq, 15cm. high £300-500

549

Provenance Purchased directly from the artist.

‡ 551. Kate Malone MBE (born 1959) Pumpkin box, 1993, a pot and cover glazed blue with yellow, pink and turquoise spots, the interior vivid red, impressed seal marks, 15cm. high £300-500

Literature Amanda Gane Contemporary British Crafts The Goodison Gift to the Fitzwilliam Museum, PWP, page 102 catalogue number 37 for a comparable vase. Provenance Kate Malone, Holland Park, 1995 550

551 open

551

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DESIGN CONTINENTAL CERAMICS 552. An Art Nouveau French silver mounted stoneware desk set probably Denbac Pottery, in the manner of Hector Guimard, comprising inkwell, pen-tray, box with hinged cover probably for stamps, paper-knife, blotter and a pair of candlesticks, each with high-fired crystalline blue and cream glaze stamped RL lozenge mark, damages, 25cm. wide (pen tray), (7) £500-1,000

552

Catalogue notes The potter Rene Denert (1871-1937) and Rene-Louis Balichon (1885-1949), a merchant, started the pottery in 1910, producing work until its closure in 1952. 553. An Auguste Delaherche high-fired stoneware vase, model no.1783, shouldered cylindrical form, the shoulder with modelled border, covered in a streaked turquoise and lavender glaze over a celadon green ground, impressed marks, 17cm. high £1,000-1,500 554. A Clement Massier Golfe Juan lustre vase, swollen form with impressed dimples, tapering cylindrical neck, painted with berried foliage in golden lustre on a red lustre ground, and a Van Briggle vase modelled in relief with an Art Nouveau maiden, glazed red and blue impressed and painted Massier marks, impressed marks to Van Briggle pot, 18.5cm. high, (2) £150-200 554

553

555. A large Gustavsberg Argenta stoneware dish designed by Wilhelm Kage, square section inlaid with a seated woman with a bird in silver on a mottled green ground painted marks, model no.1196, 29cm. square £150-200 Literature Scandinavian Ceramics and Glass in the 20th Century, Victoria & Albert Museum, page 109 figure 348 for a vase with comparable allegorical figure illustrated. 556. A Herend Pottery Macao porcelain floor jar and cover designed by Jeno Farkashazy, painted by Szabolcs Vajda, with birds amongst peony blooms in red, white and green on a black ground, highlighted in gilt, printed and painted marks, 59cm. high, (2) £200-300 557. A Bing & Grondahl porcelain vase designed by Ebbe Sandolin, model 537K, painted with an entwined serpent, in blue on a crackled ground, the rims glazed with brown bands, printed and painted marks, 29cm. high £300-400

555

Literature Deutsche Kunst und Dekoration, 1928-29 this vase illustrated. 558. A Rorstrand porcelain dish, elliptical dish cast with a large scaly fish and waterweed, glazed in colours, and another modelled with a walrus, printed factory marks, 22cm. wide (2) £150-200

556

144

557

558

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559

560

561

559. A Royal Copenhagen model of a crawling panther designed by C.F Liisberg, model no.472, glazed in colours printed factory marks, 47cm. wide £200-300 560. A Royal Copenhagen porcelain box and cover, model no612/299, painted with a cat sitting next to a pot plant on a windowsill, in colours printed and painted marks, 10.5cm. wide. £120-180 561. A Royal Copenhagen porcelain centrepiece, elliptical form, modelled with mouse perched on the top rim, glazed in colours, printed and painted marks, 20cm. wide £150-200

563 562

562. A Royal Copenhagen plaque designed by Knud Kyhn, model no.21714, cast in low relief with a horse and foal, glazed in shades of brown printed and painted marks, impressed KK mark, 27.5 x 22cm. £120-180 563. A Royal Copenhagen model of a Hippopotamus designed by Knud Kyhn, model no.20132, modelled standing, with mottled glaze, and another Royal Copenhagen hippopotamus, model no.20234, modelled yawing printed and painted marks, incised monogram, 28cm. wide (2) £120-180

564

565

564. A Royal Copenhagen model of a Pigmy Hippopotamus designed by Marie Princess, modelled standing, glazed in colours printed factory marks, 33cm. wide £200-300 565. A Dahl Jensen porcelain figure of a woman playing a mandolin designed by Jens Jacob Bregno, model no.1172, and another Dahl Jensen ‘Morning’ figure of woman, model no.1077, glazed in colours printed factory marks, impressed monogram, 25cm. high (2) £120-180 566. A Bing and Grondahl porcelain model of a man being attacked by a large fish designed by Jean Rene Gauguin, glazed in shades of grey impressed Kubbenhaven mark, painted signature and 84, 29cm. wide £200-300 566

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568

GLASS

567

567. A James Powell & Sons Whitefriars sky blue glass vase designed by Harry Powell, ovoid with collar neck, etched with a band of stylised birds and applied prunts, the neck with etched wavy bands, unsigned, 14cm. high £150-200 Literature Wendy Evans, Catherine Ross and Alex Werner Whitefriars Glass James Powell & Sons of London, Museum of London, page 270 plate 402 an original photograph of this vase illustrated in the section ‘Glasses with Histories’ by Harry Powell. 568. A set of eight James Powell & Sons Whitefriars glass Lotus sherry glasses designed by Harry J. Powell, each engraved with a frieze of Lotus flowers, unsigned, 11.5cm. high (8) £400-500 Literature Wendy Evans, Catherine Ross & Alex Werner, Whitefriars Glass James Powell & Sons of London, Museum of London, page 81 plate 82 for an illustration of the Lotus or Water-lily design which according to Harry Powell was designed in the 1890s for the Prince of Siam, who visited England in 1897. Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 32 figure 85 for a finger bowl in this design.

569

146

570

569. A James Powell & Sons Whitefriars Sea Green glass vase, swollen cylindrical form, the green glass body applied with blue teardrops, and foot rim, unsigned, 16.5cm. high £150-200 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 106 plate 40 for a comparable example. 570. Six James Powell & Sons Whitefriars glass finger bowls and saucers, the bowls of simple waisted, circular form, the saucers with pulled rim and lustrous surface finish unsigned, 18.5cm. wide (saucers), (12) £120-180 571. A rare Moncrieff’s Monart Ware glass lamp shade, bell shaped, mottled green graduating to blue rim with purple whorls and aventurine gold inclusions, metal fitting unsigned, 21.5cm. high (glass shade) £150-200 Literature Ysart Glass, Volo Editions, page 82-83 for comparable Monart Ware shades.

571

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572

573

574

572. An Art Nouveau Galle cameo glass vase designed by Emile Galle, tapering cylindrical, solifleur form, opaque glass cased in orange, cameo decorated with berried foliage cameo signature Galle, 9.5cm. high £150-200

573. An Art Nouveau Galle cameo glass solifleur vase designed by Emile Galle, flat disc body with cylindrical neck and everted rim, opaque glass cased in green, cameo decorated with flowers and foliage, cameo Galle signature, 17cm. high £150-200

574. An Art Nouveau Galle cameo glass vase designed by Emile Galle, shouldered form, opaque and yellow glass cased in umber, cameo decorated with a lakeside landscape, incised signature, 12.5cm. high £200-300

575. An Art Nouveau Galle cameo glass vase designed by Emile Galle, compressed body with tall cylindrical neck, opaque body cased in ochre, cameo decorated with wild flowers and foliage cameo signature, 34cm. high £300-500

575

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576. An Art Nouveau Galle cameo glass vase designed by Emile Galle, tapering cylindrical form with everted rim, opaque and yellow glass cased in purple, cameo decorated with cyclamen cameo signature, 19.5cm. high £250-350 577. A large Art Nouveau cameo glass vase probably Galle, slender, swollen, shouldered form with collar rim, pale pink glass cased in pink and green, cameo decorated with pink carnation flowers, unsigned, drilled hole to side, 35cm. high £150-200 578. An Austrian Iridescent glass vase probably Loetz, shouldered swollen form with cylindrical solifleur neck, covered with a splashed blue and green iridescence, another iridescent glass vase with four loop handles, an iridescent glass inkwell with brass mount probably Palme Koenig, two glass vases with applied green trails and two golden iridescent glass bowls probably WMF unsigned, 8.5cm. high (7) £150-200 576

577

579. A rare Amalric Walter pate de verre glass Hollow Duck paperweight, cast in olive green glass, signed A Walter Nancy to base, 8cm. wide. £200-300 Literature Keith Cummings Amalric Walter Broadfield House Exhibition, 2006-2007, page 59 plate 94 for a larger version of this model illustrated. 580. ‘Chinon’ no.3771 three Lalique clear and frosted glass brandy glasses designed by Rene Lalique, with blue staining to stem, and a modern Lalique Deer paperweight stencilled R Lalique to glasses, chip to foot of one, 14cm. high, (4) £150-200

578

581. Two Lalique clear and frosted glass bird table decorations, designed by Rene Lalique one pecking the ground the other alert and head raised, and two smaller Lalique glass birds, etched Lalique France, 10cm. high, (4) £150-200 582. An Etling glass model of a bird, stylised form, mounted on ebonised wood base, cast Etling France 91 marks, 17.5cm. high £120-180

579

148

580

581

582

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583

WORKS ON PAPER

584

583. Joseph and His Brethren a book with illuminations by Owen Jones and Henry Warren, published by Day & Son, 1865, and Paradise and The Peri by Thomas Moore, published by Day & Son with illuminations by Owen Jones and Henry Warren, (2) £80-120 584. Louis Davis (1860-1941) Love Rules His Kingdom Without a Sword, a lithographic print on paper, framed signed in the print with monogram, 85 x 41.5cm.

£120-180

585. Vivat Regina a wallpaper original design produced for a national competition, probably at a school of art and design, watercolour on paper, framed, unsigned, annotated national competition in ink, 74 x 53cm. £120-180 586. The Poster Six Masters of the Poster of the Eighteen Nineties a limited edition print set published by the Sunday Times, comprising; Jules Cheret, Toulouse-Lautrec, Dudley Hardy, Theophile Steinlen, Beggarstaff and Louis Anquetin, in original folder, two framed, printed marks, Westerham Press for Sunday Times, limited to 2000 editions, 75 x 49.5cm. (6) £120-180 585

586

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DODO BURGNER ‡ 587. Dorte Clara Dodo Burgner (1907-1998) Portraits of men and women, dated 1924 pencil studies on paper, mounted with card signed Wolff in pencil 26 x 20cm (image) £120-180 ‡ 588. Dorte Clara Dodo Burgner (1907-1998) The Comforting Embrace pencil and wash on paper, mounted unsigned, 43 x 23.5cm (image) £120-180

587

588

‡ 589. Dorte Clara Dodo Burgner (1907-1998) Woman in a blue dress, coat and hat, watercolour on paper, mounted with card unsigned 49.5 x 22.5cm. £120-180 ‡ 590. Dorte Clara Dodo Burgner (1907-1998) Dancing Couple, charcoal and watercolour on paper, unsigned 45 x 36cm. (sheet) £120-180 ‡ 591. Dorte Clara Dodo Burgner (1907-1998) Masken ink and pencil on paper, mounted with card unsigned, annotated in pen, 33 x 21.5cm (image) £120-180 ‡ 592. Dorte Clara Dodo Burgner (1907-1998) Verfehlt ! a pen and ink on paper, depicting a weather vane and clock design, mounted signed in ink Wolff 26 x 21cm. £120-180

589

150

590

591

592

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‡ 593. Dorte Clara Dodo Burgner (1907-1998) Lady with a Golden Shawl watercolour on paper unsigned 55 x 32.5cm £120-180

‡ 594. Dorte Clara Dodo Burgner (1907-1998) Two ladies on a staircase watercolour on paper, mounted with card unsigned 34.5 x 18.5cm £150-200

‡ 595. Dorte Clara Dodo Burgner (1907-1998) Cafe watercolour on paper, mounted with card, the reverse with painted portrait, unsigned 35.5 x 30.5cm. £150-200

593

595

594

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596

‡ 596. Ethelbert White (1891-1972) In The Highlands, a wood engraving on paper, framed and five other wood engravings comprising, The Haystacks 4, The Cowman, Story of My Heart and two untitled, In The Highlands signed, titled and dated in pencil 15.5 x 10.5cm, (6) £200-300

597. An Art Nouveau portiere, machine embroidered with floral repeat in shades of pink, blue, green and mushroom, unsigned, 270 x 120cm. £80-120

598. A woven textile in the manner of the Bauhaus, simple brown stripes, a printed textile with Shipibo geometric design, three printed lengths of textiles and another printed linen textile on a blue ground, and four books on Anni Albers Textiles, Helmut Hahn textiles and Ethel Mairet weaves, all unsigned, 116 x 182cm. (10) £80-120

597

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â&#x20AC;Ą 599. Eric Gill A.R.A. (1882-1940) Alphabet, 1927 a plaster panel, framed signed lower left in reverse EG, 27 53 x 50cm. ÂŁ6,000-8,000

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600

601

FURNITURE 600. A Barnsley Workshops walnut circular dining table, the circular top on four tapering legs, inlaid with thin ebony and fruitwood bands stamped Barnsley to the cross brace, 137cm. diam. £600-1,000 Provenance Thomas Howard Hooton (timber merchant) and his wife Vera Hooton (chef and cookbook creator), purchased directly from the Barnsley Workshop.

602

601. A Barnsley Workshops walnut console table, slightly bow fronted rectangular top with raised lip back, three drawer front, one fitted for cutlery, with boxwood stringing, on square section with twin-stretchers, stamped Barnsley to inside, top of leg, 153 x 46cm, 85cm. high £1,500-2,000 Literature Edward Barnsley Sixty Years of Furniture Design and Cabinet Making, FAS London/ Crafts Study Centre Bath, 1982, page 56 catalogue number 74 for a variation of this design, made in 1967. Provenance Thomas Howard Hooton (timber merchant) and his wife Vera Hooton (chef and cookbook creator), purchased directly from the Barnsley Workshop. 602. A set of six Barnsley Workshops walnut dining chairs, with drop in embroidered cushions, stamped Barnsley 87.5cm. high (6) £700-900 Provenance Thomas Howard Hooton (timber merchant) and his wife Vera Hooton (chef and cookbook creator), purchased directly from the Barnsley Workshop. 603. A pair of Barnsley Workshops Coronation oak armchairs designed by Edward Barnsley, designed for the coronation of Edward VIII, 1936, produced for the coronation of Elizabeth II, 1953, with padded mushroom leather seats, branded Coronation and St Edwards crown, 93.5cm. high, (2) £800-1,200

603

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606

604

605

604. A Barnsley Workshops walnut standard lamp designed by Edward Barnsley, on domed, octagonal base, tapering octagonal stem with central step and swollen terminal, with silk shade, stamped Barnsley to base, 155cm. high £1,200-1,800 605. A Barnsley Workshops walnut standard lamp designed by Edward Barnsley, on domed, octagonal base, tapering octagonal stem and swollen terminal, with silk shade, stamped Barnsley to base, 155cm. high £1,200-1,800

607

606. An oak Elizabeth II Coronation stool, probably made by Waring & Gillows, squared chamfered section, legs, with blue/green velvet seat with gold brocade stamped ER Coronation, 46 x 31cm, 48cm. high £100-150 607. John Makepeace (born 1939) Knot Chair, a gravure etching on Velin Arches paper, printed by Paupers Press signed John Makepeace, numbered 43/100 in pencil 75.5 x 57cm (sheet) £80-120 608. An Isokon Penguin Donkey II designed by Ernest Race, designed in 1963, cherry wood legs with white painted body and shelves, unsigned, 40cm. high, 53cm wide. £300-500

608

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609

610

BRIAN WILLSHER SCULPTURE ‡ 609. Brian Willsher (1930-2010) untitled wheel wood unsigned 32cm. high

£300-400

Provenance Purchased by the vendor’s husband at Heal’s circa 1970.

611

156

‡ 610. Brian Willsher (1930-2010) untitled sculpture wood signed 40cm. high

£150-250

‡ 611. Brian Willsher (1930-2010) untitled totem form white painted wood unsigned, 122.5cm. high

£300-500

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612. An oak overmantel mirror probably retailed by Liberty & Co, shaped rectangular form with pierced Art Nouveau flower and leaf panels, overhanging mantel shelf, unsigned, 105cm. wide, 77cm. wide £120-180 613. An Arts and Crafts carved mahogany unicorn newel post finial, the carved sejant figure with crown and heraldic shield, with painted and gilded details, unsigned, 63cm. high £150-200 614. Anders Jensen Bundgaard (1864-1937) Young Child with a Spade, 1912 patinated bronze cast by Stenders Forlag, artist monogram AB, foundry signature and dated in the cast 10th July 1912 14cm. high £200-300 612

λ 615. A.T.

613

Pierrot and Pierrot with drum and cymbals, two bronze and ivory figures, on polished, veined marble base, one retailed by Nissel & Sikora Vienna one signed in the cast AT, the other with applied label Nissel & Sikora, Wien, 15cm. high, (2) £200-400 616. A Potters Art Guild Compton Pottery Poppy terracotta jardiniere, rectangular form, cast in low relief with scrolling flowers and foliage, impressed seal mark to side, chips, 39cm. long £500-600 Literature Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery, Arrow Press, page 38 this design illustrated. 617. A Liberty & Co terracotta pedestal designed by Archibald Knox, probably for a jardiniere or sun-dial, cast in low relief with panels of Celtic knot motif, two small terracotta terminals and a jardiniere, impressed marks to pedestal, pedestal repaired and chips, jardiniere repaired, 66.5cm. high, (4) £500-600

616

615 614

617

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618

METAL WARE 618. A continental cast bronze tazza, circular section, the surface cast in low relief with beetles and a lizard creature, inside circular bubble rim, unsigned, 24cm. diam. £120-180 619. A small brass flower vase designed by Augustus Welby Northmore Pugin, flaring quattro lobe section, on four fleur de lys feet, with engraved roundel monogram, unsigned, 14cm. high £200-300 620. A Richard Perry Son & Co brass kettle designed by Dr Christopher Dresser, cylindrical with angular spot and overslung articulated handle, the flat cover with ebonised wood finial, the body with a leather jacket, and a Roberts & Belk sugar basin and cover on crow’s foot base stamped mark, regd. mark and Dr Dresser’s design, 13.5cm. high, (4) £150-200

621

621. A Keswick School of Industrial Arts copper kettle on a stand, drum form with over-slung handle, the tripod stand with burner, stamped KSIA mark, 24cm. high, (4) £150-200 622. A Glasgow School tin wall mirror, kidney shaped, stamped in low relief with two facing peacocks and entwined berried foliage, on wood base, unsigned, 89cm. wide. £1,500-2,000

619

623. A Liberty & Co silver and enamel easel back photo frame, rectangular, cast in low relief with flowerhead roundels, the corners enamelled blue and green, on wooden back, stamped marks, Birmingham 1916, 18.5 x 13cm. £400-500 620

622

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624

625

624. An Art Nouveau silver and enamel pendant necklace, cast in low relief with simple foliage design, enamelled green and blue, with simple drop, an Egyptian Revival gilt metal scarab, and a continental pendant cast with pendulous flowers enamelled green, white and red, stamped sterling silver, 5.5cm. drop, (3) £150-200 625. A rare Newlyn Industrial Classes silver and enamel pendant necklace, shield shape, with pierced rim, the central panel enamelled pink, stamped Newlyn, 4cm. long £200-300 Literature Daryll Bennett & Colin Pill, Newlyn Copper Arts and Crafts Copper Work in Newlyn, Sansom & Company, page 40 for comparable examples illustrated.

626 two views

626. A silver mounted shagreen box and cover by John Paul Cooper, circular form on wooden body, decorated with simple silver rope twist bands unsigned, 9.5cm. diam.(2) £250-350 627. A silver and agate pendant necklace, dated 1955, streamlined asymmetric form set with amber coloured stone to centre, etched 27/5/55 and indistinct signature to reverse, 7cm, long. £120-180

END OF SALE

627 front and back

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EXHIBITION WILLIAM STAITE MURRAY A private collection of thirty pots VIEWING Saturday 23rd November 10.00am – 1.00pm Monday 25th November 10.00am – 3.00pm Tuesday 26th November 10.00am – 3.00pm Wednesday 27th November 9.00am – 10.30am

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

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CLARICE CLIFF, ART DECO & DESIGN Wednesday 18th March 2020 Closing date for entries 24th January

A large Goldscheider Pottery model of a woman designed by Stefan Dakon Estimate Â£700 - 900*

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

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MODERN BRITISH & 20TH CENTURY ART Wednesday 11th December 2019

Bryan Pearce (1929-2007) The Harbour, St Ives Signed Oil on board 50.8 x 40.7cm Estimate Â£5,000 - 7,000* ENQUIRIES Victor Fauvelle | +44 (0)1722 424503 | vf@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 8th January 2020

A William IV mahogany ‘Jupe’ patent extending dining table, with two sets of leaves and original case Estimate £30,000 - 50,000*

ENQUIRIES Mark Yuan-Richards | +44 (0) 1722 411854 | myr@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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SILVER & OBJECTS OF VERTU Tuesday 21st & Wednesday 22nd January 2020 Closing date for entries 22nd November

By David Wynne, a limited edition silver sculpture 'The Leaping Salmon', London 1980 Sold for £3,750* ENQUIRIES Rupert Slingsby | +44 (0) 1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | +44 (0)1722 424594 | lc@woolleyandwallis.co.uk *Price includes buyer’s premium

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JEWELLERY Thursday 23rd January 2020 Closing date for entries 20th November

A selection of carved gems and a micromosaic, ancient â&#x20AC;&#x201C; 19th century

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

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THE JUDITH HOWARD COLLECTION OF SÈVRES PORCELAIN Tuesday 4th & Wednesday 5th February 2020

A Sèvres plate made for Madame du Barry, c.1771.

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

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TRIBAL ART & ANTIQUITIES Wednesday 19th February 2020 Closing date for entries 29th November

A Zulu beaded necklace South Africa 20th Century Estimate Â£400 - 600*

ENQUIRIES Will Hobbs | +44 (0) 1722 339752 | wh@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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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:

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

01962 622 133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

01635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked λ 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, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally entitled to acquire the lot(s) that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but may not take physical possession of it. The auctioneers will reoffer the lot on behalf of the buyer in a future auction, or may accept instructions to dispose of it by some other legal means, at their discretion.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

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

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unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 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. 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. 21. English law applies to the interpretation of these Conditions.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it. PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (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. ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000. 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 Lots marked with a ‡ symbol are potentially subject to the levy.

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

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

We may collect the following personal data about you:

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

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

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

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

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market. YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available

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WILTON & WARMINSTER

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

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

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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.

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Valuations

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

Old Sarum

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

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

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

Design & Production by Jamm Design Ltd +44 (0)20 7424 7830 jammdesign.co.uk

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ABSENTEE BID FORM BRITISH ART POTTERY & DESIGN

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 27th November 2019 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed Billing Name (please print) Address

Postcode Daytime telephone Email All accounts must be settled within 21 days ID is required for all first time bidders

Signature

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

www.wo o lleyan d wallis.co .u k

AUCtion CAlendAr FREE VALUATION MORNINGS november 12th & 13th 20th 27th

Asian Art, Chinese Paintings & Japanese Works of Art medals & Coins, Arms & Armour british Art Pottery

deCember 11th

First Friday of the month 10am-1pm No appointment necessary

NEXT VALUATION DATES 6th December, 7th February & 6th March (No valuation day in January)

modern british & 20th Century Art

JAnUArY 8th 21st & 22nd 23rd

Furniture, Works of Art & Clocks Silver & objects of vertu Jewellery

FebrUArY 4th & 5th 19th

the Judith Howard Collection of Sèvres Porcelain tribal Art & Antiquities

mArCH 4th 18th

old masters, british & european Paintings Clarice Cliff, Art deco & design

APril 1st 21st 28th & 29th 30th

Furniture, Works of Art & Clocks english & european Ceramics & Glass Fine Silver & objects of vertu Fine Jewellery

mAY 6th 19th & 20th

medals & Coins, Arms & Armour Asian Art, Chinese Paintings & Japanese Works of Art

dates may be subject to change

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

A large Goldscheider Pottery model of a dancer designed by Josef Lorenzl SOLD FOR £7,500*