Woolley & Wallis Auctioneers

ARTS AND CRAFTS DESIGN TUESDAY 6TH & WEDNESDAY 7TH OCTOBER 2020

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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

Jeremy Lamond MRICS ASFAV FRSA Paul Viney ASFAV Amanda Lawrence

424598 424509 424509

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez­Ferreiro

424506 +44 (0)7812 601098 424571 424591

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards Amber Lees

424589 424571

GENERAL OFFICE Janice Clift (Office Manager) Sarah Bennie Megan Corbett Pauline Jones Nicola Young

424500

CASTLE GATE RECEPTION Sally Litherland

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

424507 446964

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

MARKETING Sally Trench

ACCOUNTS 411854 339161 446974

Ruth Pike Sharon Ringwood

BOARD OF DIRECTORS JAPANESE ART Alexandra Aguilar Sarah Lopez­Ferreiro

424583 424591

Natalie Milsted FCCA Managing Director

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

424595 424504 424586

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Paul Viney ASFAV Non­Executive Director

ASSOCIATE DIRECTORS

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

John Axford MRICS ASFAV Chairman

339752 446980

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

446959

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ARTS AND CRAFTS TUESDAY 6TH OCTOBER 2020 10.00AM | LOTS 1-447

DESIGN WEDNESDAY 7TH OCTOBER 2020 10.00AM | LOTS 448-770 at our Castle Street Salerooms, SP1 3SU Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

VIEWING BY APPOINTMENT ONLY Friday 2nd October Saturday 3rd October Sunday 4th October

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

There is no viewing on Monday 5th October or on the days of the sale

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

Please contact the department to make an appointment

SEE OUR WEBSITE FOR UPDATED COVID-19 GUIDANCE IMPORTANT CHANGES TO OUR BIDDING PROCEDURE Owing to the recent introduction of Money Laundering Regulations, clients wishing to bid in this auction are likely to be asked to provide two forms of identification. This applies to both new and existing clients.

LIVE ONLINE BIDDING – FREE OF CHARGE

LIVE

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

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

TELEPHONE BIDDING Requests for telephone bids cannot be accepted after 5pm on Monday 5th October CONDITION OF LOTS The condition of lots is not stated in the catalogue descriptions.

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

Instagram: @woolleyandwallisdesign @woolleyandwallissalerooms Facebook: @woolleyandwallis

COLLECTION OF LOTS BY APPOINTMENT ONLY

Twitter: @woolleywallis

Collection by appointment from Monday 12th October from our Old Sarum Warehouse, Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX

Pinterest: Woolley and Wallis

Please call 01722 446980 All accounts to be settled prior to collection ARTIST’S RESALE RIGHT / DROIT DE SUITE

ILLUSTRATIONS

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

Front cover: Lot 72 Back cover: Lot 111 Inside front cover: Lot 307 Catalogue £10.00 (£15.00 by post) 3

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GLASS 1 A pair of Aesthetic Movement stained glass Day and Night roundels, each painted with a portrait inside red and green glass borders, another stained glass panel with heraldic motif and an Aesthetic stained glass window decorated with a bird and tree bough unsigned, 19.5cm. diam. (roundels), 32cm square (bird window), (4) £120­180

2 A small Aesthetic Movement stained glass Minstrel panel, rectangular depicting a minstrel playing a mandolin, and another stained glass panel of a Victorian gentleman in top hat and tails wearing a monocle, unsigned, 27 x 18.5cm. (2) £250­350

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3 A stained glass St Margaret roundel panel, depicted holding a sword and Corpus Christi, before a dragon, in later wooden frame unsigned, 38.5cm. diam. (glass) £500­1,000

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4 A silvered­copper hall lantern, with cylindrical vaseline glass shade unsigned, 42cm. high £200­300

5 A pair of John Walsh Walsh vaseline glass shades, probably made for W.A.S Benson, swollen ovoid form tapering to a knopped point, green glass internally decorated with opaque spiral stripes unsigned, 20.5cm. high. (2) £300­400

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6 A 'Glasgow School' stained glass window, in the manner of Margaret Macdonald Mackintosh, rectangular depicting a stylised woman offering up a large Glasgow Rose, inside simple geometric border, coloured glass panels, wooden frame, unsigned, 73 x 41cm.

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Catalogue notes This window appears to be based on Macdonald Mackintosh's O Ye, All Ye That Walk in Willowwood, a gesso panel circa 1903. £300­500

7 A set of six enamelled glass wine glasses the design attributed to Helen or Hannah Walton, the clear glass bowls enamelled with Art Nouveau violet, tulip, cornflower and cyclamen stems, the rim with thin gilt band, unsigned, 21.5cm. high (6) £200­300

8 Two James Powell & Sons Whitefriars emerald green wine glasses designed by T G Jackson, each with swollen stems and swollen glass bowls, unsigned, 13cm. high (tallest), (2) Literature Lesley Jackson Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 98 plate 6 for comparable glasses designed by Jackson. £150­200

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9 Two rare James Powell & Sons Whitefriars cut glass liqueur glasses, each cut with a stylised flower stem to the bowl, on cut stems unsigned, 14cm. high, (2) Literature Wendy Evans Whitefriars Glass James Powell & Sons of London, Museum of London, page 269 plate 400 for this shape illustrated as an original design titled Liqueur glass with embedded gold in cut stem. £150­250 10 A pair of James Powell & Sons Whitefriars straw opal wine glasses designed by T G Jackson, with swollen bowls, unsigned, 13cm. high, (2)

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Literature Lesley Jackson Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 98 plate 6 for comparable glasses illustrated. £200­300 11 A James Powell & Sons Whitefriars blue opal glass vase, swollen form with flaring neck, two James Powell & Sons straw glass posy vases, an ovoid vase and a tazza unsigned, 13cm. high (tallest) (5) £150­200

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12 Three James Powell & Sons Whitefriars opal glass wine glasses probably designed by Harry Powell, unsigned, 14.3cm. high (tallest), (3) Literature Lesley Jackson Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 102 plate 23 for a comparable glass far right. £250­300 13 A James Powell & Sons Whitefriars sea green glass footed bowl, with applied glass shell handles and prunts, unsigned, 8.5cm. high, 12cm. diam. £250­350

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14 A James Powell & Sons Whitefriars Mount Carmel sea green glass vase, ovoid with flaring neck, applied with blue threaded decoration to body and neck, unsigned, 12.5cm. high Literature Wendy Evans Whitefriars Glass Museum of London, page 272 bottom right illustration includes a line drawing of a comparable vase found in a tomb at Mount Carmel and another in the British Museum (Bungay) which inspired this Powell design. £300­400

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15 An Aesthetic Movement Stevens and Williams rock crystal glass flower vase probably cut by John Orchard, ovoid with collar rim and applied angled handles, the faceted body engraved with Japoniste prunus sprays unsigned, 10.5cm. high, 18.5cm. wide £350­450 15

16 A Thomas Webb crystal glass pilgrim flask with silver mounts by William Hutton & Sons Edward Hutton, the flattened disc body cut with panels of exotic foliage, applied mask handles, on domed silver foot, the silver neck and cover cast and engraved with classical foliage frieze, stamped marks, EH London 1893, 30cm. high £1,200­1,800 8

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CONTINENTAL GLASS 17 A rare Art Nouveau Guerchet silver mounted enamelled glass vase, baluster form, the silver foot cast in low relief with foliage spray rising to overlay the body with violet flower stems, the glass body enamelled with similar violets in blue and green, highlighted in gilt on a textured ground stamped Guerchet to foot, 12cm. high £800­1,200

18 An Art Nouveau Galle cameo glass solifleur vase designed by Emile Galle, tapering cylindrical yellow glass body with everted rim, overlaid with coral red glass, cameo decorated with berried foliage, cameo Galle signature to side, 13.5cm. high £350­450

19 An Art Nouveau Galle cameo glass vase designed by Emile Galle, triangular section, pale yellow glass cased in olive green with waterlily flowers and pads on a pond, cameo Galle signature, 9cm. high £700­900 19

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20 An enamelled and cut glass vase attributed to Phillipe­Joseph Brocade, ovoid with cylindrical neck, the body cut and polished with a Chinese dragon and scrolling flower spray, the neck and foot enamelled with foliate panels in pink and turquoise highlighted in gilt, unsigned, 25cm. high £1,500­2,000

21 A Meyer Neff hock glass designed by Otto Prutscher, clear glass with pink and amber glass overlay, the cylindrical bowl with vertical cut bands alternating with amber glass elliptical panels, unsigned, 21cm. high Provenance Andrew Lineham circa 2003.

Private collection. £500­1,000

22 An Art Nouveau Daum Nancy enamelled glass vase, square section mottled yellow glass body enamelled in red and green with wallflowers, acid etched Daum Nancy mark, 12cm. high £800­1,200

23 An Art Nouveau Daum Nancy cameo glass vase, swollen cylindrical mottled yellow glass body cased with fruiting blackberry sprays in blue, acid cast Daum Nancy mark, 12.5cm. high £1,000­1,500

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24 A Louis Comfort Tiffany millefiori Favrile glass paperweight vase, model 3413, ovoid thick glass internally decorated with waterlily flowers and pads on long sinuous stems, etched LCT Favrile 3413 G, 13cm.high £2,000­2,500

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25 A Louis Comfort Tiffany Favrile glass vase, twisted form with flaring top rim, and another Louis Comfort Tiffany glass vase with applied prunts with trails, applied paper label to top rim, etched L.C.T, losses to one trail on second vase, 12.5cm. high (2) £200­300 25 11

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26 A pair of Art Nouveau Loetz Mimosa iridescent glass vases, ovoid with everted, fluted top rim, surface decorated with golden textured lustre finish, unsigned, 7.5cm. high (2) £120­180 27 An Art Nouveau Loetz Phaenomen iridescent glass vase, shouldered cylindrical form with collar rim, surface decorated with golden lustre unsigned, 12cm. high £150­200 26

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28 An Austrian Secessionist glass vase with wrought iron mount, slender, swollen green cylindrical glass body with enamelled black and white design, set in wrought iron foliate stand unsigned, 30cm. high £300­400 29 A Palme Koenig iridescent glass vase, compressed ovoid body with tall swollen neck, cast in low relief and applied with sinuous foliate design, iridescent ground unsigned, 33cm. high £400­500 30 An Art Nouveau pewter mounted Loetz glass bowl, model no. 2210, circular with wavy rim, the bowl with surface textured decoration, covered in a golden iridescence, on pewter tripod foot, stamped marks to pewter 26cm. diam. £200­400 31 A Loetz glass vase, ovoid with waisted cylindrical neck, covered in a combed iridescence, unsigned, 20cm. high £120­180

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32 A Loetz glass vase, tapering diamond section, applied prunts and trails, covered with a golden iridescence, 15.5cm. wide, 8.5cm. high £150­200

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CERAMICS 33 A rare Minton & Hollins Alphabet tile designed

by Godfrey Sykes, originally designed for the Refreshment Room at the V&A, modelled in low relief as the letter H, with standing boy reading book, glazed white unsigned, 30 x 26.5cm.

Literature Minton 1798­1910 Victoria & Albert Museum, 1976 front cover the letter M tile plaque illustrated on the front cover.

The Andrew McIntosh Patrick Collection, The Fine Art Society, page 148 catalogue 306 for the letter B plaque.

Catalogue notes Henry Cole asked Godfrey Sykes, still a young man in thirties, a former pupil of Alfred Stevens to assist him with the decoration of the South Kensington Museum. The designs, although created in 1864, were produced posthumously after Sykes death in 1866. £400­600

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34 An Aesthetic Movement Wedgwood Vigornian vase, shouldered form with winged handles, the cylindrical neck with pierced design, the body acid etched with a crane wading in a wild pond, dragonflies resting on the reeds, covered in a brown glaze, unsigned, 35.5cm. high £120­180

35 A Royal Worcester pottery moon­flask, flat disc form on four scrolling feet, the flaring cylindrical neck cast with oriental dragon, the body cast in low relief with a swallow flying past a spray of flowers covered in a green glaze, impressed marks, 35.5cm. high £200­300

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36 A large Minton’s Kensington Art Pottery Studio wall charger, in the manner of Dr Christopher Dresser, the design depicting a bird flying past bamboo shoots, in colours on a black ground, outlined in gilt and imitating Japanese cloissone enamel, printed factory mark, painted monograms, 39cm. diam.

Literature Dan Klein Aspects of the Aesthetic Movement, Catalogue number 70, illustrated on the front cover for a comparable example with a date code for 1872. £300­500

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37 A large Minton’s floor vase in the manner of Dr Christopher Dresser, shouldered flaring form with fluted flaring neck, on tripod legs and circular base, printed with flowerhead bands in shades of yellow, brown and green on a white ground impressed marks, 2636, stress hairlines to neck, 56cm. high £300­500

38 A Fulham Pottery stoneware vase, slender baluster form, incised with a bird perched on a tree bough, with applied flowers and flowerheads, in shades of blue, green and brown on a buff ground, incised Fulham, EB monogram, repaired chip to foot, 41.5cm. high £250­350

39 Thomas Bayley (1893­1966) A Peaceful Night. 1931 patinated plaster incised TB 1931, applied exhibition label with title 24 x 20.5cm.

Catalogue notes Thomas Bayley was master at Cheltenham School of Arts and Crafts and exhibited at the Royal Academy and Royal Society of British Artists. £300­400 40 A pair of Ault Pottery vases, model no.475, each modelled as a tree trunk with flowering prunus, glazed yellow graduating to brown, an Aesthetic Movement Wedgwood red lustre tea for two set, two Bretby vases and a Beswick Woman with Beads wall plaque model no.436, impressed marks, museum restored chip to base of one, damage to tea set 18.5cm. high, (15) Provenance Andrew McIntosh Patrick Collection.

The Fine Art Society. £150­200

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41 An Aesthetic Movement Coalport vase, elliptical, cylindrical form applied with two dragon handles, printed and painted with stylised floral panels enamelled in colours on a pale blue ground, highlighted in gilt printed gilt mark, repaired damages, 22.5cm. high £100­150 42 A John Pearson pottery shallow bowl, painted to the well with three peacock birds before scrolling foliage, in blue outlined in black on a white ground, painted JP monogram, hairline crack to rim, 26.5cm. diam. £150­250 14

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43 43 A pair of Royal Doulton stoneware vases by Eliza Simmance and Bessie Newbery, shouldered ovoid form with waisted cylindrical neck, painted with a frieze of Tulip flower stems in purple, green and brown on a mushroom ground, the neck streaked lavender, and a pair of Royal Doulton Natural Foliage Ware stoneware vases, impressed marks and incised monograms, 27cm. high (4)

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Provenance Sylvia Powell Decorative Arts, August 1993 (Simmance vases).

Sylvia Powell Decorative Arts January/February 1993 (Natural Foliage Ware vases). £200­300 44 A near pair of Royal Doulton stoneware vases, slender waisted cylindrical form with inverted top rim, incised and painted with geometric panels in blue and brown impressed marks and incised EB monogram, 34.5cm. high (2) £120­180 45 A pair of Art Nouveau Doulton Lambeth stoneware vases by Elisa Simmance, shouldered form, slip decorated with tulip flower panels in pink, green and white on a buff ground, impressed marks, one with incised artist monogram, restoration, 41cm. high, (2) £200­300

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46 A Royal Doulton ‘Brangwyn Ware’ Harvest coffee set for two designed by Frank Brangwyn, decorated with a band of grape, fruit and a sheaf of corn in colours on a pale green and cream ground, comprising coffee pot and cover, milk­jug and sugar basin, two cups and saucers printed factory marks, minor damages, 19.5cm. high (coffee pot), (8) £150­250

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47 A Doulton Burslem porcelain vase, slender, shouldered form with applied scroll handles, painted in colours with a portrait of a maiden, roundel inside gilt frame, on a red ground, printed factory mark, 22cm. high £200­300 48 A Royal Doulton Sung vase designed by Charles Noke, ovoid with collar rim, covered in a smoked turquoise and blue streaked glaze on a red flambe ground printed factory mark, painted Noke signature and FA monogram, 10.5cm. high £120­180 47

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49 A Bernard Moore pottery bowl, on Minton’s blank, painted to the interior and exterior with scaly fish swimming amongst waterweed, in flambe red on a white ground, and another Bernard Moore bowl decorated to the exterior with foliage frieze and inscribed Fond Memory Brings the Light of Other Days Around Us, the interior a purple lustre printed Bernard Moore mark to both, surface wear and scratches, 25.5cm. diam. (main bowl), (2)

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Provenance From the collection of Anne Makeig­Jones. £150­250

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50 Jessie Lawson Peacey (1885­1965) a pottery figure of a woman in a shawl, on triangular section base, glazed in colours incised J Lawson Peacey 29cm. high £150­250 51 A Farnham Pottery charger, incised with a peacock perched in a tree bough, the rim with a band of loop decoration, in green on a brown ground, and two other Farnham Pottery vases unmarked, 36cm. diam. (3) £150­250

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52 A Baron Barnstaple pottery pig vesta holder, naturalistically modelled and glazed blue, incised Baron Barnstaple, 9.5cm. wide £120­180 53 A Barum Barnstaple three­handled vase, shouldered form with collar neck and applied scroll handles, incised with stylised flowers and foliage in sienna brown on a mustard ground and another Brannam vase dated 1892, incised marks, restoration, 27.5cm. high, (2) £120­180

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54 A C H Brannam Barnstaple Dragon vase by James Dewdney, dated 1895, ovoid with flaring neck, applied with two modelled dragon handles, the body slip decorated with stylised foliage panels, in green, blue and brown on a cream ground, and a tall C H Brannam vase with scroll handles dated 1905, incised marks and monograms, restoration, 23.5cm. high (dragon vase), (2) £150­200 55 A large C H Brannam Pottery vase by James Dewdney, dated 1894, ovoid with cylindrical neck, the neck applied with three looped handles to the neck, the body painted in slip with large scaly fish swimming amongst waterweed, in green, blue and brown on a cream ground incised marks, professional restoration, 34cm. high £150­250

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57 56 A rare C H Brannam grotesque spoon warmer, modelled as a seated, winged figure, glazed green and ochre, and a Brannan pottery jug modelled as a bird, incised C H Brannum, Barum and regd mark, incised artist monogram, 13.5cm. high (2) £300­500 57 A pair of C H Brannam Barnstaple pottery vases by Arthur Babcock, dated 1900, ovoid with flaring neck, applied with three scroll handles to neck, painted in slip and incised with scaly fish swimming amongst waterweed, in green, blue brown and cream incised C H Brannam, 1900, AB monogram. glaze chips, 25.5cm. high (2) £200­300 58 A C H Brannam Barnstaple Grotesque centrepiece by Frank Thomas, modelled to the base with a mask with elaborate headdress, scrolling up to form a pierced handle, the ends with similar masks, glazed green, blue and brown incised marks, date and artists monogram, restoration, 20cm. wide £150­200

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59 A C H Brannam Barnstaple pottery Galleon centrepiece, dated 1904, pierced and modelled design, glazed in shades of blue, ochre and green incised marks, dated 1904 and artist monogram RP, restoration, 38cm. wide £150­200 60 A tall C H Brannam pottery vase, shouldered form with tapering neck and everted rim, modelled in relief with three leaping scaly fish to the shoulder, the top rim pierced with waterweed sprays, in green, brown and ochre on a blue ground impressed factory marks, restored neck, 49.5cm. high £200­300

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61 A C H Brannam Barnstaple pottery wall charger by Thomas Liberton, dated 1908, slip decorated with an exotic bird of paradise to the well, the rim with a band of stylised tulip stems, in brown, green and blue incised marks, 33.5cm. diam. £150­200

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62 A Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.360, flaring cylindrical form, shouldered with flaring rim, painted with a butterfly flying past flowering waterweed issuing from a pond, in colours on a mottled mushroom ground, impressed factory marks, facsimile Dresser signature, small chip to top rim, 35.5cm. high Provenance Andrew McIntosh Patrick Collection.

The Fine Art Society. £150­200

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63 A large Linthorpe Pottery vase with loop handles designed by Dr Christopher Dresser, shape no.881, the shouldered, dimpled body with applied conjoined loop handles, glazed with a streaked aubergine, green and ochre glaze impressed marks, professional restoration, 26cm. high £150­200 64 An Ault Pottery Garlic vase designed by Dr Christopher Dresser, model no.828, moulded, ribbed ovoid body with knopped cylindrical neck and everted fluted rim, covered in a streaked dark aubergine glaze impressed factory marks, facsimile signature, professionally restored neck, 22cm. high £300­500 65 An Ault Pottery Wave wall vase designed by Dr Christopher Dresser, circular modelled in low relief with Japoniste wave motif, glazed purple and blue on a cream ground, unsigned, fine hairline to rim, 23cm. diam. £150­250

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66 A Minton Cloissone porcelain Moonflask designed by Dr Christopher Dresser, flattened disk form with loop handles, painted stylised bird and flower motif, the flowers forming a stylised Dragon mask to the edges, in colours on a turquoise ground, highlighted in gilt unsigned, remains of paper label, repaired damages 26cm. high £150­200 67 A Minton’s pottery moonflask probably designed by Dr Christopher Dresser, flattened disc form on four square feet, printed and painted with a blue tit perched on grasses, the reverse with stylised flowers and foliage in colours, annotated in purple 411 WRB and 821 WRB, impressed Minton’s marks, indistinct date code possibly for 1867, one foot re­stuck, 15cm. high

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Literature Widar Halen Christopher Dresser, Phaidon/Christies, page 122 plate 128 this shape illustrated from the Minton archive, dated 1867, decorated with a stylised bird design, page 135 plate 152 for a blue tit design used for a Minton’s tile which relates to the bird on this vase. £150­250

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MARTIN WARE

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MARTIN BROTHERS POTTERY

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68 A Martin Brothers stoneware jug by Robert Wallace Martin, ovoid body with pulled vertical neck and spout, incised with scrolling foliage band, the neck with geometric pattern, glazed olive green and brown, incised 30.12.80 (?) R W Martin London & Southall, professional restoration to neck, 23cm. high £150­250 69 A Martin Brothers stoneware jug by Robert Wallace Martin, swollen cylindrical form, incised with a spider hanging from a large leaf by a thread, two web’s incised in the body, glazed in shades of green and brown on a buff ground, incised R W Martin London & Southall, professional restoration to top rim, firing cracks to handle, 22cm. high £300­500 70 A Martin Brothers stoneware wall bracket designed by Robert Wallace Martin, dated 1878, modelled in relief with a dog­like creature biting its tail, with oak leaf and acorns, glazed in shades of blue, ochre and green incised R W Martin Southall, 1878, minor chips, 19.5cm. wide, 15cm. high £800­1,200 71 A large Martin Brothers stoneware jardiniere, ovoid with collar rim, incised with scrolling flowers and foliage in shades of brown and white on a buff ground, incised 1­1889 Martin Bros London & Southall, body star­ crack and hairline, 26cm. high £200­400

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72 A fine Martin Brothers stoneware Bird jardiniere by Edwin and Walter Martin, dated 1892, incised with seven grotesque birds, one catching a snake in its beak, glazed in shades of green, brown and ochre on a buff ground incised 10­1892 Martin Bros London & Southall, fine stress hairline to body, 20cm. high Provenance Arts and Crafts including the collection of the late Barbara Morris, 23rd June 2010, lot 285, Woolley and Wallis Private collection. £3,000­5,000

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73 A fine Martin Brothers stoneware Dragon vase by Edwin and Walter Martin, dated 1894, ovoid with collar neck, pushed­out decoration of two ferocious dragons fighting a serpent, in shades of brown and green on a deep brown ground, incised 9­1894 Martin Bros London & Southall, 19cm. high Literature The John Scott Collection, British Art Pottery, 11­20th June 2014, Fine Art Society, catalogue number 22, page 33.

Provenance The John Scott Collection. £3,000­5,000

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74 A good large Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1893, modelled standing with claw feet, with forward looking tilted gaze and broad flat beak, glazed in green, blue and brown, on ebonised wood base, incised Martin Bros London & Southall 2­1893 to head and base, stress hairline to rim of body, 31.5cm. high Provenance Private collection of Martinware. £20,000­30,000

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75 A Martin Brothers stoneware miniature vase by Edwin and Walter Martin, dated 1902, shouldered cylindrical form, incised and painted with birds flying above bulrush and grasses, in brown on an oatmeal ground, incised 11.9.1902, Martin Bros London & Southall, 5.5cm. high Provenance Private collection. £500­700 76 A Martin Brothers stoneware Aquatic miniature vase

by Edwin and Walter Martin, square section, the swollen sides each decorated with a fish, glazed brown and green on a buff ground 2­1902 Martin London, 3.5cm. high 75 both sides

Provenance Private collection. £500­700 77 A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1911, solifleur form, painted with spots in ochre on an umber ground, incised to base 6­1911 Martin Bros London & Southall, base repaired, 12cm. high Provenance Private collection. £200­300 78 A Martin Brothers stoneware gourd vase, shouldered cylindrical form, covered in a pitted and pooled oatmeal glaze, incised NI EXT to base, 12cm. high Provenance Private collection. £200­300

76 both sides

79 A Martin Brothers stoneware gourd vase, shouldered ribbed form, covered in a cream glaze with mint green splashes, and another ovoid vase covered in a pitted mushroom glaze unsigned, main vase number 2, 8.3cm. high, (2) Provenance Arts and Crafts Woolley and Wallis Auctioneers 21st June 2017 lot 18. £150­250

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80 A rare Martin Brothers stoneware miniature bird, dated 1913, modelled standing with webbed feet, wings tucked behind its back, glazed in shades of green and ochre, highlighted with blue incised to base R W Martin Bros London & Southall, 22.5.13, minor glaze flake to eyebrow, 7cm. high Provenance Sylvia Powell Decorative Arts, 1992 Private collection. £5,000­8,000

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81 An early Martin Brothers stoneware beaker vase by Robert Wallace Martin, waisted cylindrical form with applied silver rim, incised and impressed with bands of stylised foliage, in brown and blue on a buff ground, and another early Martin Brothers stoneware twin­handled vase by Robert Wallace Martin, dated 1875, beaker vase incised RWM 23, 71/3 Fulham, stamped hallmarks, Edward Charles Brown London 1873, 12cm. high, (2) Provenance Anne Hull Grundy, thence by descent. £200­300 82 An early Martin Brothers stoneware candlestick by Robert Wallace Martin, dated 1875, stepped circular base supporting cylindrical stem with pierced arches, knopped pierced neck and flaring top rim, incised and impressed decoration glazed blue and buff, incised 3 R W Martin, London 9­75, 18.5cm. high

81

82

Provenance Anne Hull Grundy, thence by descent. £150­250 83 John Hull Grundy Artist Naturalist a Garrard silver­gilt medal, circular in fitted case, cast in low relief with a portrait, the reverse with laurel wreath, stamped marks, Birmingham 1983, 6.3cm. diam, (5.4ozt) Provenance Anne Hull Grundy, thence by descent. £200­300

83

84 A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1884, swollen ovoid form with knopped cylindrical neck, incised with scaly fish swimming amongst waterweed in a finely incised ground, in shades of brown, highlighted in white on a buff ground, incised 6­84 Martin Bros, London & Southall, 21.5cm. high Provenance Anne Hull Grundy, thence by descent. £700­1,000

85

85 A Martin Brothers stoneware Hunting jug by Robert Wallace Martin, tapering cylindrical form, incised with a fox hunting scene, a pack of dogs chasing a fox in the foreground, the background a man riding a horse, in a countryside landscape, highlighted in blue on a buff ground incised 608 R W Martin London & Southall, repaired top rim, hairline to base, 25cm. high Provenance Anne Hull Grundy, thence by descent. £200­300

84

86 A small Martin Brothers stoneware Gourd vase by Edwin and Walter Martin, dated 1900, compressed ovoid form with incised vertical veins, glazed pale grey graduating to grey­blue with buff patches and markings, incised 10­1900 Martin Bros London & Southall, 4cm. high Provenance Anne Hull Grundy, thence by descent. £200­300 87 A rare Martin Brothers Gourd vase by Walter Fraser Martin, twisted swollen form with flaring top rim, incised with fine vertical veins glazed white over buff incised L52 WFM, 15cm. high

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86

87

Provenance Anne Hull Grundy, thence by descent. £300­500

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88 A rare Martin Brothers stoneware Eskimo jug, dated 1903, tall cylindrical form modelled as a bearded man wearing a hooded fur coat, glazed tan and buff with white highlights, incised R W Martin & Bros, London & Southall, 20.6.1903, firing crack to body under handle, 37.5cm. high Provenance Anne Hull Grundy, thence by descent.

Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 92 figure 130 for a comparable example illustrated. £3,000­5,000

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89 A Martin Brothers stoneware Aquatic flask by Edwin and Walter Martin, shouldered square section, incised and painted with swimming fish, in brown and green highlighted in white on a streaked blue and buff ground incised 6 1897 Martin Bros London & Southall, 25cm. high Provenance Anne Hull Grundy, thence by descent. £800­1,200

89

90 A Martin Brothers stoneware Orchid vase by Edwin and Walter Martin, dated 1896, shouldered form, incised with frilled orchid sprays, in ochre on a deep umber brown glaze, incised 5­1896 Martin Bros London & Southall, 23.5cm. high Provenance Richard Dennis Gallery, 3rd April 1995. £1,000­2,000

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DELLA ROBBIA POTTERY

91 1st Day of Creation a good Della Robbia Pottery plaque designed by Edward Coley Burne Jones, made by Harold Rathbone, C Annie Walker and Lizzie Wilkins, modelled in low relief and glazed in shades of green, yellow, pink and blue, in wooden frame, incised to the front Della Robbia, 1st Day of Creation, after E Burne Jones and HR monogram, impressed Della Robbia mark to the reverse, applied paper exhibition label 54 x 22cm.

Exhibited Home Arts and Industries Association, exhibition number 381, priced at 50/­. £4,000­6,000

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92 A Della Robbia Pottery plaque by Marian de Caluwe, rectangular, cast in relief with a young child, glazed in shades of yellow, blue and white impressed 64, painted DR and galleon mark, 14, and M de C monogram, museum restored, 44.3 x 17.5cm. £300­500

92

93 Melody a rare Della Robbia tile plaque by Ellen Mary Rope, rectangular, cast in low relief with children playing musical instruments around a central tree whilst others rest and listen, in shades of blue, green and brown, signed Rope bottom left corner, repaired, 48.5 x 29cm.

Literature The Studio volume 13, 1898 page 190 for an example of this plaque illustrated. this example listed as designed by Miss Rope and painted by E.M. Wood.

Peter Hyland The Della Robbia Pottery, Birkenhead 1894­1906, Antique Collector’s Club, page 207 figure 222 for a related, smaller tile plaque by Rope decorated with children dancing around a tree.

Exhibited Melody (panel) was exhibited by the Della Robbia Pottery in 1905, catalogue number 1939 priced at £3.3s. £300­500

94 A Carlo Manzoni Pottery vase, dated 1896, carafe form with knopped neck, painted with panels of stylised flowers and foliage in shades of yellow, blue and turquoise in the manner of the Della Robbia Pottery, incised marks and date to base, 20.5cm. high £120­180

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96

95 A Della Robbia Pottery vase by Hannah Jones and Charles Collis, slender bottle form, incised with stylised flower and foliage panels, in shades of turquoise, green, orange and yellow on a purple ground, incised Della Robbia mark, and Lloyd, painted artist monograms, 39cm. high Literature Peter Hyland The Della Robbia Pottery, ACC Books, page 183 figure 196 for a comparable vase. £700­1,000 96 A fine Della Robbia Pottery Art Nouveau vase by Cassandia Annie Walker, dated 1904, slender, baluster form, incised and painted with tall flower stems alternating with green moon motif, and a border of hearts, in shades of green, blue, purple and turquoise, incised ship factory mark, dated 1904 and CAW monogram, minor professional restoration, 34cm. high Provenance British Ceramic Design from 1860, Bonhams, London 23rd September 2008, lot 28.

Private collection.

Literature Peter Hyland The Della Robbia Pottery 1894­1906, ACC, page 222 figure 242, for a small plaque by Cassandia Annie Walker, circa 1904, with comparable green spheres. £700­900 97 A Della Robbia Pottery vase by John Fogo and PJ, ovoid twin­handled form, incised with a frieze of Tudor Rose on woven ground, in green, yellow and red on a turquoise ground incised Della Robbia marks, B’Head, and artists monograms, 29.5cm. high Literature Peter Hyland The Della Robbia Pottery, ACC Books, page 151 figure 159 and 160 for comparable vases. £300­500

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98 ‘Adoration of the Magi’ a Cantagalli Della Robbia style pottery panel, rounded, rectangular form, modelled in relief with the Madonna and angels adoring the Christ child, glazed in shades of blue, green and yellow in the manner of Della Robbia, painted cockerel mark, 72 x 43cm.

Provenance Private collection. £150­250 99 ‘St John the Baptist’ a Cantagalli Della Robbia style pottery plaque, rectangular, cast in relief with a portrait, glazed white and sky blue, painted cockerel mark, 47 x 23.5cm.

Provenance Private collection £120­180

98

99

100 ‘Madonna and Child with Lilies’ a large Della Robbia style panel, rectangular form, cast in relief, glazed in shades of blue, yellow, green and white, mounted on board, eighteen other Della Robbia style small plaques and four other items, marks possibly concealed, damages, 43.5 x 33.5cm. (23) Provenance Private collection £150­250 101 ‘The Annunciation’ an Italian Della Robbia style pottery wall plaque, square section, cast in relief and glazed in shades of blue, green and white and an Italian Della Robbia style Foundling roundel modelled in low relief with Christ inside a fruit and foliage garland border painted marks to roundel, 44cm. high, 45cm wide, (2) Provenance Private collection £150­250

100

102 A Cantagalli Della Robbia style Foundling roundel, cast in low relief with Christ, glazed in shades of blue, pale aubergine and white, ten other Della Robbia style roundels, a tin­glazed plate, and a 1951 Canterbury Chaucer Festival wall plaque impressed marks, (13) Provenance Private collection £150­250 101

103 ‘The Annunciation’ a Cantagalli Della Robbia style pottery wall plaque, semi­circular form, modelled in low relief, glazed in shades of blue, green and white, a Della Robbia style roundel of an angel, a smaller Annunciation plaque, a wall mounted water­drop panel, four other Della Robbia style panels, a marble plaque and three terracotta head plaques, impressed Cantagall marks, damages, 42.5cm wide, 24cm. high (12) 102

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Provenance Private collection £150­250

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WILLIAM DE MORGAN & RELATED WARE

104 A fine William De Morgan pottery vase, ovoid with swollen ovoid neck, painted with a frieze of mythical birds with snakes in their beaks, amongst scrolling foliage, below similar standing birds, in ruby lustre on a white ground, impressed tulip mark, 26cm. high £3,000­5,000

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105 A small William De Morgan vase, ovoid with tapering cylindrical neck, painted with vertical stem of lily of the valley painted in green and turquoise blue on a white ground, impressed tulip mark, and painted JB artist monogram, stress hairlines to top rim, 11.5cm. high £250­350

106 A William De Morgan pottery vase, ovoid with knopped neck, painted with a band of stylised flowers and foliage in ruby lustre on a white ground, glazed base with drainage hole, unsigned, small flat chip to top rim, 20cm. high £300­500

105

107 A Burmantofts Faience Anglo Persian vase by Leonard King, pattern D­70, 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, body crack and minor glaze loss, 33cm. high £400­600

108 A Hispano Moresque pottery charger, modelled in low relief with a broad leaf border, the well with a simple flowerhead roundel and script border, in ruby lustre on cream ground, incised mark and painted LC monogram, 41.5cm. diam. £150­250

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110

109 A William De Morgan Proud Lion pottery charger, painted to the well with a proud lion, standing alert on a small island, the sun rising or setting on the horizon, the rim with a frieze of stylised foliage in ruby lustre on a white ground, unsigned, restored, 35.5cm. diam.

Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 121 figure 851 for a variation of this design as a tile. £500­800

110 A William De Morgan charger, painted to the well with a Hoopoe bird in ruby on a cream ground, unsigned, 36cm. diam. £1,500­2,000

111 A William De Morgan charger, the well painted with three daisy flowers, the rim a band of flowers and stylised foliage in ruby, pink and sand lustre on a white ground, impressed blank mark, 30.5cm. diam.

Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 52 catalogue number 1161 for the original drawing of a comparable roundel of three sunflowers illustrated. £800­1,200

111

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WILLIAM DE MORGAN TILES

112 A William De Morgan Late Fulham Period Secretary Bird and Lizard tile, painted with a Secretary Bird above a lizard its tail entwined around the birds leg, in green on a white ground, impressed marks, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 127 catalogue number 928 for the original design illustrated in reverse. £800­1,200 112

113 A William De Morgan Late Fulham Period Running Ostrich tile, painted in green on a white ground, impressed factory mark, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 128 catalogue number 1045 for the original design illustrated. £800­1,200 113

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114 A William De Morgan Late Fulham Period Partridge tile, painted in shades of green on a white ground, impressed factory mark, minor glaze loss, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 130 catalogue number 969 for a drawing of a comparable bird illustrated. £800­1,200 114

115 A William De Morgan Late Fulham Period Great Curassow tile, painted in shades of green on a white ground, impressed factory mark, minor glaze loss, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 127 catalogue number 930 for the original design illustrated. £800­1,200

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116 A William De Morgan Merton Abbey Period Omnia Vanitas (Strutting Peacock) tile, painted in shades of green on a white ground, impressed factory mark, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 128 catalogue number 1051 for the original design illustrated. £800­1,200

117 A rare William De Morgan Late Fulham Period Partridge and Snakes tile, painted in shades of green on a white ground, impressed factory mark, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 130 catalogue number 969 for the original design of a similar bird illustrated, this design appears to be unlisted version. £800­1,200

116

118 A William De Morgan Late Fulham Period Hoopoe tile, painted in shades of green on a white ground, a similar leaping desert rat tile and fifteen green spacer tiles impressed marks, damages and restuck, 15.5cm. square (17) Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 128 catalogue number 1018 for the original design illustrated.

Rob Higgins and Christopher Stolbert Robinson William De Morgan Arts and Crafts Potter, Shire Publications, page 25 for an example of the rat tile in ruby lustre. £200­400

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119 119 A William De Morgan Dragon three tile panel, the dragon modelled standing its tail wrapped back around its body, on foliate panel ground, in shades of blue, green, turquoise and aubergine on a white ground, framed, damages, 20.5cm. square £300­500

120 A William De Morgan Late Fulham Period lustre Long­tongued Beast tile, painted in blue and silver lustre on a white ground with red lustre grasses, impressed factory mark, drilled, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 125 plate 613 for this design illustrated. £800­1,200 120

121 A William De Morgan ruby lustre tile, painted with a prancing lioness and cub on a scrolling foliage ground, wedgwood blank, unsigned, damaged and re­stuck, wear, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 122 catalogue number 1015 for the original design illustrated. £200­300 121

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123

122 A large William De Morgan Early Fulham Period BBB tile, painted in shades of yellow, aubergine and green on a white ground, impressed factory mark, corner museum restored, 20.5cm. square £250­350

123 A pair of William De Morgan BBB tiles, each painted in shades of blue, aubergine and green on a white ground, framed, 15.5cm. square, (2) Provenance From the collection of James Benson. £200­300

124 A William De Morgan Early Fulham Period six BBB tile panel, painted in shades of blue, aubergine and green on a white ground, impressed factory marks, minor old restoration, 15.5cm. square (tiles) £600­1,000

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126

125 An early William De Morgan Persian Chelsea Period Roumelian tile, painted with stylised flowers and foliage in shades of blue, turquoise and green on a white ground, impressed factory mark, bottom right corner museum repaired, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 137 catalogue number 619 for the original design illustrated. £150­200

126 A large William De Morgan Chelsea Period Double Rose tile, painted in shades of aubergine and green on a white ground, impressed marks, museum restored 21cm. square Literature Martin Greenwood The Designs of William De Morgan, page 143 figure 636 and 656 for the original design with variations illustrated. £200­300

127

127 A William De Morgan Early Fulham Period Mongolian large tile, painted with a lotus flowerhead in shades of blue, turquoise and green on a white ground impressed factory mark, 20.3cm. square Literature Martin Greenwood The Designs of William De Morgan Richard Dennis, page 149 catalogue number 592 for the two tile repeat illustrated. £300­500

128 A William De Morgan Bedford Park Anemone tile, painted with five flowers in shades of yellow, green and aubergine on a white ground impressed factory mark, 15,.5cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil books, page 62 colour plate VI for a comparable tile illustrated. £120­180

128

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130 129 A William De Morgan Merton Abbey Period tile, painted with a foliage design in green on a white ground, impressed factory mark, 15.5 cm. square £200­300

130 Eight William De Morgan Early Fulham Period tiles, each painted in green on a white ground with scrolling foliage impressed marks, restoration and minor frit chips, 15.5cm. square, (8) £600­1,000

131 A William De Morgan Mongolian fifteen tile Persian panel, each tile with a single flower motif, painted in shades of blue, green and aubergine on a white ground, loosely mounted on board, old restoration 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 149 figure 592 for the original design illustrated. £600­1,000

132 A William De Morgan Late Fulham Period Galleon three tile panel, painted in shades of green with a classical long ship sailing on a calm sea, a large eagle bird attacking from the stern side and being repelled by archers, another vessel sailing on the horizon, impressed factory mark, the front tile a modern replacement by Myra MacDonnell at Froyle Tiles, middle tile museum restored, minor chips, 20.5cm. square (each tile), (3)

131

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Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 168 figure 435 the original design illustrated. £800­1,200

132

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133 A William De Morgan Sands End Persian three tile panel, painted with a dragon climbing a bough, in shades of green, turquoise, blue and aubergine on a white ground, framed, marks concealed, stamped mark, restoration 21cm. square tiles, 62 x 21cm.

134 A William De Morgan Sands End Persian three tile panel, painted with a dragon climbing a bough, in shades of green, turquoise, blue and aubergine on a white ground, mounted on board, marks concealed, stamped mark, central tile with firing fault 21cm. square tiles, 62 x 21cm.

Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 247 plate 318 and 319 for an example and the original design in reverse, illustrated £2,500­3,500

Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 247 plate 318 and 319 for an example and the original design in reverse, illustrated £2,500­3,000

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TILES 135 A mahogany and marble topped washstand inset with William De Morgan tiles, tapering square legs with casters, central cupboard with carved foliate door below rectangular grey veined white marble top, the overmantel set with two rows of five William De Morgan Persian tiles, painted with flowers and foliage in turquoise, blue, green and aubergine on a white ground, 133cm high, 91cm wide, tiles 15.5cm square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 136 figure 696 the original design for this tile illustrated. £500­800

136 A Maw & Co ruby lustre Grotesque Animal tile designed by Lewis F Day, painted with a rearing heraldic lion, in ruby lustre on a cream ground impressed marks, 15.2cm. square Literature Joan Maria Hansen Lewis Foreman Day (1845­1910) Unity in Design and Industry, ACC books, page 180 figure 6.22 for a comparable tile illustrated in a Maw & Co catalogue, 1887. £300­400

137 A pair of Minton’s tiles designed by Augustus Welby Northmore Pugin, each decorated with a radiating floral roundel in shades of blue, green, claret and salmon pink, in modern ebonised wood frames, impressed grid mark to back, hairline to one, 20cm. square (tiles), (2) Provenance Haslam & Whiteway (one) Private collection. £300­500

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138 Ellen Mary Rope (1855­1934) Ecce Agnus Dei a plaster lunette, framed in oak unsigned 70 x 19.5cm. £150­250

139

‡ 139 Sophia Rosamond Praeger MBE (1867­1954) Fionnula the Daughter of Lir, (Child with Swans) a plaster panel, in oak frame etched signature lower right, 31 x 19.5cm.

Provenance Property of a Noblewoman.

Literature Paul Larmour The Arts and Crafts Movement in Ireland, Friars Bush Press, page 112 this panel design illustrated. Praegar carved this design in Irish limestone for the Causeway School built near Bushmills Co. Antrim in 1915. Fionnula is depicted seated on a rock comforting her swan brothers. £300­500 140 A pair of Minton’s tile plaques, each painted with young medieval hunter, one with a hound and hawk, the other holding a bird, in colours on a yellow ground, in later wood frame, impressed Minton marks, 30.5 x 16cm, (2) £350­450

140

141

141 A large Aesthetic Movement two tile panel probably Minton’s or W B Simpson & Sons, painted with a standing female classical figure, holding an artist’s palette and painting a tall amphora vase, in a classical garden setting, in colours, framed, marks concealed, 66.5 x 35.5cm, 30cm square (each tile) £500­800 142 A pair of Aesthetic Movement Copeland tile plaques by T Keeting, rectangular, painted with a maiden resting by an empty plinth a bird perched on her hand, the other a medieval fisherman checking his line, painted in colours, framed, impressed marks, one signed T Keeting, 40.5 x 15cm, (2) £300­500

142

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143 A Minton Seven Ages of Man tile designed by Henry Stacy Marks, representing Old Age, printed and painted with a medieval man seated in a chair, whilst a woman stands behind and watches on, in colours unmarked, some minor rim chips, 15.5cm. square £150­250

143

144

144 Knight Death and the Devil a large Minton’s tile, after an engraving by Albrecht Durer in 1513, painted en­ grisaille with a knight on horseback in a landscape, in wooden frame, painted AD 5­ 1513 plaque and incised painters monogram bottom right, impressed Minton mark to reverse, 22.5cm. square. £200­300

145 A pair of large Mintons China Works tiles designed by Dr Christopher Dresser, each printed in brown and black with a geometric flower, fleur de lys and Greek key repeat design, impressed marks, 20.5cm. square, (2) £200­300 145

146 A pair of Minton’s Pottery tiles designed by Dr Christopher Dresser, printed with two blue­ tits perched on berried grass stems flanking a central flower stem, and bulrushes, enamelled in colours impressed marks, 20.5cm. square, (2)

146

Literature Christopher Morley, Dresser’s Decorative Design, Private Press, page 69, figure 54, this design illustrated. £250­350

147 A collection of fifty Minton & Co dust pressed tiles the design attributed to Dr Christopher Dresser or J P Seddon, each cast in low relief with a central stylised fleur de lys, glazed in shades of green, lavender, pink and orange, cast Minton’s marks, damages 15cm. square, (50) Provenance Andrew Mcintosh Patrick Collection, The Fine Art Society. £1,500­2,500

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RUSKIN POTTERY 148 Four reference works on Ruskin Pottery, comprising Ruskin Pottery A selection from the Ferneyhough Collection, Ruskin Pottery by Paul Atterbury and John Henson, Ruskin Pottery V&A travelling exhibition leaflet and The Albert Wade Collection Part 1, Sotheby’s catalogue 2nd May 2002, (4) Provenance A private collection of Ruskin Pottery. £50­100

149

149 A Ruskin Pottery high­fired stoneware vase designed by William Howson Taylor, dated 1926, cylindrical form with flaring rim, streaked purple and lavender glaze with turquoise splashes, impressed marks, hairline crack from top rim, 24cm. high £150­250

150

150 A Ruskin Pottery high­fired stoneware vase designed by William Howson Taylor, dated 1926, cylindrical form with flaring rim, glazed with sang de boeuf over silver­grey, the foot with lavender spots, and another Ruskin Pottery orange lustre vase dated 1927, impressed marks, hairline to high­fired vase, 24.5cm. high, (2) £200­300 151 A Ruskin Pottery high­fired stoneware vase by William Howson Taylor, 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

151

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. £300­500 152

152 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 Provenance Private collection. £200­400 153 A Ruskin Pottery vase designed by William Howson Taylor, dated 1914, flaring shouldered form with everted top rim, covered in a pink speckled lustre glaze, impressed Ruskin mark and date 21.5cm. high £120­180

153

154 A Ruskin Pottery high­fired stoneware perfume bottle by William Howson Taylor, shouldered form, covered in a sang de boeuf over a silver­grey glaze, a Ruskin Pottery souffle vase covered in a mottled blue glaze dated 1903 and a yellow lustre pot pourri vase and cover, impressed marks, missing cover, and small chips to top rim of main, hairline to blue vase, 10.5cm. high (4) Provenance A private collection of Ruskin Pottery. £150­250

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156

155 A Ruskin Pottery high­fired stoneware vase, dated 1923, compressed body with cylindrical neck glazed in a running, streaked lavender over flambe red with spots, over a silver­grey glaze impressed marks, size 19cm £150­200

156 A Ruskin Pottery high­fired stoneware solifleur vase by William Howson Taylor, ovoid with tall cylindrical neck, covered in a sang de boeuf glaze with lavender patches unsigned, 14cm. high

157

Provenance A private collection of Ruskin Pottery. £250­350

157 A rare Ruskin Pottery miniature vase by William Howson Taylor, compressed form with cylindrical neck, covered in a speckled orange glaze over cream, and a Ruskin Pottery high­fired miniature bowl, painted scissor mark to bowl, vase unsigned, vase neck re­stuck, 4cm. high, (2) £200­300

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159

158 A Ruskin Pottery high­fired stoneware vase by William Howson Taylor, shouldered form with inverted top rim, covered in a running sang de boeuf glaze over silver grey, unsigned, 25.5cm. high Provenance A private collection of Ruskin Pottery. £500­800

159 A fine Ruskin Pottery high­fired stoneware vase by William Howson Taylor, dated 1910, slender, shouldered form, apple green speckled glaze with sang de boeuf patches and fissuring, impressed factory mark and date, 25cm. high Provenance A private collection of Ruskin Pottery. £1,800­2,200

160 A Ruskin Pottery high­fired stoneware vase by William Howson Taylor, dated 1905, baluster form, the mushroom glazed tocky body with sang de boeuf splashes with green and turquoise spots, impressed factory mark and date, 16cm. high Provenance A private collection of Ruskin Pottery £800­1,200

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162

161 A Ruskin Pottery high­fired stoneware vase by William Howson Taylor, dated 1923, shouldered form with collar rim, covered in a rich sang de boeuf glaze over silver, with turquoise splashes, impressed factory mark and date, chip to base rim, 15cm. high Provenance A private collection of Ruskin Pottery. £300­400

162 A Ruskin Pottery high­fired stoneware vase by William Howson Taylor, dated 1926, swollen form, covered in sang de boeuf and purple glaze with turquoise splashes, impressed factory mark and date 14.5cm. high Provenance A private collection of Ruskin Pottery. £700­900

163 A Ruskin Pottery high­fired stoneware by William Howson Taylor with silver cover by A E Jones, the swollen pot speckled mint green with lavender splashes, the silver top with ball finial, painted scissor mark, stamped hallmarks, Birmingham 1912, stress hairline to top rim, 8cm. high £400­600

163

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165

164 A Holyrood Pottery vase, shouldered drum form, covered in a pink glaze speckled with pale blue impressed factory mark, 11.5cm. high £150­200 165 A Holyrood Pottery bowl, covered to the base with a running blue glaze over celadon, the interior with celadon spots and a miniature bowl, impressed factory mark, 17cm. diam., (2) £150­200

166

166 A pair of Holyrood Pottery vases, tapering cylindrical form with everted neck, covered in a crackled turquoise glaze with flambe red runs, unsigned, 19cm. high (2) £200­300 167 A Minton Secessionist pottery floor vase designed by Leon Solon and John Wadsworth, shouldered form, decorated in low relief with stylised flower stems in blue and green on a pale green ground incised number, impressed marks and printed Minton mark, stress lines to the neck, 47cm. high £200­300 168 ‘Tudor Rose’ a Moorcroft Pottery vase designed by William Moorcroft, retailed by Liberty & Co, swollen cylindrical form, painted with stylised Art Nouveau flower stems in blue, green and flambe red, on a turquoise ground, printed Liberty & Co mark, painted green signature, professional restoration, 14.5cm. high £150­200

167

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169 both sides

170

169 ‘Christmas & New Year Greetings’ a James Macintyre & Co miniature loving cup designed

by William Moorcroft, flaring conical form, tubeline decorated in blue and green on a white ground, printed factory mark, painted green signature, 5cm. high £500­700 170 ‘Violets’ a James Macintyre & Co miniature vase designed by William Moorcroft, swollen cylindrical form, tubeline decorated in blue and green on a white ground, printed factory mark, painted green signature, professional restoration to top rim, 7.5cm. high Provenance Private collection. £400­600 171 ‘Cornflower’ a pair of James Macintyre & Co Ltd solifleur vases designed by William Moorcroft, ovoid with knopped neck, tubeline decorated in blue and white on a pale blue ground, printed factory mark, incised wm monogram, small chip to one, damages to neck of other, 28.5cm. high £300­500

171

172 ‘Floral Spray’ a James Macintyre & Co jardiniere designed by William Moorcroft, footed form with applied twin­handles, tubelined and painted in colours, highlighted in gilt on a white ground, printed factory mark, painted green facsimile signature, hairline from top rim, crazed, 20.5cm. high, (2) £200­300 173 ‘Waving Corn’ a large Moorcroft vase designed by William Moorcroft, ovoid with collar rim, tubeline decorated with ears of corn, painted in pink and oatmeal on a cream ground, impressed marks, painted signature, professional restoration, 25cm. high £200­300 172 52

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174 174 ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with everted rim, tubeline decorated with toadstools in red, purple and yellow on a green ground impressed factory mark, painted green signature, light star crack to base, 12.5cm. high £600­800 175

175 ‘Flambe Blackberry’ a Moorcroft Pottery plate designed by William Moorcroft, painted in colours under a flambe glaze impressed factory marks, painted blue signature, 22cm. diam. £250­300

176 ‘Fuchsia’ a Moorcroft Pottery vase designed by Walter Moorcroft, shouldered form with collar rim, tubeline decorated with flower stems in purple, blue and green on a yellow ground impressed factory marks, painted blue signature, 31cm. high £200­300

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178

179

PILKINGTON’S LANCASTRIAN POTTERY 177 An early Pilkington’s Lancastrian bottle, model no.2694, modelled to the shoulder with four newts, covered in red lustre, inside top rim with golden iridescent glaze incised P and impressed marks, neck repaired, 12cm. high £150­200 179A

178 A rare Pilkington’s Lancastrian scent bottle, flat disc form, the shoulder modelled with two mask handles, covered in an aubergine glaze unsigned, 6.5cm. high £150­200 179 A large Pilkington’s Lancastrian Pottery vase by Richard Joyce, dated 1925, shouldered form with flaring neck, painted with a frieze of classical Greek warriors spearing a wild boar, between stylised foliage, in golden lustre on a blue and red ground, painted artist cipher and date, small chip to base rim, 41cm. high £4,000­6,000

180

179A A Pilkington’s Royal Lancastrian plate by Gladys Rogers, model no.3266, painted with radiating foliate design in turquoise on a grey ground, a Royal Worcester Salopian Ware bottle vase covered in a flambe glaze, a Gray’s Gloria Lustre bowl painted fruit panels, A Howson’s Pottery solifleur vase and eight other items impressed factory marks, painted artist cipher, 21cm. diam. (12) £150­200 180 A Pilkington’s Royal Lancastrian model of a panther, modelled seated, covered in a mottled orange glaze impressed marks, professionally restored, 12.5cm. high £120­180 181 A pair of Pilkington’s Lancastrian tiles, each painted with a simple heart motif on scale ground, in blue, red and golden lustres impressed P mark, 7.5cm. square, (2)

181 54

Literature Angela and Barry Corbett Pilkington’s Tiles 1891­2010, page 58 this design illustrated. £150­250

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THE BILL COLES COLLECTION OF PILKINGTON’S LANCASTRIAN POTTERY 182 An early Pilkington’s Lancastrian Maiden vase designed by Walter Crane, shape no.2089, tall, shouldered form, modelled in low relief with three dancing classical maidens in a formal garden setting, glazed matt olive over orange impressed early P mark, 33.5cm. high Provenance The Bill Coles collection. £300­500 183 A Pilkington’s Lancastrian vase, dated 1912, ovoid with everted top rim, covered in a mottled orange and ruby lustre glaze, the glaze trailing to form flower stem motif to the base, impressed Pilkington’s mark and date code, 27cm. high Provenance The Bill Coles collection. £150­200 184 A Pilkington’s Lancastrian Pottery lustre vase by William S Mycock, dated 1906, ovoid with collar rim, painted with simple foliate panels in golden lustre on a red ground, and a Pilkington’s Lancastrian vase by Gordon Forsyth painted with floral panels on an orange lustre ground, impressed factory mark with VI date, painted artist cipher, professional restoration to top rim, Forsyth vase smashed and re­stuck,6.5cm. high (2)

182

Provenance The Bill Coles collection. £120­180 185 A Pilkington’s Royal Lancastrian lustre pot and cover by Gladys Rogers, the footed bowl painted with laurel sprays, the cover with similar band and inscribed Amor Patriae Vincit, glazed in golden lustre on a blue ground, and a Pilkington’s Lancastrian vase with shield panels, impressed marks, painted monogram, 13cm. high, (3) Provenance The Bill Coles collection. £120­180 186 A Pilkington’s Lancastrian vase by William S Mycock, shape no.2153, compressed form with collar neck, painted with panels of berried laurel sprays alternating with simple leaf panels in golden lustre on a ruby ground impressed factory mark, painted artist cipher, 14.5cm. high Provenance The Bill Coles collection. £120­180 183

184

185

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188

189

190

187 An unusual Pilkington’s Lancastrian fish candlestick, dated 1906, shaped, circular form, modelled with three scaly fish, covered in a ruby glaze, and a Pilkington’s Lancastrian scent bottle decorated with newts to the shoulder, impressed mark and date, one fish restored to mouth, scent bottle restored 16cm. diam. (2)

190 A Pilkington’s Lancastrian vase, dated 1906, shouldered ovoid form, covered in a streaked lavender glaze, a tall Pilkington’s vase with curdled blue glaze, a tall Pilkington’s faceted, shouldered vase covered in a blue streaked glaze and five other Pilkington’s items impressed marks, 9.5cm. high (8)

Provenance The Bill Coles collection. £120­180

Provenance The Bill Coles collection. £150­200

188 A Pilkington’s Lancastrian Persian tile probably designed by John Chambers, painted and tubeline decorated with central flower motif in blue, turquoise and green on a white ground, and a Pilkington’s Lancastrian tile plaque of a man seated at a table holding a pipe whilst a landlord pours a drink, glazed brown impressed factory mark, second tile damaged and repaired, 15.3cm square (2)

191 A Pilkington’s Lancastrian vase, dated 1912, shouldered ribbed form, painted with rosehip sprays in dark blue on a mottled matt blue ground, another similar covered in a speckled in green, a vase modelled in low relief with fruiting vine by William S Mycock, glazed pale matt grey and three other vases, impressed factory marks, damages, 28cm. high (6)

Provenance The Bill Coles collection.

Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 13 plate IX for comparable Persian tiles. £120­180 191

189 A pair of early Pilkington’s Lancastrian vases, slender cylindrical form, covered in a streaked green glaze, a Pilkington’s Lancastrian vase with a curdled turquoise glaze, and five other vases impressed marks, 21.5cm. high (8) Provenance The Bill Coles collection. £120­180

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Provenance The Bill Coles collection. £120­180 192 An early Pilkington’s Lancastrian vase, cylindrical with knopped neck, covered in an experimental running ‘crystalline’ glaze in shades of brown and yellow, another Pilkington’s vase with speckled turquoise over pink glaze, another ovoid vase by Gladys Rogers and three other vases factory marks, 18cm. high, (6) Provenance The Bill Coles collection. £150­250

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193

193 A Pilkington’s Tile & Pottery Company advertising Scarab paperweight, modelled in relief and covered in a matt blue glaze, impressed marks to base, 9.5cm. wide Provenance The Bill Coles collection. £120­180 194 George VI Coronation 1937 a Pilkington’s Royal Lancastrian plaque designed by William S Mycock, limited edition of two hundred and fifty, circular, cast in low relief and painted in shades of turquoise and blue on a grey ground, a dressing table set covered in a matt blue glaze, a card of Pilkington’s Royal Lancastrian buttons and a collection of Pilkington’s Royal Lancastrian pottery impressed marks, numbered 55/250, damages (36)

194

196 A Pilkington’s Lancastrian vase, shape no.2821, shouldered form with pulled handles, covered in a streaked red glaze, another Pilkington’s Lancastrian vase with aventurine glaze, a twin­handled dish with a ‘Broken Ruby’ glaze and six other Pilkington’s pieces, impressed factory marks, 13.5cm. high (9)

197 An early Pilkington’s Lancastrian vase, shouldered, fluted body with collar neck, covered in a running turquoise glaze, two smaller Pilkington’s Lancastrian vases similar and another cast in low relief with a trefoil leaf design, impressed and printed marks, minor damages, 26.5cm. high (4) Provenance The Bill Coles collection. £120­180

195 A Pilkington’s Royal Lancastrian charger

by William S Mycock, dated 1937, tubeline decorated with a spray of wild flowers in colours on a black ground, impressed factory marks, painted artist cipher and date code, 35cm. diam.

198 A Pilkington’s Royal Lancastrian model of a seal, modelled with arched back and head raised upwards, covered in a mint green matt glaze impressed marks, 19cm. high

Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 69 plate 112 for a comparable charger illustrated. £150­250

196

Provenance The Bill Coles collection. £150­200

Provenance The Bill Coles collection. £150­250

Provenance British Art Pottery 25th November 2009, lot 207 Woolley and Wallis Auctioneers The Bill Coles collection.

195

197

Provenance The Bill Coles collection. £120­180 199 A Pilkington’s Royal Lancastrian Pottery vase, shouldered cylindrical form, cast in low relief with three lions, covered in a mottled orange glaze, another vase modelled in low relief with cockerel by William S Mycock, and a bowl decorated with a seagull by William S Mycock, impressed marks, cockerel vase smashed and re­stuck, 25cm. high, (3) Provenance The Bill Coles collection. £120­180

198

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201

202

CONTINENTAL CERAMICS 200 A Van Briggle pottery model of a woman washing, modelled kneeling, covered in a pale blue glaze, a Van Briggle jug, covered in a blue and pink graduated matt glaze, a smaller Fulper Pottery jug covered in a matt purple glaze and a collection of American art pottery, incised marks, 20cm. high (15) Provenance The Bill Coles collection. £120­180 203 201 A Rookwood Pottery vase, shouldered ovoid form, painted with cyclamen flowers in orange on a graduated ochre ground, impressed factory marks, 900D, 16cm. high Provenance Andrew McIntosh Patrick Collection.

The Fine Art Society. £150­200 202 A tall Art Nouveau Dutch pottery vase, shouldered form with tall cylindrical neck, painted with blue lily flower stems and stylised scrolling foliage, in colours painted mark and GS monogram, 35.5cm. high £150­200 203 An Art Nouveau Gouda Zuid Holland miniature twin­handled vase, painted with stylised foliage, five miniature solifleur vases, a miniature ewer, a miniature jug and two miniature bowls, painted marks, small chip to twin­handled vase, 10.5cm. high (tallest), (10) £150­200

204

204 An L M & Cie earthenware part service designed by Felix Braquemond for Francois Eugene Rousseau, printed and painted with natural history vignette of birds, butterflies, fish and grasses, in colours on a white ground, the rim dashed blue band, comprising one large serving tureen and cover, one tazza and six plates printed factory marks, damages and restoration, 23.5cm. diam. (9) Catalogue notes Produced for the Universal Exhibition, Paris, 1867, the designs include images taken from from Hokusai prints. £150­250 205 A stoneware vase attributed to Arnold Krog, ovoid with collar rim, painted with impressionistic waterlily pads below a band of pendulous foliage, in shades of blue on an off­white ground, incised AK monogram, painted 149 number, 19cm. high Catalogue notes Krog is most notably known for his designs in porcelain for Royal Copenhagen and also silver designs for Anton Michelsen, he also produced a range of loosely painted impressionistic studio pots. £200­300

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207

208

206 A Reinhold Merkelbach Secessionist stoneware ewer probably designed

by Paul Wynand, model no.2299, swollen cylindrical form, cast in low relief with three bands of teardrop motif in brown on a mottled pale brown ground impressed marks, 31cm. high £150­200

207 An Art Nouveau Ernst Wahliss Royal Vienna jug, model no.4665, the handle modelled as a scantily clad Bacchanalian maiden raising a bunch of grapes aloft, the jug body modelled in low relief with fruiting grape vine, impressed factory mark, 28cm. high £120­180

208 An Art Nouveau Royal Dux table centrepiece, model no.824, modelled as two young maidens climbing a central large shell, glazed in matt colours, highlighted in gilt, applied pink factory seal mark, 35cm. high £120­180

209 An Art Nouveau porcelain vase on gilt bronze mount by Charles Korschann, the tapering body with square aperture, cast in low relief with a panel of a child amongst scrolling flowers and strapwork, the reverse with Secessionist panel, stamped with Louchet Paris seal to back, signed Pl Alp to base, 19cm. high £2,000­3,000 209 59

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THE PAM & MARK TAYLOR COLLECTION

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212

210 210 A pair of terracotta garden urns in the manner of Royal Doulton, octagonal section, each cast with arch panels to the body, the foot cast with flowerhead motif, unsigned, 50cm. high, (2) Provenance The collection of Pam and Mark Taylor. £200­300 211 A terracotta crown top chimney, another similar and a square section chimney, unsigned, 70cm. high (main), 85cm (tallest), (3) Provenance The collection of Pam and Mark Taylor. £120­180 212 A Doulton stoneware garden planter, hexagonal, cast in low relief with Art Nouveau flower stems panels, and a stone garden planter decorated with bird panels, stamped Doulton, 33cm. high (2)

211

Provenance The collection of Pam and Mark Taylor. £120­180 213 An Art Nouveau stoneware birdbath, hexagonal section, cast in low relief with sinuous foliate panels, unsigned, 61cm. high Provenance The collection of Pam and Mark Taylor. £200­300 214 A tall Doulton Lambeth stoneware sundial base, dated 1876, tall, slender cylindrical form with knop, incised with foliate bands and applied beadwork, in shades of green, blue and ochre highlighted with white, a smaller Doulton Lambeth jardiniere stand, and a Doulton architectural base, impressed marks, damages, 103cm. high (3) Provenance The collection of Pam and Mark Taylor. £150­200 213

214 part

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215 part 215 A Doulton Lambeth stoneware oil lamp base by Mark V Marshall, dated 1882, incised with columns of grotesque lizard creatures climbing foliate stems, flanking columns of birds amongst foliage, in green, ochre and blue, and a matcher top dated 1885 by Mark V Marshall, a patinated metal base to fit, a Doulton Lambeth stoneware oil lamp base, a pair of Doulton candlesticks, another candlestick converted into a lamp and four other items of Doulton, impressed factory marks, incised monograms, 16.5cm. high (11) Provenance The collection of Pam and Mark Taylor. £200­400 216

216 A Royal Doulton stoneware Ginger Wine barrel, decorated in low relief with foliate bands and inscribed Ginger Wine, in green, brown and blue, and a Schweppes Green Ginger Wine, twin­handled flagon possibly Doulton impressed mark, flagon unmarked, chip to base vent, 25cm. high (2) Provenance The collection of Pam and Mark Taylor. £150­200 217 A pair of Art Nouveau Royal Doulton stoneware jardinieres, each shouldered ovoid form, slip decorated with stylised honesty border in brown, outlined in white on a graduated blue ground and another Doulton stoneware jardiniere impressed and incised marks, 18cm. high, (3)

217

Provenance The collection of Pam and Mark Taylor. £150­200 218 A Royal Doulton stoneware vase by Francis Pope, baluster form, incised and painted with stylised poppy flowers, in blue, green and buff, the interior glazed pale pink, and a Doulton Lambeth stoneware bowl by Eliza Simmance, and a French Art Nouveau plate by D & Co, impressed marks, incised monogram, professional restoration to foot, 22cm. high (3) Provenance The collection of Pam and Mark Taylor. £120­180 219 A Royal Doulton stoneware vase by Frank Butler, waisted cylindrical form, tubeline decorated and applied with slip beadwork Art Nouveau design in blue, green and ochre, impressed factory mark, incised FAB monogram, 33cm. high

218

Provenance The collection of Pam and Mark Taylor. £150­200 62

219

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220 details 220 A good Doulton Lambeth stoneware oil lamp by Mark V Marshall, dated 1883, on brass mount, the body incised with alternating panels of a crouching Chinese figure and dragon, amongst scrolling foliage, the cover with owls, in green on a blue ground, with glass shades and flume, impressed and incised marks to underside of top, 35cm. high (base), 65cm. high (total height) Provenance The collection of Pam and Mark Taylor. £300­500

221 A pair of Art Nouveau Doulton Lambeth stoneware vases by Eliza Simmance, slender baluster form, impressed with scrolling slender leaves and modelled with flowerhead frieze, glazed green and brown with white highlights, impressed mark, incised artist monogram, 27cm. high, (2)

220

Provenance The collection of Pam and Mark Taylor. £300­500 222 A fine Royal Doulton stoneware vase by Frank Butler, cylindrical form with inverted rim, tubeline decorated with Art Nouveau flower stems in blue, green and brown impressed factory marks, incised FAB monogram 35.5cm. high Provenance The collection of Pam and Mark Taylor. £200­400

221

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223 part 223 A Minton’s Secessionist jardiniere, model no. 3434, footed flaring cylindrical form, decorated in low relief with panels of flowers and foliage in shades of blue, yellow, turquoise, green and mushroom, a Royal Doulton stoneware jardiniere decorated with Art Nouveau flower stems, a Royal Doulton Sung dish

by Charles Noke painted with foliate design, a Doulton Burslem Morrisian Ware jardiniere printed with Medieval minstrels in blue highlighted in gilt, and a Reynard the Fox Royal Doulton milk­jug impressed and printed factory marks, chip to top rim, minor glaze frits, milk­jug restored, 25.5cm. high (5) Provenance The collection of Pam and Mark Taylor.

Literature The Doulton Story, page 41 for a comparable Morrisian Ware jardiniere inspired by the American illustrator Will Bradley. £150­250 224 ‘Lucky’ K12 a Royal Doulton porcelain model of a cat, glazed black, a Tunstall Pottery Kateroo seated cat after Souter and a Brannam style pottery cat with applied glass eyes, Lucky cat with printed and painted marks, 7cm. high, (3) Provenance The collection of Pam and Mark Taylor. £120­180

224

225 A large collection of Royal Doulton Poppies B, Series Ware designed by Charles Noke, introduced in 1909, pattern D.3225, D.3226 and D.3227, printed in colours with Art Nouveau poppy flower stems, comprising Pink Poppy wash basin and ewer, two chamber pots, a large pail and cover, soap dish and drainer, covered bathroom pot, tea set for two, extra large teapot and cover, rectangular sandwich tray, cheese dish, large footed bowl, two jardinieres, three bowls, two jugs and eight plates, Blue Poppy wash basin and ewer, two jugs, a candlestick, two shaped bowls, a large plate/wall plaque and six various plates, a Yellow Poppy jug, two bowls, and twelve various plates, printed factory marks, 43cm. diam. wash basin, (a lot) Provenance The collection of Pam and Mark Taylor. £300­500

225

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226

227

226 An Aesthetic Movement tile panel by W J W Nunn probably Doulton Faience, painted with a semi dressed bathing maiden standing at the side of a bath, in an exotic, eastern room, in colours, framed signed bottom right WJW Nunn, minor glaze loss, 20.5 x 14.5cm.

Provenance The collection of Pam and Mark Taylor. £300­500 227 A Royal Doulton Sung vase by Charles Noke, swollen baluster form, painted with a flying exotic bird in shades of blue and lavender on a flambe ground printed factory mark, painted Noke signature and Sung, 14.5cm. high

228

Provenance The collection of Pam and Mark Taylor. £200­300 228 A Doulton stoneware figure of a boy designed

by John Broad, modelled crouching and looking down to the ground, glazed green impressed Doulton to base, chip to back of base, 48cm. high Provenance The collection of Pam and Mark Taylor. £150­200 229 ‘The Bather’ HN687 an early Art Deco Royal Doulton figure designed by Leslie Harradine, the maiden modelled taking off her blue robe, printed and painted marks, 20cm. high Provenance The collection of Pam and Mark Taylor. £150­250

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230 A Minton’s novelty teapot and cover, the handle modelled as a monkey holding the reins, the spout a rooster, the cover finial a snail, glazed white, and a Wedgwood tazza with pierced rim, on three dolphin feet, covered in a streaked green and brown glaze teapot cast regd diamond, damages, 20cm. wide, (2) Provenance The collection of Pam and Mark Taylor. £120­180

230

231 ‘Hazledene’ a large Moorcroft Pottery vase designed by William Moorcroft and retailed by Liberty & Co, footed, tapering cylindrical form with everted top rim, tubeline decorated with tall trees in shades of green, blue and yellow painted green signature, printed Liberty & Co mark, small flat chip to foot rim. 25cm. high Provenance The collection of Pam and Mark Taylor. £1,000­2,000

232 An Ernst Wahliss Pottery figure of an Art Nouveau maiden, model no.4606, modelled standing holding a shell to her ear, glazed in colours with gilt highlights, printed and impressed marks to base, small flay chip to base rim, 60cm. high Provenance The collection of Pam and Mark Taylor. £200­300

233 An Art Nouveau wall pocket the design attributed to Karel Novak, cast in relief with mask, incised Novak, 39cm. long

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231

Provenance The collection of Pam and Mark Taylor. £120­180

232

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234 235 234 A pair of Art Nouveau continental pottery plaques designed by Carl Sigmund Luber, probably manufactured by Johann Von Schwarz, circular, each slip decorated with an Art Nouveau maiden, in colours, framed, 17.5cm. diam. (2) Provenance The collection of Pam and Mark Taylor. £200­300

235 An Art Nouveau continental pottery plaque designed by Carl Sigmund Luber, probably manufactured by Johann Von Schwarz, rectangular, slip decorated with a maiden standing beside daffodils, holding a bunch of freshly picked wild flowers, in colours, framed 27.5 x 16cm.

Provenance The collection of Pam and Mark Taylor.

Literature Hans van Lemmen Art Nouveau Tiles, Laurence King, page 207 for a detail of a comparable plaque by Johann Von Schwarz. £200­300 236 236 An Art Nouveau continental pottery plaque designed by Carl Sigmund Luber, probably manufactured by Johann Von Schwarz, slip decorated in low relief with a dancing maiden with long flowing red hair, glazed in colours, in oak frame 36 x 11.5cm (panel) Provenance The collection of Pam and Mark Taylor.

Literature 20th Century British & European Decorative Arts, Christie’s South Kensington, 14th November 2016 lot 1748 this design illustrated. £200­300

237 An Art Nouveau continental pottery plaque designed by Carl Sigmund Luber, probably manufactured by Johann Von Schwarz, rectangular, slip decorated with a maiden standing beside and picking hollyhocks, holding a bunch of freshly picked flowers, in colours, framed 27.5 x 16cm.

Provenance The collection of Pam and Mark Taylor. £200­300 237

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238 238 Jules Cheret (1836­1932) Palais de Glace a lithograph in colours, framed, La Diaphane a lithograph by Jules Cheret and five others all framed, signed in the print, 31 x 21cm (image) (7) Provenance The collection of Pam and Mark Taylor. £120­180

‡ 239 Fernand Toussaint (1873­1956) Le Sippon, Les Maitres de L’Affiche plate 80, a lithograph in colours published by Affiches D’Art O De Rycker & Cie, framed signed in the print 36.5 x 27cm (image) 239

240

Provenance The collection of Pam and Mark Taylor. £120­180

‡ 240 Arthur Foache (1871­1967) La Garonne, 1898 lithograph in colours of an Art Nouveau maiden, printed by Cassan Fils Toulouse­Paris, framed signed in the print 58 x 41.5cm (image) Provenance The collection of Pam and Mark Taylor. £150­200

241 Eleven Edwardian postcards, each with a scantily clad lady, in colours, framed in four modern frames, signed by various artists, 13.5 x 8.5cm (each card), (4) Provenance The collection of Pam and Mark Taylor. £120­180

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242 242 Jane Atche (1872­1937) Meditation and Without Text (Reverie), 1897 A pair of lithographic prints of Art Nouveau maidens, one holding a daisy flower, the other holding a book, in colours, framed, signed in the print, 34cm. diam. (image) , (2) Provenance The collection of Pam and Mark Taylor. £300­500 243 Mary Galay (born 1869) A pair of lithographic prints of Art Nouveau maidens, one playing a lyre, the other picking opium poppy stems, on gilt ground, signed in the print, 99 x 40cm., (2) Provenance The collection of Pam and Mark Taylor. £150­250

243

244

244 Vincent Lorant­Heilbronn (1874­1912) L’Hiver A Pau (Pau Palais D’Hiver) lithographic poster printed by Affiches Lamberger, framed printers marks to border, 115 x 75cm.

Provenance The collection of Pam and Mark Taylor. £300­500 245 Quinquina des Princes lithographic poster printed by Charles Verneau, Paris, framed printers mark to margin 155 x 114 (image) Provenance Bonham’s London The collection of Pam and Mark Taylor. £500­600 245 69

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246 An Art Nouveau mahogany three fold screen, each panel painted with a maiden, in colours unsigned, 143 high, 38cm wide (each panel) Provenance The collection of Pam and Mark Taylor. £200­300

247 Three enamelled brass curtain ties, each cast as a stylised flower stem, set with vivid blue enamel panel, unsigned, 22cm. wide, (3) Provenance The collection of Pam and Mark Taylor. £120­180

246

248 A patinated metal and glass hall lantern, flaring conical form, the leaded glass shade with stylised pink, green and amber geometric panel, unsigned, 38.5cm. high Provenance The collection of Pam and Mark Taylor. £120­180

249 An Art Nouveau silk embroidery, three sinuous flowers stems in red, framed in ebonised wood frame, unsigned, 76.5 x 65.5cm.

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

250 An Art Nouveau silk embroidery of a maiden resting by a pool side, in colours, framed, unsigned, 93.5 x 49cm (image) Provenance The collection of Pam and Mark Taylor. £200­400 70

249

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251 Charles Georges Ferville Suan (1847­1925) a gilt patinated bronze table lamp, modelled as a naked Art Nouveau maiden, standing on rocky plinth, with scrolling foliate branch, signed in the cast 53cm. high Provenance The collection of Pam and Mark Taylor. £300­500

251

252 Charles Georges Ferville Suan (1847­1925) a gilt patinated bronze table lamp, modelled as fairy reaching up to a dragonfly resting on scrolling bulrush mount, with iridescent glass shade signed in the cast, 47cm. high Provenance The collection of Pam and Mark Taylor. £300­500

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253 255

253 A patinated metal hall lantern, hexagonal section with pierced arch mantel border, set with coloured geometric glass panels, 34cm. high 254

Provenance The collection of Pam and Mark Taylor. £150­250 254 An Art Nouveau three light brass ceiling light, the three radiating stems cast with scrolling design, each applied with opaque white floriform shade unsigned, 61cm. drop

256

Provenance The collection of Pam and Mark Taylor. £150­250 255 An Art Nouveau brass three light ceiling light, cast and pierced with stylised whiplash berried sprays, the three radiating branches with floriform vaseline glass shades unsigned, 51cm drop, 53cm wide Provenance The collection of Pam and Mark Taylor. £200­300 256 A WAS Benson brass table/wall lamp, tripod foot with articulated stem, frosted glass shade unsigned, 32cm. high

257

Provenance The collection of Pam and Mark Taylor. £200­300 257 An Art Nouveau mahogany mirror, shaped, rectangular form with carved detailing, bevelled mirror glass, unsigned, 87cm high, 111cm wide Provenance The collection of Pam and Mark Taylor. £300­500 258 A Glasgow School patinated metal wall mirror, rectangular, stamped in low relief with a Glasgow Rose border, with bevelled mirror, unsigned, 76 x 61cm.

Provenance The collection of Pam and Mark Taylor. £200­400

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259 An English brass three branch ceiling light, with three foliate branches and brass reflector leaves, acid etched shades, unsigned, 55cm. high Provenance The collection of Pam and Mark Taylor. £200­400 260 An English Art Nouveau five branch ceiling light, the radiating five branches with foliate brass reflectors and vaseline glass shades, central knopped column, unsigned, 51cm wide, 48cm drop.

Provenance The collection of Pam and Mark Taylor. £400­600 261 A Liberty & Co oak hallstand, rectangular with flaring over­mantel top, the back inlaid with copper and green ceramic tile panel below a mirror, with central cupboard flanked with stick stands, metal drip trays, patinated metal hooks and fittings, 91cm wide, 194cm high Provenance The collection of Pam and Mark Taylor. £400­600

261

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263

264 262 A mahogany magazine rack, tall, slender rectangular form with pierced decorative panels, 87cm. high, 38.5cm. wide Provenance The collection of Pam and Mark Taylor. £120­180

262

263 A pair of Aesthetic Movement brass wall sconces probably retailed by Liberty & Co, the reflector backplate modelled as a large leaf with a frog watching a fly, with loose single floriform sconce, unsigned, 28cm. high (4) Provenance The collection of Pam and Mark Taylor. £120­180 264 An Art Nouveau brass oil lamp, tripod body on domed base, with flume and frosted glass shade with Glasgow Rose panels, converted to electricity, 64.5cm. high Provenance The collection of Pam and Mark Taylor. £120­180

265

265 A Thwaites & Reed mahogany wall clock, circular with circular dial with Roman numerals, with twin fusee movement, and a small American Waterbury ‘Ship’s Bell’ brass barrel wall clock, diam marked Thwaites & Reed, London, 36cm. diam. (2) Provenance The collection of Pam and Mark Taylor.

Catalogue notes Thwaites & Reed supplied clocks to this design for the stations on the North London Railway Line. £120­180 266

λ 266 A Tunbridge Ware marquetry Sarcophagus shape tea caddy, on brass claw feet, rectangular with hinged cover, internally fitted with two compartments with hinged covers and cut glass mixing vessel, the lock with diamond shaped ivory plate 33cm. wide Provenance The collection of Pam and Mark Taylor. £120­180

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267 An Art Nouveau mahogany inlaid music cabinet, rectangular on tapering square section legs, the hinged panel door and mantel inlaid with marquetry Art Nouveau flower stem panels, 111cm. high, 50cm wide.

Provenance The collection of Pam and Mark Taylor. £120­180

268 An inlaid mahogany display cabinet, possibly J S Henry or Shapland & Petter, rectangular form with inlaid Art Nouveau foliate panels, the hinged door with Glasgow rose stained glass panel, unsigned, glass broken, 152cm. high, 100cm wide Provenance The collection of Pam and Mark Taylor. £300­500

267

268

269 A Heal’s polished oak Letchworth table, and four en suite chairs and two carvers, the carvers with carved flower roundel, drop in seat, applied Heal’s ivorine roundel to table, 183cm long, 75cm wide, 76cm high (7) Provenance The collection of Pam and Mark Taylor. £500­1,000

269

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270

270 A white painted wood and metal framed bench from Lord’s Cricket Ground, 183cm. wide Provenance The collection of Pam and Mark Taylor. £120­180 271 ‘Young England’ a Copeland & Co Parian Ware model of a young cricketer after a design by G Halse, modelled resting against a tree stump, his bat by his side, reading a book, impressed Young England to base incised NO.3 to underside of base, 39cm. high Provenance The collection of Pam and Mark Taylor.

Catalogue notes Halse originally exhibited this design at the Royal Academy exhibition in 1870 with Copeland & Co producing a Parian example in 1876. £120­180 272 A bisque porcelain model of a cricketer designed by John Hassall, modelled in whites and cap holding his bat, head loose, on later circular base, an electroplated toast rack, the dividers modelled as crossed bats, the ends a set of stumps and bail, set on ball feet, three cricket related plates, two framed sets of coloured lithograph prints of a young boy cricketer (possibly postcards) by E P Kinsella and a black and white photograph of an Oxfordshire Infantrymen cricket team, Burma 1890, Hassell unsigned, 10.5cm. high (Hassall figure), (9)

271

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Provenance The collection of Pam and Mark Taylor. £120­180

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273 part

273 Fry’s Pure Concentrated Cocoa an enamelled tin advertising sign, makers to the King and Queen, a Lyon’s Tea and Yorkshire Tea double sided enamel advertising sign, a Drink Coca Cola Ice Cold enamel sign, a Lyon’s tea enamel sign and a Fry’s Chocolate enamel sign 121 x 30.5cm, (5) Provenance The collection of Pam and Mark Taylor. £500­800 274 Milkmaid Milk Now’s the Time to Buy an advertising wall clock, circular form, stamped in low relief, the circular dial painted with a milkmaid and cow in rural farm landscape, with Roman numerals, 45cm. diam.

Provenance The collection of Pam and Mark Taylor. £120­180 275 A Gold Presentation disc for Emerson Lake and Palmer’s album Trilogy, presented by Island Records to Keith Emerson, marking the sale of 100 000 records, framed 47 x 38cm.

274

Provenance The collection of Pam and Mark Taylor. £120­180

275 commemorative plaque

275

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FURNITURE EMERY WALKER’S HOUSE, THE ARTS AND CRAFTS HOME, LONDON Emery Walker’s House was the home of Emery Walker, a key member of the Arts and Crafts Movement, close friend and advisor of William Morris, and an inspirational force behind the private press movement of the 1890s and early 20th century.

The House is managed by the Emery Walker Trust, a charity whose objectives are to: conserve, maintain and display the House and its contents, and promote the advancement of the study and appreciation of the Arts & Crafts Movement.

These items listed have been in storage at the Emery Walker House since it first opened to the public. All proceeds from these sales directly benefit the preservation and maintenance of the House and its unique collections.

276

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276 A Barnsley Workshops cherry occasional table, shaped rectangular top on four octagonal legs, and another occasional table inset with forty Delft tin­glaze tiles, first table stamped Barnsley 60.5 x 34.5cm (top), 43cm high (Barnsley table), (2) Provenance Emery Walker’s House, The Arts and Crafts Home, London. £150­250 277 An ash rocking chair, shaped seat on turned legs and stretchers, the back carved with foliate panels flanking bobbin frieze, 106.5cm. high Provenance Emery Walker’s House, The Arts and Crafts Home, London. £100­150 278 A Heal’s mahogany four­poster single bed, the footboard with carved tapering pillars and foliate capitals, curved top­rail, with brass fittings, with patinated metal roundels, 192cm high, 196cm long, 93cm wide 278

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Provenance Emery Walker’s House, The Arts and Crafts Home, London. £300­500

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279 279 A Morris & Co Sussex ebonised wood Rossetti arm­chair, possibly designed by Dante Gabriel Rossetti, with rush seat, the ebonised wood frame with remains of painted red decoration, unsigned, 88.5cm. high

280

Provenance Emery Walker’s House, The Arts and Crafts Home, London.

Literature Linda Parry (editor), William Morris Philip Wilson/V&A Publishing, page 176 catalogue number J.24 for a comparable chair illustrated. Originally manufactured by Morris, Marshall, Faulkner & Co from 1863. This chair retailed in the Morris & Co catalogue for 16/6. £300­500 280 A Morris & Co Sussex ebonised wood armchair, turned legs with bobbin back, with rush seat unsigned, 85cm. high Provenance Emery Walker’s House, The Arts and Crafts Home, London.

Literature Linda Parry (editor), William Morris Philip Wilson/V&A Publishing, page 160 figure 74 for a comparable chair illustrated in the original Morris & Co catalogue priced at 9/9. £200­400

281

281 A set of four Morris and Co Sussex ebonised wood chairs, each turned wood frame with rush seat and bobbin spindle back, 84.5cm. high, (4) Provenance Emery Walker’s House, The Arts and Crafts Home, London.

Literature Linda Parry (editor), William Morris Philip Wilson/V&A Publishing, page 176 catalogue no.J.26 for a comparable single chair. £400­600 282 Three Morris & Co Sussex ebonised wood chairs, possibly designed by Ford Maddox Brown, each with slightly curved backs, set with turned, cross back splat design, circular rush seat, on turned leg and stretchers, unsigned, 84.5cm. high, (3) Provenance Emery Walker’s House, The Arts and Crafts Home, London.

Literature Linda Parry (editor), William Morris Philip Wilson/V&A Publishing, page 176 catalogue number J.25 for a comparable chair illustrated. £300­500

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283 An Aesthetic Movement stained glass and ebonised wood fire screen in the style of Dr Christopher Dresser, the frame with stencilled geometric flower motif in gilt, the glass with roundel portrait panels, amongst geometric borders, unsigned, 118cm. high Provenance Arts and Crafts & 20th Century Design, 3rd June 2009, lot 174, Woolley and Wallis Auctioneer’s. £400­500

284 A pair of Aesthetic Movement ebonised wood bedside chairs, with turned bobbin back and front rail, tapestry pads, 73cm. high (2) £150­250

285 A Lamb of Manchester mahogany writing table the design attributed to Alfred Waterhouse, rectangular section, two drawers with brass handles, with turned bobbin stretcher unsigned, 106 x 55cm, 74cm high £700­1,000

283

286 An Aesthetic Movement mahogany occasional table originally designed by E W Godwin, square section top on turned legs, the lower shelf over dowel stretchers, unsigned, 72cm. high, 42 x 43cm top £150­250

287 A mahogany occasional table possibly retailed by Goodyers, rectangular top with round corner terminals, on turned legs over rectangular shelf the ends with decorative dowel panels, unsigned, Phillips auctioneer’s label, 63 x 48.5 (top), 67cm, high £150­200

284

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288 287A 287A A Morris & Co carved mahogany cheval screen, rectangular with carved flower stem panel and ball finials, on reeded and turned legs with turned stretcher, inset with embroidered silk honeysuckle panel, unmarked, 100cm. high Literature Specimens of Furniture and Interior Decoration, Morris and Company catalogue, page 22 no.413 for a comparable screen with trellis base and scrolling foliate embroidery. £300­500 288 A Brazilian pine table in the manner of Morris & Co, circular top on six flaring, turned legs, radiating spoke stretchers, and central ring, unsigned, 128cm diam, 71cm. high £800­1,200 289 A pair of Morris & Co ebonised wood Rossetti chairs possibly designed by Dante Gabriel Rossetti, turned legs with dowel lyre back, with rush seat, 89cm high (2) Literature Linda Parry William Morris, V&A Exhibition catalogue, 1996, page 176 cat. no.J.24 for a comparable example illustrated. £500­1,000

289

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

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

Provenance The Victorian Society Catalogue notes When Crane began work for Jeffrey & Company he also became associated with the Royal School of Art Needlework. The school was home to an ‘art’ industry of secular needlework employing over 100 workers in 1875. Walter Crane’s wife was also a keen embroiderer. £1,000­2,000 290 81

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291 An Aesthetic Movement brass and stained glass hall lantern, square section, the four sides set with leaded geometric glass panels, unsigned, 35cm. high £200­300 292 A patinated brass and stained glass hall lantern, square section, the frame pierced with crescent repeat, each side set with leaded geometric glass panels, unsigned, 29cm. high £150­200 293 A mahogany stick stand in the manner of Liberty & Co, rectangular section, with turned uprights, and dowel top, with painted metal drip tray unsigned, 69cm. high, 61cm wide, (2) £150­250 291

292

294 A Morris & Co mahogany side table possibly designed by W.A.S. Benson, square section top with raised rail on turned legs, over square tray, with flared feet unsigned, 50cm square (top), 62cm. high £500­1,000 295 An oak side chair designed by Augustus Welby Northmore Pugin, chamfered decoration, on square legs, front legs with castors, the open back with carved flowerhead roundels and central EC initial roundel, 90cm. high £150­250 296 A Marsh & Jones oak chair designed by Augustus Welby Northmore Pugin, the carved oak frame with blue velvet seat and back pad, 90cm. high £200­400

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295

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297 A Marsh & Jones library desk, the rectangular top with inlaid leather writing surface, the shaped top over long drawer, the legs with inlaid marquetry decoration, applied label, 107 x 56cm. (top) £500­1,000

297

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299 298

298 An Arts and Crafts mahogany armchair, the oval seat with curved back inlaid with Art Nouveau panel, on turned legs, embroidered padded seat, 93cm. high £120­180 299 An oak pot cupboard dated 1897 the design attributed to Arthur Simpson of Kendal, rectangular form with carved foliate panel sides, back and hinged door, on bun feet 95cm. high, 43cm wide £300­500 300 A Century Guild satinwood table designed by Arthur Heygate Mackmurdo, manufactured by E. Goodall & Co, rectangular top on elegant tapering legs with carved foliate detailing, on castors stamped E Goodall & Co/Manchester, 68.5 x 45cm (top), 68.5cm. high Catalogue notes Although only short lived, it was founded in 1882 and disbanded in 1888, The Century Guild proved highly influential. Its designs by Mackmurdo, Selwyn Image and Herbert Horne (produced by makers including Goodall and Collinson & Locke) are credited with predicting and inspiring the continental Art Nouveau style. £1,000­2,000

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301 An oak armchair in the manner of Charles Frances Annesley Voysey, square plank seat on tapering square legs and arms, the tall back with vertical splats and arched mantel, unsigned, 138.5cm. high Known from several examples, this chair is probably of European manufacture and based on a chair, recorded at The Homestead, which was exhibited Internationally including in the British section of the International Exhibition in Turin, 1902 and reproduced as a drawing in The Cabinet Maker, March 1903.

Literature Karen Livingstone C.F.A Voysey Arts and Crafts Designer, page 156 figure 201 for the armchair designed by Voysey. £800­1,200

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302 An oak table designed by Charles Frances Annesley Voysey, designed for the Essex and Suffolk Equitable Insurance Society, Capel House, possibly made by F.C. Nielsen, rectangular top on square section legs, ball feet and H stretcher, the single drawer with wooden knop handle, applied brass extension fittings to one end, 135 x 60cm, (top) 77.5cm. high Literature Karen Livingstone, C.F.A Voysey Arts and Crafts Designer, V&A Publications, page 221 figure 275 for a comparable table with twin drawers.

Provenance The Victorian Society. £5,000­10,000 85

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TEXTILES 303 A long carpet runner, decorated with flowers in red and green on a blue ground, and three narrow strips of the same design, and an Art Deco small rug, rectangular with geometric design in mushroom, brown and blue 77.5cm x 390cm (main runner), (5) £200­300 304 A long carpet runner, in the manner of Alexander Morton, decorated with a red flower repeat, on green and blue ground, unsigned, 68.5cm x 662cm. £200­300 305 A pair of modern Golden Lily printed cotton curtains originally designed

by William Morris, lined, 228cm. long, 380cm. wide (each curtain), (2) £150­200 306 A wool carpet in the manner of Morris & Co, rectangular, decorated with floral cartouche panel inside foliate repeat border, in green, blue and red 230cm x 140cm £200­400

305

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307 A long pair of Morris & Co Peacock and Dragon hand­loom jacquard woven wool curtains designed by William Morris, in green and blue on a red ground, with silk tassel border, and a smaller section 241cm. high x 242cm. wide (3) Literature Linda Parry William Morris Textiles, V&A Publications, page 224 catalogue number.36 Paul Reeves An Eye for Design part II, 14th February 2019, Lyon & Turnbull, lots 338 and 339 for comparable curtains.

Provenance Private collection £1,000­2,000

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308 A Barnard Bishop and Barnard cast iron small fireplace designed by Thomas Jekyll, rectangular, cast in low relief with Japanese fan and foliage panels on a geometric ground, flanked with long vertical foliate bough panels, and separate guillotine, 91.5cm. high, 46cm wide, (2) £250­350

309 A Liberty & Co oak occasional table, rectangular top over square section legs, shallow arched under tier, unsigned, 40.5 x 30.5cm.

Catalogue notes This table was used in the Liberty department store in the 1920s. £120­180

310 A limed oak Tuscan style occasional table designed by Robert Lorimer, possibly manufactured by Whytock & Reid, octagonal top on carved cruciform legs and stretcher, and a limed oak mirror topped side table designed

by Robert Lorimer unsigned, 46cm. diam, 45cm. high, (2) £400­600

311 Mackay Hugh Baillie Scott, manner of Little Thakeham, 1911 watercolour architectural design on paper signed Baillie Scott 1911 in yellow bottom right corner 35.5 x 24cm. £700­900

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312 A large oak panelled door designed by Sir Edwin Lutyens, for the interior of Little Thakeham, ledged and braced construction, with polished steel hinges and latch handle, with hand wrought stud nails, 91cm wide, 199cm high Provenance Little Thakeham, designed by Lutyens in 1902.

Country House Sale at Little Thakeham, Rupert Toovey, 18th October 2000 lot 17, listed as from the attics of Little Thakeham private collection. £1,000­1,500 313 A mahogany gate­leg table designed by Mackay Hugh Baillie Scott, model no.14, rectangular with two flaps with hinged legs, inlaid elliptical decorative panel, 72cm. high, 82 x 100.5cm Literature Furniture Made at the Pyghtle Works, Bedford by John P White, original catalogue, this table design illustrated as model no.14 with a variation to the decoration. The table was available in oak or the more expensive mahogany at £11.11.0. £300­500 314 An Aesthetic Movement mahogany two­fold screen, with pierced rails and two hinged shelves, set with embroidered silk panels of flowers and foliage unsigned 109.5cm. high, 90cm wide Provenance Property of a Lady.

By family repute the screen was part of the contents of Ivydene, Little Switzerland, Douglas on the Isle of Man a house designed by M.H. Baillie Scott, commissioned in 1893­94. £300­500

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315 An ebonised ash Gimson high­back armchair

by Edward Gardiner, the back with five graduated and shaped back splats unsigned, 115cm. high

315

Literature Ernest Gimson & The Cotswolds Group of Craftsmen, Leicester Museums, page 90 catalogue C.16 for a comparable chair in plain ash, made by Gardiner, illustrated. £400­600

316 A Gordon Russell cherry wood hanging wall cabinet, twin, hinged panel doors with box wood chequered inlay, wooden handles, 92cm wide, 63cm high, 23cm deep.

Catalogue notes This cabinet was part of a suite of Gordon Russell furniture commissioned by The Ansell brewery family in 1929. £600­800

317 An Edward Barnsley walnut floor lamp, stepped, octagonal base supporting tapering octagonal column, with modern white shade, unsigned, 149.5cm. high Provenance Charles Harold St John Hornby (1867­1946), Chantmarle House, Dorset, Thence by descent. £800­1,200

318 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 £800­1,200

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319 A rare Reformed Gothic brass mantel clock designed by Bruce Talbert, probably manufactured by Cox & Co or Hart, Son, Peard & Co, the triangular section body with pierced flowerhead roundels set with red glass cabochon, on four flaring feet, the pinnacle set with floral terminal, the circular dial with enamelled black Roman numerals, unsigned, 27cm. high £2,000­3,000

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320

320 Arthur Henri Lefort des Ylouses (1846­1912) Sirens, allegories of Abundance and Fame, 1880 and 1889 two large enamelled lava panels, in original stained beech frames signed and dated top right, 54 x 43cm (panels), 66 x 55cm (frame), (2) Provenance Fraysse & Associes Paris, 22nd October 2008, lots 64 and 65. £800­1,200

321

321 A pair of Elkington & Co cloisonne enamel vases, tapering cylindrical form with everted top rim, decorated with butterflies flying amongst berried and flowering foliage sprays, in colours on a blue ground, signed in the enamel Elkington & Co and stamped mark to base, damages, 17cm. high, (2) £150­200

322 An Arts and Crafts patinated copper and enamel circular box, possibly American in the Boston school manner, circular section, the cloisonne enamel roundel to the cover of a peacock displaying, in colours unsigned, 14cm. diam., (2) £150­200

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323 A Guild of Handicrafts copper and enamel box by Arthur Cameron and Charles Robert Ashbee, the hammered rectangular box on ball feet, the hinged cover inset with enamel panel of a standing rhinoceros by Arthur Cameron, cedar lining, enamel signed AC monogram, paper John Jesse label, 18 x 11cm, 5cm. high Provenance Charles & Lavinia Handley­Read John Jesse Andrew McIntosh Patrick Literature Alan Crawford C.R.Ashbee Architect, Designer & Romantic Socialist, Yale, page 329 plate IX for three comparable silver and enamel boxes illustrated including one by Arthur Cameron. The illustration also shows an enamel by William Mark of St George on Horseback based on an engraving by Durer. This enamel is also after the Rhinoceros woodcut by Durer dated 1515. £2,000­3,000 93

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324 Alfred Stevens (1817­1875) Caryatids for the Boy Stove two patinated bronze figures unsigned, 38cm. high, (2) Catalogue notes The pair of caryatids were part of a bronze, brass and steel fireplace designed by Steven’s and manufactured by Hoole & Co, known as the Boy stove ­ exhibited at the Great Exhibition 1851. £1,000­2,000 325 Edward Onslow Ford (1852­1901) Bust of Sir William Quiller Orchardson, 1895 bronze on serpentine marble base signed in the cast Onslow Ford 1894, 64cm. high Provenance Sotheby’s London 20th November 1997, lot 121 Sotheby’s London 21st May 2014, lot 87.

Exhibited Royal Academy of Arts, London 1895, catalogue number 1643 (for an example) 324

Literature A Graves The Royal Academy Exhibitors, Volume III, page 137 catalogue number 1643. £2,000­3,000 326 Emmanuel Villanis (1858­1914) Nelly patinated bronze bust signed in the cast E Villanis and cast foundry roundel, 25.5cm. high £150­200 327 Aime­Jules Dalou (1838­1902) Man with shovel going to work patinated bronze, signed in the cast Dalou 14.5cm. high £300­500

325 94

326

327

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328 Sir Alfred Gilbert MVO RA (1854­1934) Charity patinated bronze on ebonised wood base unsigned 35cm. high (bronze), 47.5cm. high (total height) Provenance Charles & Lavinia Handley­Read, thence by descent.

Literature Victorian and Edwardian Decorative Art The Handley­Read Collection Royal Academy of Arts, 1972 page 109 catalogue number F.29 for another, slightly taller version listed.

Richard Dorment Alfred Gilbert Yale, page 27 figure 9 for the plaster version (Tate Gallery).

Alfred Gilbert Royal Academy of Arts, 1986, catalogue number 91 for a comparable example illustrated and also catalogue number 90 for an example cast by Alessandro Parlanti in August 1899 with experimental two colour patination technique. £8,000­12,000

95

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329

329 Paul Berthon (1872­1909) L’Etangaux Canards, 1903, Venise 1899 and La Pointe de Bretteville, 1899 three lithographic prints, framed Signed in pencil, 65 x 35.5cm (Venice), (3) £150­200 330 Walter Crane (1845­1915) Summer, pen and ink on paper, framed 55 x 30.5cm.

Provenance: Campbell Wilson, Private collection. £1,500­2,000 331 The Seven Lamps of Architecture a large painted gesso panel, depicting seven figures titled Sacrifice, Truth, Power, Beauty, Life, Memory and Obedience after John Ruskin’s Seven Pillars of Architecture published in 1849, in wooden frame, with a hammered copper plaque ‘Vita Brevis Est’, unsigned 140.5 x 92cm. £400­600 330

96

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332 Eric Gill, manner of Mother and Child stone unsigned, 65cm. high £3,000­5,000

97

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334

335

METAL WARE 333 A pair of patinated brass wall sconces, each rectangular with curved tapering finial and base, one central circular sconce with drip pan, and hanging cone reflector/snutter unmarked, 50cm. long. £200­400

333

334 A pair of Reformed Gothic brass vases, swollen footed form with flaring neck, decorated with a band of scrolling foliage set with four agate cabochon flowerheads, the necks with simple cross roundel border, and a pair of C Winn & Co brass vases, stamped marks two Winn vases, 23cm. high, (4) Provenance The Country Seat. £120­180 335 A twin­light copper wall sconce, shaped rectangular back­plate stamped in low relief with three peacock birds, the two sconce tray with stamped foliate motif, unmarked, 36cm. high £200­300 336

336 A W.A.S Benson silvered copper inkwell, model no.486A, on circular lily­pad base, the urn shaped well with shallow domed cover, and a WAS Benson silvered metal coffee pot and cover, inkwell unsigned, pot stamped mark, 16.5cm. diam. (inkwell), (4) Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary & Pioneer of Modern Design, ACC Publishing, page 255 plate 30 this inkwell design illustrated. £120­180

337

337 Two W.A.S Benson brass counterbalance candlesticks, each with seedpod counterweight and scrolling S shaped stem, one with brass drip­tray, the other copper, unmarked, 31cm. wide, (2) Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC publishing, page 121 plate 98 this form illustrated.

Decorative Arts Design Since 1860, Lyon & Turnbull, 1st April 2020 (online), lot 159 for a comparable stamped example with silvered finish. £250­350

338 98

338 A pair of W.A.S Benson cantilever candlesticks, ball counterweight, the scroll stem on two arched legs with foliate feet, circular copper drip pan and brass sconce, unsigned, 32cm. wide, (2) £300­500

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339

339 A pair of W.A.S Benson copper and brass three­light candlesticks, model no.22A, on angled tripod feet, knopped stem with copper foliate decoration, flaring three branch neck with sconces, unsigned, 34.5cm. high, (2) Literature Ian Hamerton W.A.S Benson, Arts and Crafts Luminary & Pioneer of Modern Design, ACC, plate 97 for a comparable pair of three­branch candlesticks. £1,500­2,500

340 A W.A.S Benson brass wall/table lamp, with heart­shaped base, elaborate scrolling stem and articulated fitting, vaseline glass shade unsigned, 30cm. high £400­600

340

341 A W.A.S Benson brass table/wall lamp, the heart­shaped base supporting curved stem and articulated fitting, copper foliate sconce holding vaseline glass shade unsigned, 24.5cm. high £300­500

341 99

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343

344 342 A wrought­iron doorstop designed by Dr Christopher Dresser, tapering rectangular section, the central column pierced with circular stylised flowerhead motif, with flaring stylised foliate terminals, impressed regd mark, 25.5cm. high £120­180

342

343 A Richard Perry & Son brass chamberstick designed by Dr Christopher Dresser, circular bowl with pulled rim forming handle, and another R Perry & Son brass chamberstick stamped factory marks, 21cm. wide. (2)

345

Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A Publishing, page 181 figure 245 for a Japanned metal version illustrated. £150­200 344 A Hukin & Heath electroplated dish designed by Dr Christopher Dresser, model no.2523, twin circular dish with central loop handle, on tapering spike feet stamped H&H mark, 2523, 27cm. wide £350­450

346

345 A Hukin and Heath electroplated metal and glass decanter designed by Dr Christopher Dresser, the compressed clear glass body with cylindrical neck, set with electroplated collar with short, angular spout and hinged flat cover, square section metal handle stamped Hukin & Heath mark, 23cm. high Literature Michael Whiteway, Christopher Dresser 1834­1904, Skira, page 99 plate 86 this design illustrated £250­350 347

346 A large Keswick School of Industrial Arts brass wall mounted post box, rectangular section, hammered in low relief with stylised flowers to front and sides, with pierced leaf motif, the back­plate with similar flower stem stamped KSIa mark to front 33.5cm wide, 25.5cm high £300­500 347 A Keswick School of Industrial Arts copper chamberstick, circular with loop handle, the drip­tray stamped and engraved with a frieze of sleeping door mice, a Keswick School of Industrial Arts copper card tray and a large Keswick School of Industrial Arts copper tray, all stamped KSIA, 22.5cm. diam (chamberstick), (3) £120­180 348 A copper dish in the manner of John Pearson, square section, stamped in low relief with birds perched and eating grapes on the vine, and a larger copper charger stamped in low relief with mythical creature, main unsigned, painted marks to second item, 19cm wide (small dish), 45.5cm. diam. (charger), (2) £150­250

100

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350

349

349 An Art Nouveau patinated bronze inkwell, tapering square section, cast in low relief with sea maidens amongst waves, the hinged cover set with a large frog finial, with two­piece glass well, unsigned, retail label to interior, 10cm. high, (3) £120­180

350 A repousse hammered patinated copper bowl

by John Pearson, dated 1899, shouldered, circular form, deeply hammered in high relief with a frieze of fish, each fish different, hammered JP 1899 numbered 2490, 27cm. diam, 13cm. high £500­800

351

351 A repousse hammered copper charger possibly

by John Pearson, circular, the well decorated in low relief with a galleon sailing towards over stylised waves, the rim with a band of swimming scaly fish, unsigned, 38cm. diam. £300­500

352 A repousse copper charger probably by John Pearson, hammered to the well with a grotesque bird with a snake in its beak, the border with stylised birds amongst flowers and foliage, hammered ground, unmarked, 38.5cm. diam. £400­600

352

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355

354 353

353 A large Keswick School of Industrial Arts patinated copper jardiniere, shouldered ovoid form with collar rim, stamped in low relief with a leaf motif, stamped KSIA to base, 31.5cm. high £400­500 354 A Keswick School of Industrial Arts copper pot and cover possibly designed by Harold Stabler, tapering faceted body stamped in low relief with Art Nouveau foliate stems, the hinged cover with simple flowerhead design stamped KSIA mark, 19cm. high £200­300 355 An Arts and Crafts Connell patinated copper and silver bowl, the hammered copper bowl with three silver loop handles scrolling to form feet, the top rim with applied ropework border stamped Connell mark, 14.5cm. wide £120­180

356

357

356 A Birmingham Guild of Handicraft brass twin­handled jardiniere, swollen form, the hammered body with applied strap handles and studs, stamped BGH 14.5cm. high £300­500 357 A Birmingham Guild of Handicraft copper and brass vase and cover, swollen copper baluster shaped body on brass foot, the domed copper cover with brass finial, lightly hammered finish stamped BGH to base, 26cm. high, (2) £300­500

358

358 A large Birmingham Guild of Handicraft patinated copper twin­handled jardiniere, the shouldered, patinated copper body applied with patinated brass strap handles with studs, stamped BGH to base, 20cm. high £400­600 359 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. £800­1,200 102

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λ 360 A fine pair of Artificers’ Guild silver and narwhal tusk bowls designed by Edward Spencer, the domed base on five cast feet, with raised columns surmounted with green chrysoprase cabochon, cast stiff leaf and woven vine collar, supporting narwhal tusk stem, the stem supporting teardrop shaped hammered bowl with pierced pendulous flower collar, the bowl rim cast in low relief with foliate panels to the exterior, stamped marks, London 1906, stamped designed by Edward Spencer, 18.5cm. high19cm. wide., (2) Provenance The collection of James Benson.

Literature The Studio, 1912 Taschen reprint, page 355 for a bowl and a fruit stand with similar decoration illustrated.

Design Since 1860, 11th April 2018 lot 127 Lyon & Turnbull, for a comparable tazza made for the Clyde Corinthian Yacht Club in 1925.

This lot is sold with an Article 10 License for Cites (certificate number 588569/01). £2,000­3,000 103

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361

362

361 A pair of patinated wrought iron twin­branch candlesticks designed by Edward Spencer, probably Artificers’ Guild, shallow domed foot supporting tapering square section stem with entrelac and scrolling arms, simple circular drip pans, unsigned, 30.5cm. high £1,500­2,000

363

362 A pair of patinated wrought iron twin­branch candlesticks designed by Edward Spencer, probably Artificers’ Guild, shallow domed foot supporting tapering square section stem with entrelac and scrolling arms, simple circular drip pans, unsigned, 30.5cm. high £1,500­2,000

363 An Artificers’ Guild silver, copper and wood comport probably designed by Edward Spencer, model no. 2025, the domed silver foot set with red and orange jewels, the tapering, faceted stem supporting shallow wooden bowl, stamped marks to base, 15cm. high, 22.5cm. diam.

Literature The Studio, 1912, reproduced by Taschen, page 354 for a comparable silver and walnut fruit bowl illustrated. £400­600

364 An Artificers’ Guild Ltd silver­gilt chalice probably designed by Edward Spencer, tapering foot supporting knopped stem and flaring hammered bowl, the knops decorated with roundel and rope borders, dedicated Charles Phillips Obit 11 IV MCMXIV (1914), stamped marks, London 1914, 18cm. high, 7.2ozt £300­500

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λ 365 A pair of Guild of Handicrafts silver­plated copper and ivory tureens designed by Charles Robert Ashbee, the elliptical twin­handled bases pierced and cast with foliate handles, shallow domed top with rope­twist and foliate mounts and ivory handle, unmarked, 35.5cm wide Provenance Arthur Currer Briggs (1855­1906) Mayor of the city of Leeds (1903­04) and Alderman of the City of Leeds (1904­1906) who commissioned his holiday home Broadleys over looking Lake Windermere was designed by Charles Voysey.

Literature C.R Ashbee Modern English Silverwork, London 1909, plate 55 for this pierced vine design illustrated. £1,000­1,500

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366

367 368 366 An Arts and Crafts small silver and cloisonne enamel dish, rectangular, with fluted rim, with central geometric roundel in red, green, yellow and blue, the rim with four smaller enamel panels, hammered finish, unsigned, 10.5cm. wide £80­120 367 An Art Nouveau Hutton Secessionist pewter coffee pot and milk jug, model no.0599, the coffee pot with simple geometric panels, the hinged cover set with turquoise ceramic roundels, the milk­jug with similar square ceramic panels, stamped marks, 19.5cm. high (2) £150­200 368 A Jones and Crompton silver cruet set, each stamped in low relief with simple Art Nouveau tulip flower repeat, comprising two three­handled salts and serving spoons, two pepper pots and a covered mustard pot with blue glass liner, in fitted, velvet­lined presentation case, stamped marks, Birmingham, 1905, 7cm. high (pepper pot) (7) £300­500

369

369 An Arts and Crafts A E Jones silver inkwell, circular flaring base supporting tapering circular section well and hinged cover, cast simple drop decoration on hammered ground, with four buttress, stamped marks, Birmingham 1904, 12cm. diam. (3.8ozt) £200­300

370

370 An Arts and Crafts Connell silver salt with glass liner, on tripod feet, the everted rim with pierced decoration, clear glass liner, stamped marks, Birmingham 1910, 9cm. wide £120­180 371 A Liberty & Co silver and enamel pepper pot, model no.492, ovoid with flaring foot, hammered finish decorated with bands of cast triangles enamelled green stamped marks, Birmingham 1913, 5cm. high £120­180

371 106

372

372 An Arts and Crafts William Hutton silver string box and cover designed by Kate Harris, cylindrical, cast in low relief with floral panels, the cover set with mistletoe finial, stamped marks, London 1903, 8.5cm. high, ( 5.5ozt) (2) £120­180

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374

373

373 An Art Nouveau George Unite silver three piece tea set, tapering cylindrical form with strapwork handles, comprising teapot and hinged cover, milk­jug and sugar basin, stamped marks, Birmingham 1920, 13cm. high 20.2ozt (3), £300­500 374 A Liberty & Co silver spoon, circular hammered bowl, the twisted stem with foliate knop and terminal, stamped 365 L & Co Birmingham 1936, 19.5cm. long £400­500 375 A William H Haseler silver three piece tea set designed by Archibald Knox for Liberty & Co, model no.5342, comprising teapot and cover, milk­jug and twin­handled sugar basin, Japoniste form, the teapot low compressed body with slender spout and sinuous strap handle, stamped marks, WHH to teapot Birmingham 1905, milk and sugar Liberty & Co Birmingham 1906, 13cm. high, 15.5ozt, (4) £700­1,000

375

376

376 A rare Liberty & Co Solkets pewter cruet set designed by Archibald Knox, model no.0348, cast in low relied with Art Nouveau whiplash foliage, comprising; salt and pepper pots, mustard pot with hinged cover and glass liner, and a salt with green glass liner, stamped marks, 7cm. high (mustard pot), (4) £200­300 377 A Liberty & Co Tudric pewter vase with Clutha glass liner, model no.0580, the pewter pierced and cast with foliate panels, stamped marks, 10.5cm. high, (2) £250­350

377 107

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379

378 380 378 A Winifred Green for C S Green & Co silver picture frame, stamped in low relief with a young girl herding geese, with Art Nouveau flower stems to the side panels, on wooden frame with easel back stamped marks, Birmingham 1905, 20.5cm. high £150­200 379 A William Aitken silver double inkwell and pen tray with two glass inkwells, the rectangular tray stamped and pierced with heart panels, fitted with two square section glass inkwells with silver rims and hinged covers, stamped marks, makers mark rubbed, Birmingham 1910, 24cm.wide, (3) £300­400 380 An Art Nouveau continental silver hand mirror, cast in relief with a figure before foliage, bevelled mirror signed in the cast TC, 19.5cm. long £120­180

381 382

381 An Arts and Crafts William Hutton & Sons silver vase designed by Kate Harris, flaring cylindrical body with everted fluted rim, stamped in low relief with flower panels, on flat circular base decorated with stylised leaves in low relief, stamped marks, London 1900, weighted base, 19.5cm. high £200­300 382 An Art Nouveau electroplated metal figural table lamp probably WMF, cast as a maiden holding up a foliate urn, a young child at her feet, on flaring square base, with later frosted glass flame shade, unsigned, 54cm. high (total), (2)

383

Provenance The late Greta Morrison, widow of Bryan Morrison. £150­250 383 An Art Nouveau Urania pewter three piece tea set designed by Hugo Leven, model no.1042, cast in low relief with simple foliate design, comprising teapot and cover with ceramic insulators, milk­jug and sugar and cover, stamped marks, 11.5cm. high (teapot), (4) £120­180 384 An Osiris Isis pewter and enamel biscuit box after a design by Archibald Knox, model no.436, circa 1905, flaring square section on flaring foot, cast in low relief with Art Nouveau entrelac design, the twin­hinged cover set with green and blue enamel roundels, cast marks to base, 12.5cm. high

108

384

Literature Stephen Martin, Archibald Knox, ARTMEDIA, page 245 for the original Liberty silver design illustrated. £200­300

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λ 385 A Wiener Werkstatte silver­gilt box and cover by Eduard Josef Wimmer Wisgrill, dated 1911, octagonal stepped form, with hinged cover, hammered finish with bands of scroll to the cover, the cover inset with a an ivory panel painted with St Nicholas by E J Wimmer, stamped Wiener Werkstatte and WW mark, head of Diana, artist monogram to base, inside cover inscribed 8 December 1911, 13cm. wide.

Provenance Property of a Lady Literature Neumeister Auctions, 21st March 2018 lot 101 for a comparable Werkstatte silver box by Wimmer­Wisgrill painted with a similar image of Nicholas with Krampus. £3,000­5,000

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386

387

386 A Secessionist enamelled metal table lamp, in the manner of Josef Hoffman at the Wiener Werkstatte, the pierced drum shade enamelled cream with cream textile inner shade, with polished metal top, the flaring hammered metal stem on shallow domed base unsigned, 47cm. high £300­400

387 A large WMF Secessionist pewter dressing table mirror, model no.120, shaped and pierced rectangular form, cast in low relief with foliate square panels, bevelled mirror, on easel back support, stamped marks to base, cast 120, 53cm. high £500­800

388 A Jugendstil pewter mounted glass claret jug, the tapering cylindrical glass body enamelled with sinuous berried and flowering stems, highlighted in gilt, the pewter cast in low relief with scrolling flowers and foliage, stamped Imperial eagle and four leaf clover marks to base, 40cm. high £400­600

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390

389 λ 389 A continental silver and ivory pendant in the manner of Dagobert Peche, the carved ivory panel set with central pierced silver panel of a simple flower stem, set with amethyst coloured stone, silver chain loop and drop unsigned, 12cm. long Literature Das Kunsthandwerken in Einzeldarstellungen Erster Band Dagobert Peche, Gerlach & Wiedling, 1925, page 42 for a series of comparable brooches and pendants designed by Peche for the Wiener Werkstatte. £150­250

391

390 A pair of Jugendstil silver cuff­links designed by Julius Muller­Salem, each link cast in low relief with a maiden’s head with long flowing hair and bird headdress, stamped Sterling Depose, 2cm wide (9 grams) Provenance A private collection of cuff­links.

Catalogue notes This design is recorded in an original contemporary photograph of Muller­Salem’s work and were probably manufactured by Theodor Fahrner, circa 1900­1902. £450­550 λ 391 An ivory crucifix pendant in the manner of Eric Gill, carved in low relief with Christ on a stylised cross, with green silk cord necklace, unsigned, 6.5cm. long £150­250 λ 392 A pair of George Hunt silver and ivory servers, the large planished silver bowls with engraved serpent and chevron panels to collar, the ivory handles with allegorical figures possibly Adam and Eve stamped marks, Chester 1932, 30cm. long (2) Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller, Bonhams, November­December 2006, catalogue no.96. £400­600

392

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GEORGE HUNT JEWELLERY It will be 14 years ago next month that the touring exhibition, ‘George Edward Hunt­The Silent World of an Arts and Crafts Jeweller’ took place. It was the first time that his work had been focused upon in any depth. The majority of exhibits came directly from the family. The exhibition illustrated the diverse range of items George, who was deaf, produced from his workshop in Birmingham. It showed how George not only designed and produced pieces in his own inimitable style but drew upon bygone influences and embraced current trends­from revivalist silver work to enamel panels and jewellery all steeped in the Arts and Crafts ethos. As a result of the exhibition his work is now better recognised, understood, appreciated and collected.

It is once again thanks to the family that a selection of his work is being offered here. Allowing an opportunity to acquire pieces featured in the exhibition and others that have never been seen outside of the family circle since leaving George’s humble garden workshop.

John Kelly October 2020

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393

393 An impressive George Hunt silver, enamel and pearl set brooch, the pierced oval frame enamelled with a large exotic bird perched amongst foliage, set with five pearl cabochon, stamped GH shield mark, 6cm wide.

394

Provenance George Edward Hunt, thence by descent. £300­500

395

394 A George Hunt silver and enamel St George and the Dragon brooch, dated 1937,oval wirework frame with rivet panels, central oval enamel painted with St George on horseback fighting the dragon, in colours, highlighted in gilt, signed G Hunt 1937, 6.5cm. long Provenance George Edward Hunt, thence by descent. £400­600 395 A George Hunt silver and enamel brooch, dated 1924, rectangular wirework frame set with two green jade cabochon, with corded border, central enamel panel with sailing ship at full sail before the rising sun signed G Hunt 1924, 4.2cm. long Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller.

November­December 2006, Bonhams, page 28 catalogue number 49 (not illustrated). £300­400

396

396 A George Hunt silver and enamel Secessionist brooch, dated 1937, the rectangular silver frame with offset leaf with chrysoprase stone, set with an enamel of a woman before a rainbow, and another George Hunt silver and enamel brooch enamelled with a basket of flowers painted G Hunt 1937 to main, second signed G Hunt, 5.5cm. long, (2) Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller.

November­December 2006, Bonhams, page 38­39 catalogue number 76. £150­250 397 A George Hunt silver and enamel brooch, rectangular the wirework frame set with three abalone roundel, with rope twist border, central rectangular panel enamelled with a lake landscape signed G Hunt, 5.5cm.wide Provenance George Edward Hunt, thence by descent. £300­400

397

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399

400

398

398 An early George Hunt silver and abalone shell fish brooch, the silver cast as a large stylised scaly fish, set with large abalone shell panel, unsigned, 7.3cm. long Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­ December 2006, Bonhams, page 14­15 catalogue number 13. It is suggested on stylistic grounds that this is an early piece made by George Hunt circa 1917­1918, the time he left Margaret Street and Vittoria Street Schools. £150­250 399 A George Hunt silver and abalone brooch, rectangular hammered frame with simple leaf motif set with central abalone panel, unsigned, 4.5cm. wide.

Provenance George Edward Hunt, thence by descent.

Literature George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­ December 2006, Bonhams, page 15 catalogue number 12 for a comparable. £150­250

401

400 A George Hunt silver and abalone brooch, octagonal hammered frame with strapwork panels, set with central abalone panel in beadwork border stamped GH shield mark, 5cm. wide Provenance George Edward Hunt, thence by descent.

Literature George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­ December 2006, Bonhams, page 15 catalogue number 12 for a comparable. £150­250 401 A George Hunt silver and abalone brooch, oval frame with hammered texture, strap and rivet panels and ropework border, central large abalone shell panel, unsigned, 7.3cm. wide Provenance George Edward Hunt, thence by descent. £200­300 402 A George Hunt silver and enamel brooch, circular wirework frame set with blue enamelled leaves, set with two agate cabochon and a moonstone, and a George Hunt silver and enamel bar brooch set with abalone unmarked, 3.5cm. diam. (2) Provenance George Edward Hunt, thence by descent.

402 114

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­ December 2006, Bonhams, page 22­23 catalogue number 29 (circular brooch). £200­300

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404

403

403 A George Hunt silver and enamel brooch, dated 1922, the oval wirework frame with rope twist border, set with oval enamel panel of white lily stems, and another George Hunt enamel brooch enamelled with a panel of stylised anemone flowers dated 1936, main signed G Hunt 1922, 6cm. long Provenance George Edward Hunt, thence by descent. £150­250 404 A George Hunt silver and enamel dress clip, double circular wirework frame with blue enamel leaves and pink and white enamelled flowers, set with small sapphires, the frame set with eight moonstone cabochon, the silver clip engraved with foliate wreath, stamped GH shield mark, 6cm. long Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­ December 2006, Bonhams, page 36 catalogue number 71 £400­600

405

405 A George Hunt silver and enamel St Francis of Assisi pendant, dated 1933, oval wirework frame with green enamel leaves set with four amethyst stones, set with central enamel panel painted with St Francis, with empty drop, enamelled G Hunt 1933, 7cm. long Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­ December 2006, Bonhams, page 16 catalogue number 17 (not illustrated). A pendant with the same subject matter was exhibited at the Walker Art Gallery in Liverpool in 1922. £300­400 406 A George Hunt silver and enamel pendant necklace, wirework frame with leaf motif, set with two coral cabochon, the rectangular enamel panel painted with a wooded landscape, with green agate drop, the chain with two green agates painted G Hunt 1924, chain broken, 7.5cm. long (2) Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­ December 2006, Bonhams, page 20 catalogue number 25 (not illustrated). £250­350 406

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407 A George Hunt silver brooch, circular form with fine wirework Celtic cross decoration, set with four coral cabochon, inside rope border stamped GH shield mark, 6cm. diam.

Provenance George Edward Hunt, thence by descent. £250­350

408 A George Hunt silver and Swiss lapis brooch, circular with coiled wire panels and corded border, central green agate cabochon flanked with four Swiss lapis cabochon, stamped GH shield mark, 5cm. diam.

408 407

Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­December 2006, Bonhams, page 18 catalogue number 20 (not illustrated). £200­300

409 A George Hunt pewter and enamel brooch, square section cast in low relief with foliate design, central large blue enamel stone, a smaller pewter and orange enamel sunrise brooch and another pewter mounted brooch, sunrise brooch stamped GH shield mark, 5cm square (largest), (3) Provenance George Edward Hunt, thence by descent. £150­200

410 A George Hunt silver and moonstone clip brooch, rectangular wirework form with hammered leaves, set with three moonstone and rose quartz flower buds, stamped GH shield mark, 5cm. wide 409

Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­December 2006, Bonhams, page 30­31 catalogue number 52 £200­400

411 A George Hunt silver brooch, elliptical wirework frame with fleur de lys panels, set with central cut amethyst stone with corded border unsigned, 7cm. wide Provenance George Edward Hunt, thence by descent.

411 410

116

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­December 2006, Bonhams, page 24 catalogue number 35 (not illustrated). £200­300

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412 reverse

413

412 412 A George Hunt silver and enamel portrait pendant of Anne Lutterell Duchess of Cumberland, dated 1932, the oval panel set in simulated pearl border, green enamelled foliate frame set with turquoise coloured paste cabochon and colourless pastes, with paste bead drop, signed, titled and dated to reverse of enamel, 8cm. long Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­December 2006, Bonhams, page 26 catalogue number 44 (not illustrated). £300­500 413 A silver and enamel brooch by George Hunt, dated 1925, the oval frame with central forget me not enamel inside rope borders and enamel and turquoise geometric border, gilt signature G Hunt 1925, 5.5cm.high Provenance George Edward Hunt, thence by descent. £300­500

414

414 An impressive large George Hunt silver and enamel brooch, dated 1929, the oval wirework frame with stylised foliate sprays set with colourless, blue and green pastes, rope border housing a central enamel panel of a bouquet of flowers in colours on a blue ground, signed G Hunt dated 1929 to reverse, 6.5cm. long Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­December 2006, Bonhams, page 34­35 catalogue number 69. £1,500­2,000 415 A George Hunt silver and enamel brooch, dated 1937, the wirework frame with blue enamelled leaves and set with four abalone shell panels flanking two moonstone cabochon, central oval enamel painted with a basket of forget me not flowers, painted G Hunt 1937, 6.5cm. wide Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­December 2006, Bonhams, page 36 catalogue number 74 (not illustrated). £300­500

415

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416 A George Hunt silver and enamel brooch, oval wirework frame set with four cut colourless pastes and simulated pearl border, central oval enamel painted with wild flower bouquet in colours unsigned, 5cm. long Provenance George Edward Hunt, thence by descent. £200­300

416

417 A large George Hunt silver and enamel brooch, oval frame set with rose quartz and abalone shell stones, flanked with blue enamel leaves, the central panel enamelled with a flower bouquet, a smaller George Hunt silver and enamel brooch enamelled with a single flower stem, dated 1937, and another silver and enamel brooch second brooch signed G Hunt and dated 1937, 8cm. long (main brooch), (3) Provenance George Edward Hunt, thence by descent. £150­250

418 A George Hunt silver and enamel brooch, square wirework frame set with uncoloured pastes, ropework border, the square enamel decorated with rose flowers unsigned, 4.5cm. wide Provenance George Edward Hunt, thence by descent. £200­300

419 A George Hunt silver and enamel brooch, dated 1924, the rectangular wirework frame with central enamel panel of a moth, the wirework ends set with moonstones, signed G Hunt 1924 to reverse, 4.5cm. wide

417

Provenance George Edward Hunt, thence by descent. £250­350

418

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421

420

420 A fine George Hunt silver and enamel bar brooch, wirework frame with blue enamelled leaves, set with lapis moonstone and opal stones, stamped GH shield mark, 7.5cm. wide Provenance George Edward Hunt, thence by descent. £250­300 421 A George Hunt silver and enamel bar brooch, modelled as a stylised tree, with enamelled blue tree and set with green and lavender stones, and two George Hunt silver and enamel geometric brooches, stamped GH mark to all three, 5.5cm. long (main (3) Provenance George Edward Hunt, thence by descent. £150­250 422 A George Hunt gold ring, set with colourless and blue stones, indistinct stamped marks 01/2 £300­500 423 A George Hunt silver and rose quartz sautoir, small wirework fruiting vine panel set with quartz bead and silver tassel, the chain set with three smaller rose quartz beads and five small silver beads unmarked, 54cm. long

422

Provenance George Edward Hunt, thence by descent. £150­200 424 A George Hunt silver and cracked quartz ring, the foliate shank set with oval quartz cabochon, stamped GH shield mark, R1/2 Provenance George Edward Hunt, thence by descent.

Exhibited George Edward Hunt The Silent World of an Arts and Crafts Jeweller. November­December 2006, Bonhams, page 30­31 catalogue number 51. £150­200

424

423

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425 Cast Your Nets a George Hunt enamel plaque, painted with the biblical scene, probably John Chapter 21, in brass and ebonised frame, 23 x 17.5cm.

Provenance George Edward Hunt, thence by descent. £200­300 426 A George Hunt enamel panel of St Cecilia, oval painted in colours with gilt halo and title, framed, and another George Hunt enamel of the dead Christ in Mary’s arms, Christ panel signed G Hunt Harborne, 1929, 13.5cm. long, (2) Provenance George Edward Hunt, thence by descent. £200­300 427 A George Hunt silver fish knife, the handle engraved with a simple torch motif, a silver bangle and a pewter plate enamelled with a simple flower roundel, fish knife stamped Birmingham 1933, 20.5cm. long (3)

425

Provenance George Edward Hunt, thence by descent. £150­250 428 A silver and opal necklace designed by Kate Eadie, the main silver pendant cast and pierced with foliate design set with four small opals and three silver mounted abalone shell drops, flanked by two smaller panels, below three smaller link panels and elliptical abalone shell panels on link chain, unsigned, 8.5cm (drop) Provenance George Edward Hunt, thence by descent. £300­500

END OF COLLECTION 426

427 120

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429 429 A Limoges enamel portrait of Saint Fabiola Wearing a Red Veil pendant, after the painting by Jean­Jacque Henner, oval yellow metal frame set with enamel, with pearl drop, the chain with pearl roundel, signed F Pamon? 2cm long (enamel panel) £150­200

430

430 A James Fenton silver and enamel pendant, ovoid cast in low relief with entrelac motif, enamelled in shades of blue, with simple enamelled drop, stamped marks, Birmingham 1909, 4.5cm. long £150­200 431

431 A William H Haseler silver and enamel moth pendant, modelled as a stylised moth enamelled green and orange, with circular enamelled drop, stamped WHH silver, 4.5cm. long Literature Victor Arwas, Liberty Style, Parco, page 71 for a comparable design illustrated.

Simplicity or Spendour, Cheltenham Museum & Art Gallery, figure 82 catalogue number 113 for a comparable example illustrated. £300­500

432

432 A Smith and Ewen silver and enamel pendant necklace, elliptical form cast in low relief and enamelled in shades of blue and green, with simple drop indistinct stamped marks, 3cm. wide. £150­200

433

433 A George Houston silver and enamel pendant, shield shaped central panel with pierced scroll border, enamelled in blue and green stamped marks, Birmingham 1907, 2.5cm. long £120­180 434 An Art Nouveau James Fenton silver and enamel pendant necklace, pierced and cast with flower motif enamelled in shades of blue, with simple enamelled drop stamped marks, Birmingham 1908, 4.5cm. long £200­300 435 A Robert Pringle and Sons Secessionist silver and enamel brooch, circular form cast in low relief with pendulous drops, enamelled in colours stamped marks, RP Birmingham 1907, 2.5cm. diam. £120­180

435 434

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436

437

438 436 An Art Nouveau William H Haseler silver and enamel pendant necklace, pierced and cast with foliate design, enamelled in shades of blue and yellow, on simple chain necklace, stamped makers marks under flooded enamel, 4cm. long Literature Victor Arwas, The Liberty Style Academy Editions, page 17 for a comparable design illustrated. £300­400 437 A silver and enamel flower necklace attributed to Bernard Instone, six small panels of stylised flowers enamelled in shades of pink, blue, yellow and green, on simple chain unsigned, 41cm long £150­200 438 An Art Nouveau Murrle Bennett gold bar brooch, pierced and cast entrelac frame set with central turquoise cabochon, stamped 15ct MB & Co mark, 4,5cm. wide £200­300

439

440

439 A Liberty & Co Secessionist gold and enamel brooch, the gold frame enamelled in white, with central topaz stone and two natural pearl drops, stamped L& Co 9ct, 3cm. wide £200­300 440 A Smith and Ewen silver and enamel Secessionist pendant, floriform, pierced and cast in low relief, enamelled in shades of blue, pink and green, with simple enamelled silver drop, stamped marks, Birmingham 1909, 3.5cm. long £150­200 441 A silver and enamel brooch in the manner of the Artificers’ Guild, circular form with rope twist border cast in low relief with radiating design with blue enamel panels, set with central tiger’s eye cabochon with silver rope border, unmarked, 3cm. diam. £120­180

441

442

122

442 A James Fenton silver and enamel Tudor Rose brooch, cast in low relief and enamelled in lime green and blue stamped marks, Birmingham 1910, 2.5cm. wide £120­180

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443

444

443 A silver and enamel pendant necklace in the manner of Fleetwood Charles Varley, oval with rope border, enamelled with a boat sailing around a coastal headland, in colours unsigned, 3.8cm. wide £150­200

446

445

444 A James Fenton silver and enamel pendant, elaborate shield shape, cast in low relief with foliate stems, enamelled green and blue, with simple enamel drop, stamped marks, Birmingham 1908, 4.5cm. long £150­200 445 A Charles Horner silver and enamel pendant necklace, pierced shield form, cast in low relief and enamelled in shades of blue and green stamped marks, Chester, 1911, 3cm. long £150­200 446 A Liberty & Co silver and enamel pendant designed by Archibald Knox, pierced entrelac frame with central panel of green, yellow and red enamel, on link chain, stamped silver L C & C Ltd, 4.5cm long Literature Stephen Martin Archibald Knox, Academy Editions, page 123 for a comparable design. £400­600 447 A Liberty & Co silver and enamel pendant necklace designed by Archibald Knox, the millegrain wirework Celtic entrelac frame enamelled in green and blue set with two moonstones and with moonstone drop in gold setting, with gold chain, stamped 15ct to chain bolt ring, 4cm. long Literature Fine Jewellery, Woolley and Wallis Auctioneers 15th June 2020, lot 1720 for a comparable necklace.

Catalogue notes This pendant is a variant of model 8993 designed by Archibald Knox.

Woolley and Wallis would like to thank Stephen Martin for his help in cataloguing this pendant, which will be included in his monograph on Archibald Knox. £800­1,200

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DAY TWO | WEDNESDAY 7TH OCTOBER 2020 | 10.00AM

DESIGN GLASS 448 A James Powell & Sons Whitefriars Minoan glass vase, swollen form, blue threaded on sea green glass, unsigned, 22cm. high

448

449

Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 121 plate 103 for a comparable vase illustrated, £200­300 449 A Whitefriars Indigo glass vase designed by Geoffrey Baxter, flaring elliptical form, dark blue glass cased in clear, unsigned, 21cm. high Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 137 catalogue number 152 this shape illustrated. £120­180 450 A tall Stevens and Williams Brierley Hill glass vase, tapering cylindrical body with flaring neck, engraved with flowers on sinuous Art Nouveau stems unsigned, 39.5cm. high £120­180

450

451

451 ‘London Olympics 1948’ a Dartington glass limited edition vase engraved by Nick Davey, flaring form on knopped ball stem and small circular foot, the body engraved with the Discobolus and Olympic rings, the reverse Big Ben, in original presentation box and with certificate, etched Dartington numbered 8 of 48, 38cm. high £200­300 452 A Moncrieff’s Monart Ware glass table lamp, mushroom shaped, pink glass graduating to blue rim with green and purple whorl and aventurine inclusions, with metal fittings, unsigned, 28cm. high, (3) £1,000­2,000 453 A Moncrieff’s Monart Ware glass vase, tall, swollen, shouldered form, pale blue glass graduating to pink with green and purple whorls and aventurine inclusions, unsigned, 27.5cm. high £150­200

452 124

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454 A near pair of Gray­stan vases designed by Mrs Graydon­Stannus, footed, flute form, mottled with and orange glass cased in clear, etched Gray­stan mark, 31cm. high (tallest), (2) £150­200

455 A Peter Layton glass vase, flattened disc form, mottled pale blue, opaque and purple glass with surface decoration, and a glass Mirage perfume bottle and stopper by Peter Layton, etched Peter Layton, 17.5cm. high (3) £120­180

456 A Peter Layton glass solifleur vase, dated 1990, flat disc form with pulled, tall slender neck and everted rim, mottled blue with surface decoration, etched Peter Layton 1990, 23cm. high £150­200

454

455

457 A Mdina Glass fish vase designed by Michael Harris, dated 1983, flattened axe form with pulled solifleur neck, pale cream with brown striations, cased in clear etched Mdina 1983 to base, applied paper label to shoulder, 26cm. high £120­180

458 A Mdina glass Cut Ice Lollipop vase designed by Michael Harris, flattened disc form with pulled solifleur neck, mottled yellow and turquoise cased in clear with cut facets, another similar, a bottle vase and two vases and paperweights main unsigned, 19cm. high, (7) £120­180

456

457

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459 part 459 ‘l’Air du Temps’ a Nina Ricci clear and frosted glass scent bottle and stopper designed by Marc Lalique and Robert Ricci, the stopper modelled as a bird in flight, a ‘Mitsourko’ Guerlain Paris scent bottle by Baccarat designed by Raymond Guerlain, a Bonzo Dog novelty scent bottle and stopper, a large chrome mounted perfume atomiser acid etched with Art Deco design and a collection of scent bottles, atomisers, and dressing table accessories various marks, 12cm. high (Guerlain bottle), (53) Provenance The late Greta Morrison, widow of Bryan Morrison.

460

461

Literature Marc Rosen Glamour Icons Perfume Bottle Design, Antique Collector’s Club, page 86 for L’Air du Temps bottle illustrated, (originally designed in 1951).

Marc Rosen Glamour Icons Perfume Bottle Design, Antique Collector’s Club, page 119 for the Guerlain scent bottle (with L’Heure Bleue perfume) illustrated, (originally designed in 1912. £150­200 460 A pair of Sabino opalescent glass vases, flaring conical form on square feet, modelled in relief with overlapping fish design, cast Sabino Paris and etched to base, 13cm. high, (2) £300­500 461 A glass vase in the manner of Daum, flaring cylindrical form, pale pink glass cased in clear with air bubble inclusions and applied clear glass flanges, unsigned, 22cm. high £120­180 462 An Art Nouveau Baccarat acid­etched cameo glass vase, shouldered form with flaring conical neck, textured clear glass cased in pink, acid­etched with berried blossom sprays to body and neck, highlighted in gilt, with gilt rims, etched Depose, 30cm. high £300­500

462 126

463

463 A Daum Nancy glass lamp base, slender shouldered form with flaring base, pale green glass with darker patches to neck and base, incised Daum Nancy mark to base, 36cm. high £150­200

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464 A large and impressive Daum Nancy acid etched table lamp, mushroom shaped amber glass shade with vertical acid etched columns, the base cylindrical with flaring foot, wrought iron mount shade signed Daum & Nancy France, 67cm. high Provenance Private collection.

Literature Clothilde Bacri Daum Masters of French Decorative Glass Thames and Hudson, page 206­207 for three comparable lamps illustrated. £2,000­4,000

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LALIQUE GLASS 465 ‘Algues’ No.10­390 a Lalique opalescent glass plate designed by Rene Lalique, stencil R Lalique France mark, 39cm. diam. £600­900

466 ‘Roscoff’ No. 10­383 a Lalique clear and frosted glass bowl designed by Rene Lalique, modelled in relief with fish radiating from a well of bubbles, etched Lalique France, 35.3cm. diam. £200­300

467 ‘Poissons’ No. 3263 a Lalique opalescent glass bowl designed by Rene Lalique, decorated with radiating fish design, stencil R Lalique France, 29.7cm. diam. £200­300

465

466

128

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468 ‘Tete d’aigle’ No.1138 a Lalique clear and frosted glass car mascot designed by Rene Lalique, moulded R Lalique mark to feather, 11cm. high £1,000­1,500

469 ‘Perche’ No.1158 a Lalique clear and frosted glass car mascot designed

by Rene Lalique, with remains of surface staining, stencil R Lalique France mark and etched Lalique France to side of base,, 15.5cm. long This design was introduced in 1929. £500­800

470 ‘Naiades’ no.764 a Lalique opalescent glass desk clock designed by Rene Lalique, with blue staining, the dial painted with similar figures in colours, Arabic numerals, 8 days Swiss movement, moulded R Lalique, 11.3cm. square £1,000­1,500 468

469

470

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471 ‘Marguerites’ No.10­404 a Lalique clear and frosted glass bowl designed by Rene Lalique, cast with a frieze of flowerheads to the rim, and a modern Lalique Festons four piece chemin de table, stencil Lalique France mark, 35cm. diam. (5) £200­400

472 ‘Chiens No.1’ No.3218 a Lalique opalescent glass bowl designed by Rene Lalique, modelled in low relief with a frieze of dogs, cast R Lalique etched France no.3214 to the well, 23.8cm. diam. £150­200

471

473 ‘Ondines (variation)’ No.381 a Lalique opalescent glass bowl designed by Rene Lalique, wheel cut R Lalique France to side, 19.5cm. diam. £1,200­1,800

472

473

474

130

474 A modern Lalique clear and frosted glass model of a seated panda, in original presentation box, a modern Lalique clear and frosted glass seated cat, a modern Lalique glass mouse, a Halcyon Days Studies of a Cat ceramic candleholder after a design by John Ward, and a small bronze mouse by AB, etched Lalique France, applied label, 6.5cm. high (panda), (5) £150­250

474 part

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475 ‘Gui’ No.948 a Lalique opalescent glass vase designed by Rene Lalique, with blue staining, etched R Lalique France, 17cm. high £700­900 475

476 ‘St Tropez’ No.10­915 a Lalique opalescent glass vase designed by Rene Lalique, stencil R Lalique France mark, 18.8cm. high £800­1,200

476

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477

477 ‘Argos’ a modern Lalique clear and frosted glass table glasses suite for eight originally designed by Rene Lalique, comprising; eight champagne bowls, eight white wine, eight red wine and eight liqueur glasses, acid etched cristal Lalique France, 11cm. high (red wine), (32) £800­1,200

478 ‘Tobago’ No.295 a Lalique clear and frosted glass cendrier designed by Rene Lalique, etched R Lalique France mark, 14cm. diam. £120­180

478

479

479 ‘Moineau’ No.284 a Lalique topaz glass cendrier designed by Rene Lalique, etched R Lalique France no.284 mark, 10.5cm. diam. £150­200

480 ‘Moineau’ No.284 a Lalique yellow glass cendrier designed by Rene Lalique, etched Lalique France mark, wear to mark, 11cm. diam. £200­300

481 ‘Canard’ No.283 a Lalique yellow glass cendrier designed by Rene Lalique, etched R Lalique France mark, 10cm. diam. £250­350

480 132

481

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482 ‘Albert’ No.958 a Lalique topaz glass vase designed by Rene Lalique, wheel cut R Lalique France mark, 17cm. high £800­1,200

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483 An LU Murano amethyst glass chandelier

by Fabio Fornasier, each blown floriform branch set with led light to tip, unsigned 57cm long (branches) , 73cm high (central column) £800­1,200

484 A Georg Jensen silver and glass carafe designed by Ole Palsby, ovoid clear glass body with cylindrical neck, mounted with silver flaring rim, and glass stopper, stamped Georg Jensen 925S to silver mount, 21.5cm. high £120­180

485 A set of six Compagnia Venezia Murano glass champagne bowls, amber glass, shallow foot with fluted column and flaring bowl, acid etched CVM mark to foot, 21cm. high, (6) £120­180

483

486 A Cenedese Aquarium glass block, rectangular, internally decorated with a single fish in colours unsigned, 17.5 x 13cm. £200­300

487 A tall glass Aquarium probably Cenedese, originally designed by Alfredo Barbini, the tapering rectangular body with two red fish amongst waterweed, unsigned, chip to base, 29.5cm. high £200­300

485

484

486 134

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488 A rare Vistosi Pulcino glass bird designed by Alessandro Pianon, the square blown olive green glass section body inlaid with blue and red, set with murrine glass eyes, on copper feet, unsigned, 20.5cm. high £4,000­6,000

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489

490

489 A large iittala Nuutajarvi glass Festive Pheasant bird designed by Oiva Toikka, 2007, etched signature and number 360/2000, applied iittala label, 38.5cm. wide, 26cm. high £200­300

491

490 An iittala glass Blue Magpie bird designed

by Oiva Toikka, applied iittala label and acid etched signature, 17cm. high, 27cm. wide. £150­200 491 A Nuutajarvi glass bird designed by Oiva Toikka, opaque glass with aventurine inclusions, a Bullfinch glass bird designed

by Oiva Toikka and two birds similar, main acid etched O Toikka Nuutajarvi, 16.5cm. wide, (4) £150­200

492

493 136

492 A Nuutajarvi iittala glass bird designed by Oiva Toikka, 1992, another Nuutajarvi glass bird designed by Ovia Toikka and two other birds, acid etched marks to two birds, main bird with iittala label, 18cm. wide, (4) £150­200

494

493 A Nuutajarvi glass bird designed by Oiva Toikka, opaque and black glass with iridescent finish to head, an Eider glass bird designed by Oiva Toikka, and another iittala glass bird by Oiva Toikka etched O Toikka Nuutajarvi to main, other two signed, applied stickler label. 28cm. wide, (3) £150­200 494 A small Nuutajarvi glass Sky Curlew bird designed by Oiva Toikka, 2005, pale blue glass with surface metallic colouring, and two smaller birds designed by Toikka, all with signature and factory mark, one with original sticker label, 15cm.wide, 10cm high (Sky Curlew), (3) £120­180 495 A small iittala glass bird designed by Oiva Toikka, opalescent yellow glass, an iittalla lavender glass bird smaller designed by Toikka and two others similar, acid etched O Toikka iittala to yellow bid, 8.5cm. wide, (4) £120­180

495

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CERAMICS

496 ‘May Avenue’ a rare Clarice Cliff Fantasque Bizarre Stamford part tea for two set, dated 1933, comprising; teapot and cover, milk­jug, two cups, one saucer and a side plate, painted in colours printed factory marks, damages, 12cm. high (teapot), (7) Provenance Given as a wedding present to the vendor’s parents. tea planters in Kenya in 1933. £2,000­3,000

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497 ‘Orange House’ two Clarice Cliff Fantasque Bizarre salt and pepper cruets, painted in colours printed factory marks, chip to salt tip, nicks to one pepper’s vents, 7.5cm. high (4) Provenance Decorative Art and Design, 21st November 2000, lot 45, Bonhams, London.

Private collection. £120­180 497

498 ‘Blue Japan’ a Clarice Cliff Bizarre cruet set with electroplated mounts, comprising, pepper pot with electroplated cover, mustard pot with electroplated cover, square section salt pot, printed factory marks, flat chip to salt top rim, 8.5cm. high (3) £120­180 499 ‘Secrets’ a Clarice Cliff Bizarre Conical cruet set, painted in colours, comprising salt and pepper pots, mustard pot and cover, printed factory marks, restored pepper, 8cm. high (4) Provenance Private collection. £120­180

498

500 ‘Lily’ a Clarice Cliff Bizarre Conical cruet set, painted in colours, comprising salt and pepper pots and a mustard pot and cover, printed factory marks, 8cm. high (4) Provenance Private collection. £120­180

499

501 ‘Solitude’ a Clarice Cliff salt and pepper cruet set, painted in colours, salt printed Newport Pottery, chips to base of pepper, 7.5cm. high, (2) Provenance Private collection. £120­180 502 ‘Peter Pan Crocus’ a Clarice Cliff Bizarre cruet set, painted in colours, comprising; salt and pepper pots, mustard pot and cover, printed factory marks, professional restoration to top of salt, 7.5cm. high (4)

500

Provenance Private collection. £150­250 503 ‘Original Bizarre’ a Clarice Cliff Fantasque Bizarre cruet set, painted with black triangles on orange, comprising salt and pepper pots, mustard pot and cover, another three piece cruet and a two piece Original Bizarre cruet, printed factory marks, (10) Provenance Clarice Cliff 2nd April 2003 lot 376 (main cruet) Woolley and Wallis auctioneer’s.

Private collection. £150­200

501

502 138

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504 ‘Farmhouse’ a Clarice Cliff Bonjour sugar sifter, painted in colours printed factory marks, 13cm. high Provenance Private collection. £300­500

504 both sides

505 ‘Blue Firs’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between graduated blue and green bands, printed factory marks, minor nicks to foot rim, 14cm. high Provenance Private collection. £400­600

506 ‘Lorna’ a Clarice Cliff Bonjour sugar sifter, painted in colours printed factory marks, small nick to vent, 13cm. high

505 both sides

Provenance Private collection. £150­200

507 ‘Lorna’ a Clarice Cliff Conical sugar sifter, painted in colours printed factory mark, 14cm. high Provenance Private collection. £150­250

506

507 139

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508 ‘Rhodanthe’ a Clarice Cliff Bon Jour sugar sifter, painted in colours, and a ‘Rhodanthe’ Clarice Cliff Biarritz tea cup and saucer, printed factory marks, 12.5cm. high, (3) £150­200 509 ‘Viscaria’ a large Clarice Cliff Biarritz platter, painted in colours, a small Clarice Cliff Lynton platter and two Susie Cooper Productions tankards, painted with yellow and orange bands printed factory mark, 40.5cm. wide (platter), (4) £120­180

508

510 ‘Viscaria’ a Clarice Cliff Bizarre Meiping vase, painted in colours, printed factory marks, 22.5cm. high £300­500

509

511 ‘Delecia Citrus’ a Clarice Cliff Bizarre Conical preserve pot and cover, painted in colours, and a ‘Delecia Citrus mustard and pepper pot, printed factory marks, 9.5cm. high (3) Provenance Private collection. £120­180 512 ‘Crocus’ a Clarice Cliff Bizarre Bonjour honey­ pot and cover, painted in colours, two Clarice Cliff preserve pots and covers and a fern pot, printed factory marks, 9.5cm. high (7) Provenance Private collection. £150­200

510

511

513 ‘Blue Crocus’ a Clarice Cliff Bizarre Lynton sugar sifter, painted in colours between yellow and blue bands, printed factory mark, 12cm. high Provenance Private collection. £200­400 514 ‘Crocus’ a Clarice Cliff Conical sugar sifter, painted in colours between yellow and brown bands, a Clarice Cliff Crocus four egg cup cruet set, an Athens jug, a bowl and a tea cup, printed factory marks, minor damages, 14cm. high £200­400

512

513 140

514

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515 both sides

515 ‘Red Gardenia’ a pair of Clarice Cliff Bizarre vases, shape no.186, painted in colours between yellow and brown bands, printed factory marks, 14.5cm. high, (2) Provenance Private collection. £300­500

516 ‘Circle Tree’ a Clarice Cliff Fantasque Bizarre bowl, octagonal, painted in colours above black, blue and orange bands, printed factory marks, 23cm. diam. £200­300

516

517 ‘Capricorn’ a Clarice Cliff star sign wall plaque, star­ shaped, modelled in low relief and painted in shades of yellow and brown, printed factory mark, 17.5cm. wide £250­350

517 141

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518

519

518 ‘Orange Erin’ a Clarice Cliff Bizarre part Conical cruet, painted in colours, comprising Conical pepper, mustard pot and cover, a Clarice Cliff part ‘Green Hydrangea’ cruet set and a an ‘Autumn’ mustard pot and cover, printed factory marks, chip to Green Hydrangea pepper pot, 8cm high (Erin pepper), (8) 520

Provenance Private collection. £120­180 519 ‘Orange Erin’ a Clarice Cliff Bizarre cruet set, painted in colours, comprising salt and pepper pots, mustard pot and cover, printed factory marks, professional restoration to base of pepper,, 8cm. high (4) £120­180

521

522

523 142

520 ‘House and Bridge’ a Clarice Cliff Bizarre cruet set, painted in colours, comprising salt and pepper pots, a Honolulu pepper pot, an Orange Roof Cottage salt and a pepper pot, printed marks, restoration, 8cm. high (5) £120­180 521 ‘Alton’ a Clarice Cliff Bizarre Conical cruet set, painted in colours, comprising salt and pepper pots, mustard pot and cover, and a ‘Rhodanthe’ Clarice Cliff Bon Jour cruet set printed factory marks, damages, 7cm. high (8)

522 A Clarice Cliff Bizarre Chick cruet set, painted in colours, comprising salt and pepper pots, mustard pot and cover on a tray, and a Clarice Cliff Fish cruet set printed factory marks, 14.5cm. high (9) Provenance Private collection. £120­150 523 ‘Broth’ a Clarice Cliff Fantasque Bizarre side plate, painted in colours inside green, blue and orange bands, and a blue ‘Ravel’ Clarice Cliff side plate and a ‘Broth’ salt and pepper pot printed factory marks, wear, 16.5cm. diam. (4) Provenance Private collection. £120­180 524 ‘Original Bizarre’ a Clarice Cliff Bizarre trumpet vase, painted with a band of alternating green and orange diamonds, on blue, between orange, green and blue bands, a ‘Scarlet Flower’ Clarice Cliff biscuit barrel with electroplated cover and a Garland plate, printed factory marks, professional restoration to foot, 22.5cm. high (vase), (4) £150­250

Provenance Private collection. £150­200

524

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525

525 ‘Lorna’ a Clarice Cliff Lynton tea for two, painted in colours, comprising teapot and cover, milk­jug and sugar basin, two cups, saucers and a side plate printed factory marks, chip to inside teapot top rim, 12cm. high (teapot), (9) Provenance Private collection.

Catalogue notes The side plate has the impressed date mark for 1936. £200­400 526 ‘Crocus’ a Clarice Cliff Bizarre Tankard coffee set for six, painted in colours between yellow and brown bands, comprising, coffee pot and cover, milk­jug, six cans and saucers printed factory marks, 18.5cm. high (15)

526

Provenance Private collection. £300­500 527 ‘Original Bizarre’ a Clarice Cliff Bizarre Tankard coffee set for eight, painted with orange, blue and brown, triangles, outlined in green, comprising coffee pot and cover, milk­jug and sugar basin, eight cans and saucers, printed factory marks, 19cm. high (20) Provenance Private collection. £300­500

527

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528 ‘Orange Trees and House’ a Clarice Cliff Fantasque Bizarre cruet set, painted in colours, comprising, salt and pepper pots, mustard pot and cover printed factory marks, small museum restored chip to cover of mustard, wear, 8cm. high (4) Provenance Private collection. £150­200 528 529 ‘Ravel’ a Clarice Cliff Bizarre cruet set, painted in colours, comprising salt and pepper pots, mustard pot and cover and a matching egg cup, a Clarice Cliff mustard pot and cover and a Bonjour salt and pepper cruet, printed and painted marks, minor damages, 8cm. high (9)

529

Provenance Private collection. £120­180

530 ‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre Conical cruet set, painted in colours, comprising salt and pepper pots and a mustard pot and cover and a ‘Chalet’ Clarice Cliff Conical cruet set printed factory marks, 8cm. high, (8)

530

Provenance Private collection. £120­180

530A ‘Blue Chintz’ a Clarice Cliff Fantasque Bizarre plate, painted in colours, a Beehive honey pot and cover, a Delecia Pansy bowl, an Aurea Lynton bowl, a Lady Anne wall pocket a moulded jug and a Carlton Ware moulded bowl, printed factory marks, 22.5cm. diam. £200­400

530A

144

531

531 A Clarice Cliff Fantasque Bizarre dinner service, retailed by Lawleys, dated 1930, painted with bands in shades of orange blue and black, comprising, six graduated platters, one large tureen and cover, two small tureen and covers and a sauce tureen, cover and saucer, twelve soup bowls, eleven dinner plates, twelve entree and side plates printed factory marks and Lawleys mark, 47cm wide (62) £150­200

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532 ‘Clouvre Tulip’ a Clarice Cliff Bizarre Conical candlestick, painted in colours on a mottled blue Clouvre ground, printed marks, 11.5cm. diam.

Provenance The Pamela Harding Collection. £150­200

532

533

533 ‘Yoohoo’ a rare Clarice Cliff Conical tea set for two, retailed by Lawley’s, enamelled in black with red highlights, comprising teapot and cover, milk­jug and sugar bowl, two cups and saucers and a side plate printed factory marks, Christie’s label, 12cm. high ( teapot), (9) Provenance The Barry Jones Collection, lot 266 Christie’s South Kensington, Private collection. £300­500

534 ‘Orange Picasso Flower’ a Clarice Cliff Bizarre Conical milk­jug, painted in colours, printed factory marks, 10cm. high Provenance Private collection. £150­200

534

145

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WEDGWOOD LUSTRE DESIGNED BY DAISY MAKEIG-JONES 535 A Wedgwood Fairyland lustre bowl designed by Daisy Makeig­Jones, pattern no. Z5440, printed in gilt to the exterior with willow tree and floral panels on a red lustre ground, the interior with a roundel on a bright yellow ground, a Wedgwood lustre dish and a Wedgwood Octagonal bowl decorated with fish, printed and painted factory marks, chip to dish, 10cm. diam. (3)

535

Provenance From the collection of Anne Makeig­Jones. £200­400 536 A Wedgwood Butterfly lustre vase and cover designed by Daisy Makeig­Jones, slender baluster vase printed in gilt with large butterflies on a mottled orange lustre ground, and a Wedgwood lustre bowl decorated with Chinese symbols and the interior with three beetles, printed factory marks, vase old restoration to top rim bowl hairline crack, 28cm. high, (3) Provenance From the collection of Anne Makeig­Jones. £200­400 537 A Wedgwood Butterfly lustre bowl designed by Daisy Makeig­Jones, circular section printed and painted in colours and gilt to the interior with a butterfly on a pearl lustre ground, the exterior with Chinese symbols on a red lustre ground, two miniature Wedgwood Butterfly lustre bowls, and another Wedgwood Butterfly lustre footed bowl printed and painted factory marks, 11cm. diam (largest bowl), (4) Provenance From the collection of Anne Makeig­Jones. £150­200 538 A Wedgwood Dragon lustre Puff Box and cover designed

by Daisy Makeig­Jones, pattern no.Z4831, the swollen cylindrical box printed in gilt with Chinese dragons on a green lustre ground, the cover surmounted with Sibyl finial, printed in gilt with tigers printed and painted factory marks, three small flat chips to cover rim, 13.5cm. high, (2)

536

Provenance From the collection of Anne Makeig­Jones. £150­250

537 146

538

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539

539 ‘Willow’ a Wedgwood Fairyland lustre bowl designed

by Daisy Makeig­Jones, pattern no.Z8418, the octagonal bowl printed and painted in colours and gilt on a blue lustre ground, the interior on a mottled orange ground, printed and painted factory marks, 16cm. diam.

Provenance From the collection of Anne Makeig­Jones. £200­300 540 540 ‘Garden of Paradise (variation I)’ a Wedgwood Fairyland lustre Lily Tray designed by Daisy Makeig­Jones, pattern Z.4968, the shallow bowl printed and painted in colours and gilt to the interior, the outside with a frieze of flying birds in gilt on a mottled green lustre ground painted Z4968 number, 27.7cm. diam.

Literature Una des Fontaines, Wedgwood Fairyland lustre, page 125 figure 44 this design illustrated.

Provenance From the collection of Anne Makeig­Jones. £800­1,200

541 ‘Woodland Elves V (Woodland Bridge)’ a Wedgwood Fairyland lustre K’ang Hsi bowl designed by Daisy Makeig­Jones, pattern no. Z4968, printed and painted in colours and gilt on a black lustre ground, the interior printed and painted in colours and gilt with the ‘Garden of Paradise’ pattern printed and painted factory marks, 18cm. diam.

Provenance From the collection of Anne Makeig­Jones. £800­1,200

541

147

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542 A Wedgwood Butterfly lustre bowl designed by Daisy Makeig­Jones, footed, flaring form, printed in gilt on a mottled orange lustre with butterflies to the exterior, the interior with blue lustre ground, a Wedgwood miniature bowl printed with Chinese symbols and a Wedgwood octagonal bowl printed with butterflies printed and painted factory marks, 11.5cm. diam. (3) Provenance From the collection of Anne Makeig­Jones. £150­250 542

543 A Wedgwood Dragon lustre bowl designed by Daisy Makeig­Jones, pattern Z.4831decorated to the well with a dragon in colours on a mottled pearl lustre, highlighted in gilt, the exterior Chinese characters and animals in gilt on a mottled green ground, and another Wedgwood lustre bowl, printed and painted factory marks, 10cm. diam. (2) Provenance From the collection of Anne Makeig­Jones. £120­180 544 A Wedgwood Dragon lustre footed bowl designed

by Daisy Makeig­Jones, printed in gilt on a mottled green lustre ground to the exterior with Chinese dragons, the interior in colours and gilt on a pearl lustre ground with a Chinese lantern roundel, and another Wedgwood lustre bowl decorated with panels of fruit on a rich gilt ground printed factory marks, 11.3cm. diam. (2)

543

Provenance From the collection of Anne Makeig­Jones. £120­180 545 A Wedgwood Butterfly lustre octagonal bowl designed by Daisy Makeig­Jones, pattern no.

Z4830, printed in gilt with butterflies on an orange lustre ground to the exterior, the interior with similar butterflies in colours and gilt on a mottled pearl lustre ground, printed and painted factory marks, 20cm. diam.

544

Provenance From the collection of Anne Makeig­Jones. £150­250

545 148

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546 ‘Ghostly Wood’ a fine pair of Wedgwood Fairyland lustre covered vases designed by Daisy Makeig­Jones, printed and painted in colours and gilt on a pale blue streaked ground, printed Wedgwood mark, painted Z4968, 38cm. high Provenance From the collection of Anne Makeig­Jones. £10,000­20,000

149

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547 two views

547 ‘Firbolgs III’ a Wedgwood Fairyland lustre Antique Centre bowl designed by Daisy Makeig­ Jones, printed in black and gilt on a red lustre ground, the interior pearl lustre printed factory mark, 22cm. diam, 14cm high.

Provenance From the collection of Anne Makeig­Jones. £300­500

548 ‘Imps on a Bridge’ a Wedgwood Fairyland lustre Lincoln plate designed by Daisy Makeig­Jones, printed and painted in colours and gilt on a blue ground, the rim a broad gilt border on orange lustre, the underside mottled blue and purple, printed factory mark,27cm. diam.

Provenance From the collection of Anne Makeig­Jones. £1,500­2,000 548

150

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549 ‘Bubbles II’ a rare Wedgwood Fairyland lustre Malfrey Pot and cover designed by Daisy Makeig­Jones, pattern no. Z52557, printed and painted in colours and gilt on a black and purple lustre ground, the cover decorated to the exterior with a spider, the interior printed in gilt with four elves, printed and painted marks, small chip to the rim of the cover, 18.5cm. high, (2) Literature Una des Fontaines, Wedgwood Fairyland lustre, page 189 figure 81 this design illustrated.

Provenance From the collection of Anne Makeig­Jones. £2,000­4,000

151

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550

551

CARLTON WARE 550 A Carlton Ware Handcraft single­handled jug, pattern number 3581, painted with geometric flowers in colours on a matt yellow ground, highlighted in gilt, another pattern incised and painted with geometric flowers and another in the ‘Feather tailed Bird and Flower’ pattern printed and painted marks, 17cm. high, (3) £150­200 551 ‘Sketching Bird’ a Carlton Ware single handled vase, pattern no.3889, printed and enamelled in colours and gilt on a red lustre ground, another Carlton Ware single handled vase model no.3873, and another ‘New Anemone’ pattern 4245, printed and painted factory marks, 17.5cm. high, (3)

552

Provenance The Michael Burningham Collection. £120­180 552 ‘Secretary Bird’ a Carlton Ware shaped dish, pattern no. 4013, printed and enamelled in colours and gilt on a red lustre ground, a Carlton Ware ‘New Anemone’ dish, another Carlton Ware ‘Tyrolean’ banded bowl and three bowls, printed and painted marks, 27cm. wide, (6) Provenance The Michael Burningham Collection. £120­180 553 ‘Dragon and Cloud’ a Carlton Ware twin­handled footed dish, pattern no 3331, printed and enamelled in colours and gilt on a matt green ground with a ferocious Chinese dragon, another Carlton Ware ‘Garden’ twin­handled bowl and two others similar, printed and painted factory marks, 30cm. wide, (4)

553

Provenance 2000, lot 393, Christie’s South Kensington. (sale date indistinct) The Michael Burningham Collection. £120­180 554 ‘Chinaland’ a Carlton Ware preserve pot, cover and saucer, pattern no.2948, printed and painted in colours and gilt on an orange ground, another preserve pot, cover and saucer in the ‘Gum Flower’ patter, another in the ‘Zig Zag’ pattern and two other preserve pot, cover and saucers, printed and painted factory marks, hairline to Gum Flower cover, 9.5cm. high (15)

554 152

Provenance The Michael Burningham Collection. £120­180

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555 ‘Chinaland’ a Carlton Ware urn shaped vase, pattern no.2948, printed and painted in colours and gilt on an orange ground, and a Carlton Ware ‘Mikado’ urn shaped vase, printed Chinaland mark, painted pattern number, 15.5cm. high, (2) £150­200

556 ‘Chinaland’ an Art Deco Carlton Ware floating bowl, pattern no.2948, printed and painted in colours and gilt with a Chinese pagoda landscape, mountains in the distance, on an orange lustre ground, printed and painted factory marks, 31cm. diam.

Provenance The Michael Burningham Collection. £150­250

555

557 A Carlton Ware vase, pattern no.3719, printed and painted in colours and gilt on a pale yellow ground, another Carlton Ware ‘Magpies’ pattern vase, a Carlton Ware ‘Garden’ pattern vase and a modern Mephistopheles vase, printed and painted factory marks, 26.5cm. high, (4) Provenance The Michael Burningham Collection. £120­180

558 ‘Chinese Bird and Tree’ a Carlton Ware vase, pattern no.4118, a Carlton Ware ‘Wild Duck’ vase, a Carlton Ware ‘Mikado’ vase and another in the ‘Leaf’ pattern printed and painted factory marks, 26.5cm. high, (4) Provenance The Michael Burningham Collection. £120­180

556

557

558

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559 ‘Fantasia’ a Carlton Ware twin­handled footed dish, pattern no.3389, printed and painted in colours and gilt on a pink ground, another similar and two bowls, and a Crown Devon footed bowl, printed and painted factory marks, restoration, 30.5cm. wide (5) Provenance The Michael Burningham Collection. £120­180

559

560 ‘Devil’s Copse’ an Art Deco Carlton Ware flower vase and brick, printed and painted in colours and gilt on a matt turquoise ground, a Carlton Ware ‘Pastoral’ pattern ribbed vase and a collection of Carlton Ware printed and painted factory marks, restoration, 24.5cm. diam. (a lot) 560 part

561

Provenance The Michael Burningham Collection. £120­180

561 ‘New Flies’ an Art Deco Carlton Ware coffee pot and cover, patter no.2625, printed and painted in colours and gilt on a blue lustre ground with butterflies, a Carlton Ware ‘Kingfisher’ coffee pot and cover, two ‘Landscape Tree’ coffee pots and covers, and another coffee pot and cover printed and painted with flowers printed and painted factory marks, one cover probably replacement, 21cm. high (10) Provenance The Michael Burningham Collection. £120­180

562 ‘Eden Canopy' a Carlton Ware Moderne jug, printed and painted in colours and gilt on a red lustre ground, another jug similar, a Carlton Ware 'Paradise Bird tree and Cloud' powder box and cover, Carlton Ware ovoid vase, pattern 3502, a shouldered Handcraft vase and a small collection of Carlton Ware, printed and painted factory marks, restoration and damages, 13cm. high, (a lot) 562

Provenance The Michael Burningham Collection. £120­180

563 ‘New Flies’ a Carlton Ware vase, pattern no.

3023, printed and painted with butterflies in colours on a blue lustre ground, another in the ‘Mikado’ pattern and another in a geometric floral ‘pattern printed and painted factory marks, 26cm. high (3) £120­180

563

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564

FIELDING’S CROWN DEVON 564 A pair of Art Deco Fielding’s Crown Devon Mattajade vases, pattern no.M.119, ovoid with everted top rim, tubeline decorated with exotic foliage and large spider’s web, in colours, highlighted in gilt on a turquoise ground, another Crown Devon Mattajade vase, painted with geometric flowers, and another Crown Devon vase printed and painted factory marks, original paper labels, hairline to top rim of one, 20cm. high, (4) Provenance The Michael Burningham Collection. £120­180 565 ‘Fairy Castle’ a Fielding’s Crown Devon Mattajade twin­handled vase, pattern no. M.265, printed and painted in colours and gilt on a pale lemon ground, another Crown Devon Mattajade single­ handled vase and three other Crown Devon Art Deco Mattajade vases, printed and painted marks, 23cm. high (5) Provenance The Michael Burningham Collection. £120­180 566 ‘Fairy Castle’ a Fielding’s Crown Devon Mattajade vase, printed and painted in colours and gilt on a turquoise ground, another Mattajade vase and a Crown Devon Art Deco twin­handled vase pattern no.2674, printed and painted factory marks, restored, 20.5cm. high (3) Provenance The Michael Burningham Collection. £120­180

565

567 An Art Deco Fielding’s Crown Devon ginger jar and cover, pattern no. 2093, printed and painted in colours and gilt with geometric flowering trees, on a matt blue ground, a Crown Devon vase in the same pattern and four other Crown Devon Art Deco vases, printed and painted factory marks, vase damaged, 17.5cm. high, (7) Provenance The Michael Burningham Collection. £120­180

566

568 ‘Fairy Castle’ a Fielding’s Crown Devon vase, pattern no.2407, printed and painted in colours and gilt on a red lustre ground, a Crown Devon jar and cover printed and painted with an exotic bird amongst flowers and foliage and four other Brown Devon Art Deco vases, printed and painted marks, 19cm. high, (7) Provenance The Michael Burningham Collection. £120­180 569 An Art Deco Fielding’s Crown Devon set of four coffee cans and saucers, pattern no. Z764, printed and painted in colours and gilt with stylised flowers on a blue ground, a Crown Devon jug pattern no.2978 decorated with stylised flowers and a spiders web, six small Crown Devon vases and a small collection of Crown Devon, printed and painted factory marks, 15cm. high (jug), (a lot) Provenance The Michael Burningham Collection. £120­180

567

568

569

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570 A rare Crown Works fox centrepiece designed by Susie Cooper, introduced in 1936, modelled and glazed in colours signed Susie Cooper England to front of base, minor professional restoration to one ear, 13cm. wide.

Literature Andrew Casey Susie Cooper A Pioneer of Modern Design, ACC books, page 21 figure 12 for the comparable deer centrepiece illustrated. Susie Cooper introduced a range of deer, fox and hound, complimented by flower troughs to adorn the centre of the dining table in 1936. £200­300

570

571 Six modern Wedgwood Alphabet side plates originally designed by Eric Ravilious in 1937, these produced for the Brighton Museum & Art Gallery, printed to the well with a radiating alphabet, the rim with sepia vignettes, printed factory marks, 18cm. diam., (6) £100­200 572 A Wedgwood Pottery black basalt bowl designed by Keith Murray, shape no.3753, flaring banded bowl on shallow foot, and another Wedgwood black basalt beaker vase designed by Keith Murray, shape no.3884, decorated with turned bands, impressed marks, printed mark and facsimile signature, 15.5cm. diam. (2) Literature Andrew Casey 20th Century Designers in Britain, ACC Publishing, page 191 figure 207 this shape illustrated. £150­200 571

573 Garden a Wedgwood part dinner service designed by Eric Ravilious, printed in blue and black with garden vignettes of camping, resting in a deckchair and sitting under a tree feeding the birds, comprising sauce boat and cover, three dinner plates and four entree plates, printed factory marks, impressed dates of 1952­53, damages, 25,5cm. diam. (dinner plates), (9) £50­100 574 A collection of Shelley Pottery Harmony Ware designed by Eric Slater, including a small blue banded ginger jar and cover, three conical footed vase, two other blue banded vases, and a collection of banded bowls and plates, and eight Melba Ware fish plates, printed factory marks, 12.5cm. high (ginger jar), (a lot) £120­180

572

575 An unusual Shelley Eve shape coffee set for six in original case designed by Eric Slater, pattern M.297, retailed by W Batty & Sons Jewellers, Manchester and Liverpool, comprising six coffee cups and saucers printed in black with Odeon motif and bands, six electroplated teaspoons, in original silk lined case, printed and painted marks, 6cm. high (cups) £300­500

573

574

156

575

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576 576 A Carter Stabler & Adams Poole Pottery cylinder vase, pattern Y, painted with Art Deco geometric flowers and foliage in colours on a white ground, and two others in the same pattern impressed and painted marks, stress hairlines to top rim, 22cm. high, (3) £150­200 577 An Art Deco Poole Pottery vase, pattern TY, swollen form, painted with bell flowers in colours on a white ground, and two Poole twin­handled vases shape no.401, impressed and painted marks, 14.5cm. high (3) £150­200

577

578

579

580

578 A Carter Stabler & Adams Poole Pottery vase

by Ruth Pavely, pattern JR, the faceted, shouldered vase painted with simple flower stems in mushroom and grey on a white ground, impressed and painted marks, painted Pavely cipher, 20cm. high £150­250 579 A Poole Pottery Studio plate, shape no.4, painted with abstract horseshoe design in shades of orange and green, another smaller, a pin dish and a Poole Delphis plate, printed factory marks, 27cm. diam. (4) £150­200 580 A Troika Pottery Wheel vase by Penny Broadribb, circular disc form, cast in low relief with geometric panels, in brown and cream on a buff ground, and a Troika Pottery Spice Jar by Louise Jinks, painted marks, 11.5cm. high (2) £120­180

581

581 A large Fulham Pottery twin­handled flower vase designed by Constance Spry, flaring footed form, matt white with glazed interior, and another Fulham Pottery flower vase, impressed and incised factory marks, stress hairlines to top rim, 54cm. wide, (2) £150­250 582 A pottery flower vase designed by Constance Spry, probably Fulham Pottery, footed, flaring form, modelled in low relief with foliate design, glazed silver­grey incised 03, impressed made in England and facsimile Constance Spry signature, stress hairlines to top rim, 40cm. wide £200­300

582

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583 A Midwinter Stylecraft Riveria part service designed by Hugh Casson, printed in colours with cafe and fishing port scenes, comprising, two tureens and covers, five graduated platters, a butter dish and cover, two sauce boats, two cruets sets on trays, three teapots and covers, one coffee pot and cover, three graduated jugs, milk­jug and covered sugar basin, three dinner plates, nine entree plates, eleven side plates, six various dessert bowls, seven tea cups, sic coffee cups and ten saucers, four demi­tasse coffee cups and saucers, a sugar basin and a footed goblet, printed factory marks and facsimile signature, minor damages, 35cm wide (largest platter), (a lot) £150­250 584 A Midwinter Stylecraft Hollywood Fashion Shape part service designed by Jessie Tait, decorated with stars , circles and columns in black and yellow, comprising three tureens and covers, a sauce boat, three dinner plates, an entree plate, a dessert bowl, teapot and cover, a tea cup, saucers and side plate, two demi­tasse cups and saucers, printed factory marks, 17cm. high (teapot), (21) £150­200

583

585 A Midwinter Fashion Shape Magic Moments part dinner service designed by Jessie Tait, painted with abstract geometric design in colours, comprising three graduated platters, six dinner plates, two blue tureens with decorated covers, two blue sauce boats with painted ladles, two shaped saucers, six entree plates, six dessert bowls and six breakfast bowls, printed factory marks, 35cm wide, (largest platter) £150­250 586 Rupert Spira (born 1960) a Froyle Pottery stoneware teapot and cover, painted with a simple scene of grassed and bell flowers in rust and blue on an oatmeal ground, and another smaller Froyle Pottery teapot and cover by Rupert Spira, impressed seal mark to base of handle, 16cm. high, (4) £150­250

584

587 Bernard Rooke (born 1938) a stoneware totem lamp base, cast and incised decoration in rust on an oatmeal ground and another Bernard Rooke stoneware lamp base, cylindrical form, stamped Rooke, 41cm. high (2) £120­180

585

586 158

587

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589

588

CONTINENTAL CERAMICS 588 A Lemanceau Pottery model of two Water Buffalo, modelled before stylised foliage, covered in a cream glaze impressed Lemanceau to base, restoration to base, 45cm. wide £120­180 589 A Goldscheider Pottery figure of two huddling naked women, partially wrapped in a towel, covered in a crackled cream glaze and a pair of Art Deco Czechoslovakian pottery centrepieces, each modelled as a child riding a goat, painted in shades of green and black, printed factory marks, professionally restored base, 52.5cm. high (3) £120­180 590 A Goldscheider Pottery bust of a woman, freestanding bust, her hand raised and releasing a blue flower stem, glazed in colours and matt black, printed factory mark, one petal re­stuck, 30cm. high £400­600

590

591

591 A KPM Berlin blanc de chine porcelain figure of Diana designed by Gerhard Schliepstein, model no.12050, naked, and seated, resting with a small deer, glazed white, printed and impressed marks, 20cm. high, 20cm. wide. £300­500 592 La Bella Lavanderina an Essevi Pottery figure designed by Sandro Vacchetti, modelled as a young Italian girl washing clothes in a large washbasin, in colours painted factory marks, facsimile signature, minor glaze chips, 28cm. high £200­300

592 159

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593 593 A pair of Haviland Limoges plates designed by Jean Cocteau, dated 1981, each printed in black with stylised portraits, another six plates with similar designs, a black glazed plate entitled votre dernier est mon premier Caille Sienne dated 1955, and thirteen Bavarian side plates each decorated with designs after Cocteau or geometric designs, printed factory marks, facsimile signature and date to main two plates, 26.5cm. diam.(22) Provenance Works by Jean Cocteau from the collection of Severin Wunderman, 23rd September 2010 lot 97, Bonhams Knightsbridge. £300­500 594 An Art Deco Boch Freres Keramis vase designed by Charles Catteau, model no.D4474, shouldered, tapering cylindrical form, painted with geometric flowers in shades of turquoise, yellow, blue and black on a crackled white glaze printed factory marks, 29.5cm. high £150­250

595

594

595 A cased set of twelve Robj ceramic knife­rests and two salts, each modelled as a duck, white highlighted with gilt, in fitted, silk­lined case stamped Robj mark, 10cm. long (each knife­rest) £150­200 596 A pair of Jean Luce dishes, each modelled as a wheel, glazed blue on a cream ground, a Lachenal vase and Primavera vase impressed marks, 11cm. diam. (4) £120­180

596 160

597

‡ 597 Walenty Pytel (born 1941) Seated cat porcelain, glazed green and highlighted with gilt, on marble base unsigned, minor nicks, 38.5cm. high £300­500

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SCULPTURE

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A PRIVATE COLLECTION OF SCULPTURE 598 A large collection of bases and stands for sculpture, including marble, onyx and wood, with a collection of modern rotating ebonised and wood stands, (a lot) Provenance Armstrong­Davis Gallery, Arundel £150­250 598 part 599 Frances Madge Kitchener (1889­1974) Francis Derwent Wood patinated bronze medallion, framed paper label to reverse 11.5cm. diam. (medallion), 27.5cm. square seven bronze plaques of French national dress, comprising Alsace, Normandie, Alsacienne, Poitevine, Angevine, Auvergnate and Boulonnaise, a bronze plaque of Franz Schubert by F Stiasny, a large oval bronze plaque of two courting birds, a large bronze inkwell inscribed Leeds Civic Hall1933, a pewter panel mounted on a wooden box and four bronze plaques (16) Provenance Armstrong­Davis Gallery, Arundel £200­300

600 Sidney Nicholson Boyes (born 1878) St George and the Dragon ­ Dieu et mon Droit 1914­1918, dated 1920 bronze medallion, mounted in Portland stone mount signed S Boyes 1920 15.2cm. diam (plaque), 31.5 x 16.5cm. and two other medallions mounted in a common Portland stone mount Peace 1919 by F M Taubman and Pax, 1918 by Phoebe Stabler. (2)

599

Provenance Armstrong­Davis Gallery, Arundel £120­180

601 Pietro Paulo Caprioni, after the Antique Young St John The Baptist a patinated plaster bust published by Pietro Paulo Caprioni, Boston, on elliptical wooden base inset metal label, incised 476 33.5cm. high, base 34cm wide, (2) Provenance Armstrong­Davis Gallery, Arundel £120­180 600

162

601

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602 602 Savonarola patinated bronze bust on waisted socle, and a bronze bust of a man and a bronze bust of a bearded man unsigned 20.5cm. high, (3) Provenance Armstrong­Davis Gallery, Arundel £150­200 603 Jean­Baptiste Clesinger (1814­1883) Sapho patinated bronze, cast by Maison Marnyac, on red, veined marble base signed and titled in the cast, 28cm. high

605

Provenance Armstrong­Davis Gallery, Arundel £250­350 604 Anon Torso of a Woman patinated bronze unsigned 18cm. high

603

Provenance Armstrong­Davis Gallery, Arundel £120­180 605 G NIsini Foundry, Rome Victoire de Samothrace patinated bronze after the Hellenistic, on veined marble base foundry marks, 46cm. high Provenance Armstrong­Davis Gallery, Arundel £300­500 606 Giovanni Nisini Foundry, Rome Classical draped figure patinated bronze wall plaque, signed in the cast G Nisini Roma 46 x 27cm.

604

Provenance Armstrong­Davis Gallery, Arundel £200­300 606 163

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607 609

608 607 James Butler MBE RA, (born 1931) The Burton Cooper, 1977 patinated bronze, a pair of patinated snail bookends, cast from a model by Suzanne Bizzard and a small patinated bronze model of woman signed Butler 77 and titled The Burton Cooper in the bronze 23cm. high, (4) Provenance Armstrong­Davis Gallery, Arundel £120­180 610

611

608 James Butler RA (born 1931), after Richard III patinated metal sculpture on wooden base based on the original sculpture erected in Leicester Cathedral Gardens 1980, and Sir John Moore another sculpture on wooden base unsigned, 29cm. high, (2) Provenance Armstrong­Davis Gallery, Arundel £120­180 609 Cuno von Uechtritz­ Steinkirch (1856­1908) Otto von Bismarck patinated bronze bust, and another bust of a Lord Kitchener by Akvey, signed and inscribed Saxa Loqvvntvr 19.5cm. high, (2)

612

164

Provenance Armstrong­Davis Gallery, Arundel £120­180

λ 610 A Jozel The Bookseller a patinated bronze and ivory figure, on veined black marble base stamped Bronze Made in France, etched A Jozel to marble base 27cm. high Provenance Armstrong­Davis Gallery, Arundel £150­200 611 Betty Miller The Performance patinated bronze, signed Betty Miller 3/9 20cm. high, 20.5cm wide Provenance Armstrong­Davis Gallery, Arundel £150­250 612 Joseph Hermon Cawthra FRBS ARCA (1886­1971) Airman in long coat, (study for the Bootle War Memorial) a patinated plaster maquette, another plaster maquette of a Fighter pilot in flying suit, a plaster maquette of a Panther walking, and ‘The Orator’ a plaster maquette by the same artist, incised Hermon Cawthra signature to main figure, damages, 53cm. high (4) Provenance Armstrong­Davis Gallery, Arundel £200­300

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‡ 613 William McMillan RA (1887­1977) Resting Infantryman, patinated bronze on shallow marble base indistinct signature in cast 25cm. high Provenance Armstrong­Davis Gallery, Arundel Catalogue notes This depiction of a resting, fatigued World War I soldier and also the standing version shows the influence of Charles Sargeant Jagger’s figures for the base of the Royal Artillery war memorial, 1921­25 and his depictions in bronze of infantry men The Sentry and Wipers. £500­800

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‡ 616 Donald Gilbert (1900­1961) Mouse on its haunches verdi gris bronze on shaped base signed Gilbert in the cast 9.5cm. high Provenance Armstrong­Davis Gallery, Arundel £140­180

615

DONALD GILBERT 614 Donald Gilbert, manner of Leaping Gazelle plaster maquette unsigned 22cm. high

614

Provenance Armstrong­Davis Gallery, Arundel £100­150 615 Donald Gilbert, After Panther patinated bronze panel on rectangular marble unsigned 11 x 9.5cm (cat), 14.5 x 10.5cm.

Provenance Lalique & 20th Century Bronzes and Sculpture, Christie’s South Kensington, 10th May 1996 lot 255 Armstrong­Davis Gallery, Arundel £150­250

616

‡ 617 Donald Gilbert (1900­1961) Bust of a Lion patinated plaster on ebonised wood plinth, and a bronze model by of a mouse by Donald Gilbert, incised Gilbert to plaster base, chips 19.5cm. high, (2) Provenance Armstrong­Davis Gallery, Arundel £120­180 ‡ 618 Donald Gilbert (1900­1961) Ape and her young a pottery figure group, glazed incised Gilbert to base Provenance Armstrong­Davis Gallery, Arundel £120­180 ‡ 619 Donald Gilbert (1900­1961) Crouching Panther plaster maquette, on rectangular base, set on ebonised wood base signed in the plaster base Gilbert, remains of paper label 12cm. high Provenance Armstrong­Davis Gallery, Arundel £120­180 ‡ 620 Donald Gilbert (1900­1961) Frog a patinated plaster figure unsigned 11cm. wide, 8cm. high Provenance Armstrong­Davis Gallery, Arundel £120­180

617

618 166

619

620

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621

622

621 W K Schubert Standing Heron, 1938 patinated bronze on brown marble base signed in the cast W K Schubert 38, 37cm. high

‡ 623 Irenee Rochard (1906­1984) Vultures on a Rock, painted bronze on marble base, signed in the cast I Rochard 31.5cm. high

Provenance Armstrong­Davis Gallery, Arundel £300­500

Provenance Armstrong­Davis Gallery, Arundel £300­500

‡ 622 Jeno Bory (1879­1959) Vulture on a Bison Head, patinated bronze on a polished black marble base, signed in the cast J Bory 30.5cm. high

624 Anon Eagle’s Head verdi gris bronze on polished black slate base and stand, unsigned 45.5cm. high

Provenance Armstrong­Davis Gallery, Arundel £300­400

Provenance Armstrong­Davis Gallery, Arundel £200­400

623

624 167

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625 Francois Pompon (1855­1933) White Bear a modern resin sculpture on ebonised wooden base impressed seal mark to foot 41cm wide, 24cm. high, (2) Provenance Armstrong­Davis Gallery, Arundel £100­150 626 August Gaul (1869­1921) Donkey Resting patinated bronze, on veined polished veined black marble base signed in the cast A Gaul, H Noack, Berlin foundry, 14cm. wide

625

Provenance Armstrong­Davis Gallery, Arundel £150­200 ‡ 627 David Cornell (born 1935) Penguin with young verdi gris bronze on polished marble base signed David Cornell and numbered 2/10 in the cast 13cm. high Provenance Armstrong­Davis Gallery, Arundel £120­180 628 Leo Amaury (1885­) Squirrel patinated bronze on stone base incised Leo Amaury, Bronze 30cm. high Provenance Armstrong­Davis Gallery, Arundel £300­400

626

627 168

628

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‡ 629 Sir William Reid Dick (1879­1961) Menin Gate Lion, Ypres 1927 verdi gris bronze, on polished slate base signed titled Ypres and 1927, 31.5cm. wide, 21cm. high Provenance Armstrong­Davis Gallery, Arundel £500­1,000 629

630 Briton Riviere RA, after Anatomical Horse patinated bronze on polished stone base unsigned 39cm. high, 34cm. wide Provenance Lalique and 20th Century Bronzes, Christie’s South Kensington, 10th May 1996 lot 271 Armstrong­Davis Gallery, Arundel £200­400 630

169

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‡ 631 Richard Cowdy (born 1937) Radiaux the Limousin Bull, 1983 a verdi gris bronze on Portland stone plinth signed and numbered 6/11, Cowdy Foundry seal 37.5cm. high Provenance Armstrong­Davis Gallery, Arundel £400­600

170

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‡ 632 Richard Cowdy (born 1937) Hercules the Bear, 1983 patinated bronze, on Portland stone base signed in the bronze and Cowdy Foundry seal, 36.5cm. high Provenance Armstrong­Davis Gallery, Arundel Catalogue notes The bronze is a portrait from life of a large Grizzly named Hercules ­ who had gone missing for two months and nearly starved to death. He had previously found notoriety in a toilet paper advert and gained the nickname ‘The Big Softy’. £200­400

171

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‡ 633 Richard Cowdy (born 1937) Radiaux the Limousin Bull, 1983 patinated bronze on Portland stone plinth signed, numbered 10/11 and foundry Cowdy Foundry mark, 39cm. high Provenance Armstrong­Davis Gallery, Arundel Catalogue Notes Originally conceived for exhibition at the Royal Academy Exhibition this and its partner Bust of a Bear were commissioned as life­sized sculptures at the London stock exchange where they oversee the markets and symbolise the prevailing bullish or bearish mood of the stockbrokers. £400­600 ‡ 634 Richard Cowdy (born 1937) Radiaux the Limousin Bull, 1983 a verdi gris bronze on Portland stone plinth numbered 7/11 and Cowdry foundry seal 38cm. high Provenance Armstrong­Davis Gallery, Arundel £400­600 ‡ 635 Richard Cowdy (born 1937) Radiaux the Limousin Bull, 1983 a patinated bronze on Portland stone plinth signed, numbered 8/11 and Cowdry foundry seal 38cm. high 633

634 172

Provenance Armstrong­Davis Gallery, Arundel £400­600

635

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‡ 636 Clifford Cundy (1926­1992) Torso, polished bronze on a polished slate base signed Cundy, 047 9/9 23cm. high Provenance Armstrong­Davis Gallery, Arundel £400­600 ‡ 637 Leon Masson (1911­1984) Crouching Woman, cire perdue patinated bronze, on textured black base, incised Leon Masson and paper label annotated GiovinettaA ccoccolata Bronze Cire Perdue, 22.5cm. high Provenance Armstrong­Davis Gallery, Arundel £150­200 638 Vilha abstract form, (untitled) gilt bronze on polished slate base indistinctly signed in the cast, 25cm. high Provenance Armstrong­Davis Gallery, Arundel £150­250

636

637

638 173

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639

‡ 639 Lorenzo Guerrini (1914­2002) Bronze Medallion, 1952 patinated bronze on painted hessian and wood mount, Obelisk Gallery label to reverse with title and date, number 6/12 11cm. wide (bronze), 22cm square (mount) Provenance Armstrong­Davis Gallery, Arundel £200­300

640 174

639 label

640 Anonymous Disc form, (untitled) painted wood, on later black slate base unsigned, 43cm. high

‡ 641 Zack Zaltzman (born 1941) Torso of a Man, 1983 patinated bronze signed, dated and numbered 1/6 in the cast 30cm. high

Provenance Armstrong­Davis Gallery, Arundel £100­200

Provenance Armstrong­Davis Gallery, Arundel £150­250

641

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‡ 642 Zack Zaltzman (born 1941) couple embracing, (untitled) polished bronze on a black slate base monogrammed, 75 and 1/1 in bronze 36 x 18cm (bronze)

‡ 643 Zack Zaltzman (born 1941) Torso, 1975 patinated bronze wall plaque on black slate plinth indistinct signature, dated 75 and numbered 1/3 74 x 23.5cm (base)

Provenance Armstrong­Davis Gallery, Arundel £200­400

Provenance Armstrong­Davis Gallery, Arundel £200­400

175

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KEITH NEWSTEAD ‡ 644 Keith Newstead (born 1943) Head alabaster on rectangular plinth, incised KN to base 16cm. high Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £150­200 644

‡ 645 Keith Newstead (born 1943) Bagatelle alabaster and patinated steel, etched KN to alabaster 15cm. high, 19cm. wide Provenance Armstrong­Davis Gallery, Arundel Catalogue notes There are four variants of this sculpture, a poetic reference in the sense of three or four lines almost casually written.

Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £150­250 645

‡ 646 Keith Newstead (born 1943) Poet’s Head 7, Helmet English alabaster and patinated steel incised KN to alabaster 30cm. high Provenance Private collection of modern sculpture Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £300­500

646 176

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647

648

‡ 647 Keith Newstead (born 1943) Mythologies No.4 Westwood Limestone with painted highlights, in wood frame unsigned, 40.5 x 46cm.

Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £500­1,000 ‡ 648 Keith Newstead (born 1943) Mythologies no.2 Westwood Limestone with painted detail, framed in wood unsigned, 46.5 x 41cm.

Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £500­1,000 ‡ 649 Keith Newstead (born 1943) Mythologies No.3 carved wooden panel, framed unsigned 60 x 49.5cm.

Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £300­500

649

177

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651

650 ‡ 650 Keith Newstead (born 1943) Blue Mystery gouache on paper, framed signed and titled in pencil 49 x 38.5cm (image)

‡ 652 Keith Newstead (born 1943) Veils, gouache on paper, framed unsigned 11.5cm. square (image)

Provenance Private collection of modern sculpture Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £200­400

Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £120­180

‡ 651 Keith Newstead (Born 1943) Split II, 2003 gouache on paper, framed signed Keith Newstead, dated 03 and titled in pencil 69 x 48.5cm. (image)

‡ 653 Keith Newstead (born 1943) Apocalypse gouache on paper, framed signed in pencil lower right, label to reverse 143 x 43.5cm (frame)

Provenance Private collection of modern sculpture Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £200­400

Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £300­400

652

653 178

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655

654

‡ 654 Keith Newstead (born 1943) Couple Dancing Bath stone on wooden base incised KN to side 33.5cm. high, 22cm. wide Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £500­800 ‡ 655 Keith Newstead (born 1943) Big Fine Woman plaster maquette for large carving, on wooden base, incised KN to side 22cm. wide, 17.5cm. high Provenance Armstrong­Davis Gallery, Arundel Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £120­180 ‡ 656 Keith Newstead (born 1943) Fortress Westwood Limestone signed Keith Newstead 70.5cm. high Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £800­1,200

END OF COLLECTION 656 179

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GEOFFREY DASHWOOD

‡ 657 Geoffrey Dashwood (born 1947) Green Woodpecker, 1990 patinated bronze, signed and numbered 8/12 17cm. high, 22.5cm. wide Literature Geoffrey Dashwood Sculptor, Sladmore Gallery Editions, page 63 for a comparable example illustrated.

Provenance The Sladmore Gallery, 1991 Private collection. £1,500­2,500

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‡ 658 Geoffrey Dashwood (born 1947) Little Owl, 1989 a patinated bronze signed Dashwood, and A/C 16.5cm. high, 19cm. wide Literature Geoffrey Dashwood Sculptor, Sladmore Gallery Editions, page 52­53 for a comparable example illustrate, from an edition of 12.

Provenance Private collection. £2,000­4,000 181

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‡ 659 Geoffrey Dashwood (born 1947) Bullfinch, 1997 patinated bronze signed Dashwood, 5/12 11cm. high, 11.5cm. wide Literature Geoffrey Dashwood Sculptor, Sladmore Gallery Editions, page 298 for a comparable example illustrated.

Provenance Private collection. £1,500­2,000 659

660 ‡ Geoffrey Dashwood (born 1947) Bearded Tit, 1992 patinated bronze signed and numbered 8/12 15cm. high 10cm. wide Literature Geoffrey Dashwood Sculptor, Sladmore Gallery Editions, page 292 for a comparable example illustrated.

Provenance Private collection. £1,000­2,000 660 182

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A PRIVATE COLLECTION OF OF SCULPTURE

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661

662

661 Auguste Moreau (1834­1917) Girl on a Swing patinated bronze on a polished black slate base signed Moreau in the cast 29cm. high £120­180

662 Anon Bust of a Lady in 19th Century Dress patinated bronze on square black marble base unsigned 23cm. high £150­250

‡ 663 Georges Morin (1874­1950) Nymph riding a Satyr patinated bronze on veined red marble base, signed in the cast G Morin Guss H Noack foundry 30cm. wide, 28cm. high 663

184

Provenance Christie’s South Kensington, May 1993 lot 165, Private collection. £400­600

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664

665

‡ 664 Gustave Adolf Daumiller (1876­1962) Standing female nude patinated bronze on red marble base signed A Daumiller in cast 46cm. high £200­300

665 Ernst Barlach (1870­1938) The Reunion, 1930 gilt patinated bronze signed E Barlach and H Noack Berlin in the cast 47cm. high £1,000­2,000

λ 666 Albert­Ernest Carrier­Belleuse (1824­1887) Liseuse patinated bronze and ivory on veined black marble base signed A Carrier Belleuse in the bronze, applied title plaque, 61cm. high £2,000­3,000

666 185

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667

668

667 A bronze double inkwell and pen tray modelled as a dragon boat, cast decoration, with hinged compartments unsigned 37.5cm. wide £200­300

668 A I Maslik The River Master, 1987 patinated metal unsigned 79cm wide, 57cm ,.high £200­300

669

186

669 SE Standing woman wrapped in a towel patinated bronze on polished slate base signed SE and numbered 1/10 to underside of base 36cm. high £200­400

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670

‡ 670 Wilfred Norton RA 1880­1973 Maiden with flowing hair earthenware covered in a speckled silver­grey glaze incised B and paper label 451 to base 32cm. high £120­180 671 Leon Underwood, manner of Mother and Child a tall carved wood sculpture unsigned 99cm. high Provenance Purchased at Christie’s in 1990 by the vendor. £400­600 672 Harold Stabler (1872­1945) Hyde Park a patinated bronze pierced ventilator panel, signed Stabler in the cast bottom left 135 x 45cm. £500­800

671

672 187

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673

673 Hagenauer, manner of Diana and Hounds patinated bronze on shaped base unsigned 34cm. wide, 19.5cm. high £150­250

674 Hagenauer, Manner of African Watercarrier life­size figure gilt and patinated metal unsigned 163cm. high £300­500

675 Hagenauer, manner of Gondoliers on a boat ebonised wood and silvered bronze stamped SK monogram for Salzburger Kollektion 36.5cm. wide £300­500

675

674 188

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676

676 A N Krasotin Leda and the Swan weathered marble applied paper label, artists name, title and numbered 7 38cm wide, 23cm. high £200­300

‡ 678 Robert Bain (1911­1973) Creation of Eve bronze on elliptical wooden base unsigned, applied title Creation of Eve and R Bain Sculp plaque to base 19cm. high £150­200

677 Michael Hoyle Together forged steel The Hundred Forge label 86cm. high

679 Mathieson Lying Naked Woman patinated bronze erotic sculpture, on veined marble base signed in the cast Mathieson 1.6 47cm. wide

Provenance Sotheby’s Sussex, lot 14 £200­300

Provenance Lalique and 20th Century Bronzes and Sculpture, Christie’s South Kensington, July 1992 lot 6 £500­800

677

678

679 189

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680

681

‡ 680 T V Melanikov The Horse, 1990 patinated copper unsigned 45.5cm. high, 54cm. wide Provenance Lots Road, April 1994 Private collection. £200­300

‡ 681 Julian Sainsbury Horse and Rider, 1989 verdi­gris bronze signed in the cast, applied paper label with title and date 49cm. wide, 43cm. high Provenance Contempory Art Society Market £800­1,200

‡ 682 Renato Anatra (born 1943) Standing female figure Murano glass, clear glass figure with applied gold lead patches, on red glass base signed R Anatra to base 57cm. high, 30cm wide Provenance Christie’s South Kensington, July 1992 lot 48 £200­300

682

190

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683

684

‡ 683 John Piper RA (1903­1992) Beach Girls IV, 1982 Fulham Pottery slip decorated plaque, signed, titled and dated VII/82, impressed Fulham Pottery mark, paper labels 45 x 31cm.

Provenance The Soloman Gallery Dan Klein Decorative Arts Private collection.

685

Literature John Piper The Tate Gallery, page 72 this plate design illustrated. £400­600 ‡ 684 Brian Willsher (1930­2010) Standing Totem form cedar wood unsigned, numbered 349, losses 30cm. high £200­300 ‡ 685 Brian Willsher (1930­2010) Slender Totem form cedar wood unsigned, numbered 361, losses 62cm. high £100­150 ‡ 686 Brian Willsher (1930­2010) Tall standing form, cedar wood signed Brian Willsher and numbered 342, losses 57.5cm. high £200­300

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‡ 687 Ralph Brown RA (1928­2013) Female Head, 1962 patinated bronze on polished black slate base, unsigned, cast in an edition of 9 29cm. high, 30cm. wide Provenance Christie’s King Street, 1990 £700­900

‡ 688 Ralph Brown RA (1928­2013) Lovers II, cast aluminium, mounted on wooden panel signed RB monogram to side of panel, 61cm high, 59cm wide (panel) 87cm square (frame) Provenance RCA Fair purchased by the vendor circa 1998. £300­500

687

688 192

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‡ 689 Bernard Meadowes (1915­2005) Pointing figure polished bronze signed with M initial, 1/6, original Christie’s lot label, 30cm wide, 31cm high Provenance Post­war and Contemporary British Paintings and Watercolours and 20th Century British Sculpture, , Christie’s King Street 26th March 1993 lot 168 £800­1,200

END OF COLLECTION

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690

691 690 Max Le Verrier A pair of large patinated metal squirrel bookends, each modelled seated and eating a nut, on black veined marble base, signed in the cast M. Le Verrier, 19cm. high, (2) £500­800 691 A novelty patinated bronze frog inkwell, modelled as two frogs standing on hind legs, holding up the woven well, with hinged cover and glass liner, on oak base, unsigned, 13cm. high, (2) £150­250 ‡ 692 Robert Brotherton (1920­2000) Curlew patinated welded metal on driftwood rectangular plinth unsigned 59cm. high

692

693

Provenance Brotherton Pajaros Y Peces, Pollenca, Juliol 1994, by repute £300­500 693 JAN Penguin and young, 1996 patinated bronze signed and dated in the cast 16cm. high £150­200 ‡ 694 Anthony Theakston (born 1965) Night Owl white glazed stoneware sculpture, incised signature 31.5cm. high £500­800

194

694

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695

695 Henri Fugere (1872­1944) Woman with a Deer patinated bronze, on veined marble base signed in the base, 41.5cm. wide. £2,000­3,000

696 Ferdinand Preiss, after Youth a large silvered metal sculpture on waisted polished marble base, signed in the cast F Preiss 88.5cm. high £500­800

696

195

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‡ 697 John Mellows (born 1945) Racing Yacht a pair of polished steel sculptures unsigned 67cm. high, (2) £300­500 697

‡ 698 Miguel Berrocal (1933­2006) Olympic Torso, 1986 brass puzzle sculpture, produced in an edition of 250 signed in the cast, numbered 77/250 13cm. high £400­600

698

699

699 A patinated bronze model of a young boy skier, modelled standing resting, on a textured, naturalistic stone base unsigned, 17.5cm. high £150­250

700 Anon Janus a patinated bronze sculpture indistinct signature and XXXII 18.5cm. high £120­180

196

700 both sides

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701 Belio Sillio Ruffed Grouse and chicks patinated bronze, cast in an edition of 30 signed in the cast numbered 2/30 14.5cm. wide, 9cm. high £150­200

701

‡ 702 Cyriel de Brauwer (1914­1989) Grazing Horse and Foal patinated bronze signed in the cast de Brauwer e/a 48cm. wide £1,500­2,000

702 197

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703 detail 704 703 Miscellaneous Images of the twelve countries in Europe a rare Pentagram calendar for 1992 designed by Alan Fletcher, screen­printed in colours, another Signs of the Zodiac, 1990 Pentagram calendar, another Unreliable Seasons 1991 Pentagram calendar and another 1989 Pentagram calendar, all designed by Alan Fletcher, 51 x 39cm. (4) £200­300 705

704 Joan Miro (1893­1983), after Joan Miro Portrait 1938, poster printed by Multipla in 1989, framed unsigned 144 x 111 (frame) £120­180 705 Henri Clouzot Ferronnerie Moderne, a folio of Art Deco metalwork designs, ‘Ferronnerie Du Jour’ a folio of designs by C Henriot, ‘Le Fer Forge’ by Gaston Fleury and ‘A Calligaris’ by I Ferri Battuti, (4) £120­180

706

707 198

707 Racing Cars a pencil and gouache on paper, framed unsigned, annotated on the reverse, 33 x 28.5cm. £120­180 708 Anne Batty Their Sacred Charge acrylic and mixed media on board and In Darkness Lost (ships at sea) both signed and titled in pen to reverse, framed 44 x 34cm. (image) (2) Provenance The Daryl Fromm collection £150­200 709 Peter Messer (born 1954) Adders in Violets egg tempera on board, framed signer lower right, signed and titled to reverse 59.5 x 39cm. £150­250

706 A collection of art and design reference books, including Handmade Woodwork of the 20th Century by A E Bradshaw, PEL, R.D Russell Marion Pepler, Art & Industry by Herbert Read and Fifty Sneekers that changed the World, (a lot) £120­180

708 part

709

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DODO BURGNER ARTWORK

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‡ 710 Dorte Clara Dodo Burgner (1907­1998) Woman with a Sun Parasol, watercolour and pencil on paper, mounted unsigned, 37 x 28cm.

Provenance Private collection £300­400 710

‡ 711 Dorte Clara Dodo Burgner (1907­1998) Cocktails watercolour on paper, depicting two young women taking cocktails in a lounge, a waiter in attendance, unsigned 32.5 x 32.5cm.

Provenance Private collection £400­500 200

‡ 712 Dorte Clara Dodo Burgner (1907­1998) Portrait of a young woman pencil and wash on paper, mounted signed Do in ink, 16 x 13.5cm (image) Provenance Private collection £200­300

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‡ 713 Dorte Clara Dodo Burgner (1907­1998) Erganzung (Complement), Ulk magazine cover 1928 gouache and pencil on paper, mounted signed Dodo lower left, titled Ulk 22nd June 1928 40.5 x 29.5cm.

Provenance Private collection £8,000­12,000

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‡ 714 Dorte Clara Dodo Burgner (1907­1998) Harem pen and black red on paper, mounted, the reverse of the sheet with Woman in a fur lined coat holding an umbrella, a pen and black ink sketch signed Wolff 34 x 23.5cm Provenance Private collection £120­180 ‡ 715 Dorte Clara Dodo Burgner (1907­1998) Table service a gouache and pencil drawing on paper, mounted, depicting a lady at her table, a figure in white suit and green hat lying beside her, viewed from behind a curtain, unsigned 32 x 24.5cm. (image)

714

Provenance Private collection £200­300 ‡ 716 Dorte Clara Dodo Burgner (1907­1998) Woman in a Blue Dress with a Gentleman in a Top Hat, an early ink and gouache wash on paper, mounted signed Dorte Wolff in pencil 26 x 23cm (image)

715

716

Provenance Private collection £300­400 ‡ 717 Dorte Clara Dodo Burgner (1907­1998) Woman in a Brown rain coat, 1925 two pencil and watercolour fashion studies on paper unsigned but dated in pencil, 55 x 32cm (sheet), (2) Provenance Private collection £150­200 ‡ 718 Dorte Clara Dodo Burgner (1907­1998) Woman in a chequered top and orange dress, pencil and gouache on paper unsigned 54 x 44cm.

Provenance Private collection £120­180

717

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718

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‡ 719 Dame Elisabeth Frink CH DBE RA (1930­1993) Reclining Horse, 1975 limited edition hand­knotted wool pile tapestry wall hanging, in colours, signed in the tapestry, sold with a copy of the original certificate 22/25 252cm wide, 179cm high £2,500­3,500

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A PRIVATE COLLECTION OF MID-CENTURY TEXTILES

720 Causeway a screen printed cotton textile designed by Lucienne Day for Heal’s, designed in 1967, printed with abstract column in purple, green and white flanked by blocks of coral red signed to selvedge, 420 x 126cm.

Provenance A private collection of 20th Century Textiles £120­180

721 Bird and Chair a pair of printed cotton textiles designed by Marian Mahler manufactured by David Whitehead Ltd, designed in 1952, printed with vases, bowls and birds in black, mushroom and yellow on a red ground unsigned, fraying to edges and wear, 205 x 112cm (2) £120­180

720 722 Quadrille a screen printed textile designed

by Lucienne Day, designed in 1952, manufactured by British Celanese Ltd, printed in black, white, blue and mushroom on a red ground with geometric repeat, unsigned, 180 x 126cm Provenance A private collection of 20th Century Textiles £120­180 723 Collage Elements a screen printed rayon textile designed by Sir Eduardo Paolozzi, manufactured by David Whitehead Ltd, originally designed in 1952, printed with abstract geometric panels in black, white and mushroom on a red ground unsigned, 76 x 56cm. £120­180 721

722 724 Painted Desert two screen printed cotton textiles designed by Althea McNish for Hull Traders Ltd, designed in 1959, printed with cacti vignette in orange and black on a vivid pink ground, signed to selvedge, 199 x 128cm. (2) Provenance A private collection of 20th Century Textiles Literature Lesley Jackson, Shirley Craven and the Hull Traders, ACC books, page 129 this design illustrated. £120­180

723 204

724

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725 Age of Kings a screen printed cotton textile designed by Tibor Reich, originally designed in 1964, printed with figures on an orange ground, a larger example in green, two smaller examples in green and two colour variations of Atournament by Tibor Reich, designed in 1964, signed to selvedge, 123 x 59cm.(age of Kings orange ground) (6) Provenance A private collection of 20th Century Textiles £120­180 725

726 Kite Strings a printed cotton textile designed

by David Parsons, printed in grey and black on a yellow ground, and Nautilus a printed cotton

by Mary Warren printed title and designer to selvedge, 161 x 112cm (Kite), 118 x 125cm (Nautilus), (2) Provenance A private collection of 20th Century Textiles £150­200 726

727 Quarto a screen printed cotton textile designed by Lucienne Day, designed in 1960, printed with geometric panels in black, red and green and white on an olive ground signed to selvedge, 213 x 204cm.

Provenance A private collection of 20th Century Textiles £120­180 728 Crescents a screen printed cotton fabric designed by Jacqueline Groag, printed with geometric panels in colours on a blue ground, and two smaller Crescents textiles, unsigned, 934 x 60, (3) Provenance A private collection of 20th Century Textiles £120­180 727

728 205

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730

729

729 A pair of Hille walnut arm­chairs, tapering legs rising to carved scroll terminal, with pink ground textile upholstery, 86cm. high, (2) £150­250 730 A beech laminate side table, circular top on four turned, cylindrical columns and flaring square base, 64cm. diam, 70cm high £150­200 731 An Art Deco patinated wrought iron and marble table by G Pion, rectangular section, the wrought iron frame, with inset black veined marble top and lower shelf, stamped G Pion, SGDC, 53 x 32.5cm (top), 76cm. high. £400­600 732

731

732 A mahogany serving trolley in the manner of Gerald Summers for Makers of Simple Furniture, rectangular top with rail and fitted cutlery drawer, over low rectangular shelf, on wheels, unsigned, 68 x 40.5cm (top), 78cm. high Provenance Andrew McIntosh Patrick Collection.

Literature The Andrew McIntosh Patrick Collection, The Fine Art Society, page 8 this trolley illustrated. £200­300

733

206

733 A Modernist satinwood desk and matched chair, rectangular top over three drawers, on one curved leg and stack of three open shelves, 134cm. wide, 65cm. high, (2) £300­500

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734 An Art Deco burr walnut veneer cocktail cabinet probably Epstein, L’Odeon form, two central twin door fitted cabinets, the top compartment with electric light, flanked with smaller side cabinets below stepped shelves, fitted with suite of glasses, decanters, cocktail shaker and tray, unsigned, one glass missing, 122cm wide, 153cm. high £800­1,200

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735

736

735 An enamelled metal and bakelite type 320 desk lamp designed by Eileen Gray, probably Jumo, the flaring bakelite base cast with ribs, with copper band below white enamelled collar and shade, unsigned, 47cm. high £150­200

737 A walnut veneer bow­fronted display cabinet, the curved, hinged doors with curved glass etched with floral motif, mirrored back compartment with glass shelves, over lower cupboard 168cm. high, 138cm wide. £1,000­2,000

736 A pair of painted foil Peacock panels, each square form, one peacock modelled displaying, the other perched in a tree bough, on black ground, unsigned, 54 x 52cm. (2) £120­180

738 An Epstein satinwood table and eight chairs designed by Harry & Lou Epstein, panelled veneer, shaped top on two pedestals, each with hinged cupboard door, the chairs covered in pale yellow, 214 x 117cm. (11) £3,000­5,000

737

738 208

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739

739 A modern beech laminate two drawer chest on bent­ply feet, in the manner of Alvar Aalto, and an en suite four drawer chest of drawers unsigned, 130cm wide, 49cm. deep, 69cm. high (two­drawer chest), 90.5cm, 50cm. deep, 114cm high (chest of drawers), (2) £150­250 740 A Knoll Studio Barcelona chair and ottoman designed by Ludwig Mies Van Der Rohe, polished steel frame with padded Nasturtium leather cushions, unmarked, 76cm wide, 77cm high (chair) (5) £1,500­2,000 741 A Knoll Studio Barcelona day couch designed by Ludwig Mies Van Der Rohe, rectangular metal frame with padded Nasturtium leather cushion and padded leather headrest cushion, unsigned 196 x 96cm, 41cm high (3) £1,500­2,000

740

742 A Hille Interplan slat top bench designed by Robin Day, seven wooden slats on enamelled metal frame, unsigned, 183cm long, 32.5cm. high Literature Lesley Jackson, Modern British Furniture Design Since 1945, page 60 for a contemporary photograph of the Interplan benches and storage units designed by Robin Day in 1954. £300­500 741 743 A Danish black leather three seat sofa in the manner of Borge Mogensen, black leather cushions, unsigned, 206cm long, 77cm deep, 72cm high £200­300

743

742 209

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745 Two Sanderson’s Stones of Bath printed cotton curtains designed by John Piper, in shades of green and brown, unsigned, 350 x 81cm and 163 x 82.5cm (2) Literature Geoffrey Rayner Artist’s Textiles in Britain 1945­ 1970, ACC Books, page 85 catalogue number 74 for a comparable example illustrated. £300­500 746 A William Plunkett Kingston two seat sofa, designed in 1967, made for Russell and Bromley, polished aluminium frame with modern leather pads, 122cm wide, 85cm. high

744

745

Literature Lesley Jackson Modern British Furniture ­ Design since 1945, V&A Publishing, page 211 figure 223 for the seating range illustrated at the Design Centre in 1967. £300­500 747 An Archie Shine Hamilton teak chest of drawers designed by Robert Heritage, the rectangular top with raised back rail, five drawers, the top with mitred groove decoration, brass handles, 99cm wide, 76cm. high 45.5cm deep Literature Lesley Jackson, Modern British Furniture Design Since 1945, page 66 figure 70 for a sideboard from this range illustrated, £200­300

746

747

748

749 210

748 An Arkana Tulip table designed by Eero Saarinen, circular, white laminated wood top, on painted aluminium base, cast mark, 105cm. diam. £300­500

744 A Kartell Bookworm shelf system designed by Ron Arad, model no, 8003 C4, in original box, blue plastic box with printed makers details, 3.2 meters long

749 A Cassina LC6 enamelled metal and glass dining table designed by Le Courbusier, originally designed 1928, streamlined metal legs with raised circular supports lifting the rectangular glass top, 224 x 85cm, (2)

Literature Ron Arad No Discipline Moma, page 62­32 for the bookworm and original designs for the bookworm system. £100­150

Provenance Environment, 1982 £200­400 750 An Aleph M (Serie Lang) table designed by Philippe Starck, rectangular polished quartered mahogany on aluminium tapering legs, cast signature to legs, 210 x 89cm. £150­200

750

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751 A Linley twin­handled tray designed

by David Linley, rectangular section, walnut set with fruitwood rail and polished metal handles, stamped Linley to both handles, in original presentation box, 60 x 40cm. £150­200

752 A Linley table box designed by David Linley, square section with hinged cover, exotic wood veneer set with silver round plate to cover, with divider to interior, in original presentation box, and another similar, applied Linley plaque, silver stamped DL hallmark, Edinburgh, no date mark, 23cm, square, (2) £200­400

751

752

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753 A fine pair of Linley oak bookcases, each with adjustable shelves over burr walnut and ebony strung doors, remains of paper label to one, 280cm. high, 175cm wide, 49.5cm. deep Provenance commissioned in 2011 for a St James’ Street office.

Viewing This lot is available to view at our Castle Gate Office. Please contact the department for an appointment. £3,000­5,000

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754 A pair of David Linley large wall mirrors, dated 1996, rectangular cherry wood with flaring mantel and base, marquetry decorated with pillars and pierced brackets, impressed David Linley 1996, 149.5cm. high, 110cm wide, (2) Provenance This pair of mirror’s were purchased for, and hung at, the Michelin starred restaurant Interlude de Chavot, Charlotte Street, London in the 1990s. £5,000­10,000

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755

755 An Artemide Nesso table lamp designed by Giancarlo Mattioli, red plastic, in original cardboard box unsigned, 34cm. high, 53cm wide £120­180 756 A pair of Howard Miller Ltd MDA chrome framed occasional tables, rectangular with rosewood veneer shelf and loose glass top, on castors applied factory label, 61 x 42cm, 40cm. high (4) £250­350

756

757 An Art Deco inlaid box with hinged cover, cedar lined, the box inlaid with red marble panels, polished slate rims with mother of pearl corners, an Art Nouveau pewter mounted box decorated with dragonflies, inlaid with mother of pearl, two other boxes and a Solkets pewter bud vase cast in low relief with flowers 28 x 22cm. (5) Provenance: The late Greta Morrison, widow of Bryan Morrison. £80­120

758 A large Biba Leaping Deer enamelled tin storage jar and cover, decorated in gilt, black and red with Art Deco revival leaping deer and pyramid design, the cover pierced for ventilation, printed Biba mark, 30cm. high Catalogue notes This design was introduced in 1974. £120­180 759 A modern S T Dupont yellow metal travel clock in original fitted presentation case, model no.63DAA75, extending rectangular case with circular dial, with alarm setting, stamped marks, cased stamped Paris 1992 with Olympic rings logo, 9.3 x 3.3cm (extended) £150­200 760 A Dunhill silver­plated lighter, rectangular with engine turned decoration, and another Dunhill engine turned lighter stamped marks, 6.5cm. long, (2) Provenance The collection of Pam and Mark Taylor. £120­180

757

759 758 214

760

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761

761 A Charles Boyton Modernist electroplated four piece tea service on tray, square section on stepped foot with stepped shoulder, comprising teapot and hinged cover, hot­water pot and hinged cover, milk­jug and sugar basin, on a rectangular tray, teapot and hot­water pot with ebonised wood handles, each with engraved cross in shield for Bede College Durham University, unsigned, 21cm high (hot­water pot), 50 x 38cm (tray) £400­600

762 A De Vecchi T8 silver candlestick designed by Piero De Vecchi, originally designed and made for the Eighth Milan Triennale, 1947, scrolling tube body with two flaring conical sconces, stamped marks below sconce, 29cm. wide, 25cm. high Literature Tersilla Giacobone, La Lingua degli Specchi, Electa, front cover and page 18 this design illustrated. £400­600

762

763 A Line Vautrin silver and bronze minaudiere, rectangular form with hinged cover, textured finish, the interior fitted with mirror housing, two open powder compartments and and compartment with hinged cover, with fitted leather travel cover, stamped Minerva head mark, unsigned, 9.7 x 8.2cm. £400­500 763

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764 A Georg Jensen silver pendant designed by Arno Malinowski, model no. 105, circular pierced and cast with two butterflies on flowering foliage, on link chain, stamped marks, 5cm. diam. £150­200

765

764

765 A Georg Jensen silver brooch designed by Georg Jensen, model no.89, pierced and cast with flowerheads flanking central dome, and wirework border, stamped marks, 5.3cm. wide £150­200 766 A Georg Jensen silver brooch designed by Henning Koppel, model no.325, cast and pierced abstract form, stamped marks, 5.5cm. wide £150­200

766

767

767 A Georg Jensen silver brooch designed by Arno Malinowski, model no. 257, triangular form, pierced and cast in low relief with a dolphin diving before bulrush, stamped marks, 4cm. wide £120­180 768 A Georg Jensen silver brooch designed by Arno Malinowski, model no. 258, cast and pierced with a bird flying above two leaf fronds, stamped marks, 4cm. long £120­180 769 A Georg Jensen silver brooch designed by Arno Malinowski, model no.277, cast in low relief with a woman riding a seahorse, stamped marks, 6cm., wide £150­200

768

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769

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‡ 770 Wendy Ramshaw CBE RDI (1939­2018) Ringset with Seven rings seven 18carat gold rings set with moonstones, on perspex stand stamped hallmarks, London 1972 8.5cm. high, total weight including stones 19.8 grammes (9) Provenance Electrum Gallery 1978/79 Private collection. £1,500­2,500

END OF SALE

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BRITISH ART POTTERY WEDNESDAY 16TH DECEMBER 2020 CLOSING DATE FOR ENTRIES 16TH OCTOBER

Dame Lucie Rie A flaring porcelain footed bowl Estimate £2,000 ­ 3,000*

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

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SILVER & OBJECTS OF VERTU WEDNESDAY 25TH & THURSDAY 26TH NOVEMBER 2020

A Collection of Arts and Crafts Caddy Spoons Estimates £1,000 ­ 1,500 each* ENQUIRIES Rupert Slingsby | +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | +44 (0) 1722 424594 | lc@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

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

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing 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.

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

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

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

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

220

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

BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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

The colours printed in the catalogue are not necessarily true.

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

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

Alban Shipping

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

Kimdan Ltd

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

Mailboxes

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

Pack & Send

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

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

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling.

If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

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

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

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 Regulations when exported.

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

‡ symbol are potentially subject to

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

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

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

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

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

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

λ may be subject to CITES

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

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

TERMS OF CONSIGNMENT FOR SELLERS

1 . Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

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

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price.

The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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

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

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

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

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

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

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

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

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

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

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

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

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

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

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

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary.

Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

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

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

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13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale.

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

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

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

4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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

6. PAYMENT

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

(a) Immediately a lot is sold you will:

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

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

CONDITIONS OF SALE

(b) You shall at your own risk and expense collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges.

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

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

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

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

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8. REMEDIES FOR NON­PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay­out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

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

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

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

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot.

Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

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

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

GLOSSARY Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

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

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

(i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

15. FORGERIES

(j) Dimensions are given height before width.

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

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

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

(k) Pictures are framed unless otherwise stated.

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

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

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

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

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

Royalties for Droit de Suite are as follows:

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

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

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

4% Up to €50,000 3% €50,000.01 ­ 200,000 1% €200,000.01 ­ 350,000 0.5% €350,000.01 ­ 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 Lots marked with a ‡ symbol are potentially subject to the levy.

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 2018 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51­61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the­saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the­saleroom.com) of individuals who register for one of our auctions (please see the­saleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the­saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

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

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

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

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

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations.

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

In particular:

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life­threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

• in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

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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.

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WOOLLEY & WALLIS SALEROOMS

Old Sarum

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

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

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

Design & Production

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

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PLEASE PRINT CLEARLY IN BLOCK LETTERS

ABSENTEE BID FORM Lot Number

ARTS AND CRAFTS DESIGN

Brief Decription

Price Excluding

in numerical

buyer’s premium

order

& VAT

6TH & 7TH OCTOBER 2020 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

Billing Name (please print)

Address

Postcode Daytime telephone Email

All accounts must be settled within 21 days.

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

Signature

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

www.woolleyandwallis.co.uk

AUCTION CALENDAR SEPTEMBER 22nd 23rd

Tribal Art & Antiquities Medals & Coins, Arms & Armour

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR DECEMBER BRITISH ART POTTERY AUCTION

OCTOBER 6th & 7th 21st

Art & Crafts, Design Furniture, Works of Art & Clocks

NOVEMBER 10th 17th 24th 25th & 26th

Fine Chinese Paintings & Works of Art, Ja­ panese Works of Art Fine Jewellery English & European Ceramics & Glass Silver & Objects of Vertu

DECEMBER 9th 16th

Modern British & 20th Century Art British Art Pottery

Dates may be subject to change

TIMED ONLINE AUCTION 19th November to 2nd December – Christmas Gifts Around 150 lots of jewellery, vertu, ceramics and small collectable items just in time for Christmas, with estimates starting at £300

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

John Ward (born 1938) A hand­built stoneware vase SOLD FOR £5,750*

www.woolleyandwallis.co.uk