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

British Art Pottery

Wednesday 12th December 2018


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Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees

424505 446955

424506 +44 (0)7812 601098 424571

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA

424509 424598

MARKETING Sally Trench

446959

ACCOUNTS Janice Clift (Office Manager)

424500

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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

411854 339161 446974

JAPANESE ART Alex Aguilar Doméracki

424583

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

BOARD OF DIRECTORS Paul Viney ASFAV Chairman

424595 424504 424586

John Axford MRICS ASFAV Deputy Chairman

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike SALEROOM MANAGER David Jordan

341469 446980

PAINTINGS Victor Fauvelle Jo Butler Madeleine White

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

424500

CASTLE GATE MANAGER Matt Hill

Clive Stewart-Lockhart Managing Director

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

424500

Natalie Milsted FCCA Finance Director ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • www.woolleyandwallis.co.uk

FRICS FRSA

424599


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BRITISH ART POTTERY & DESIGN

Wednesday 12th December 2018 at 10.30am at our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 8th December Monday 10th December Tuesday 11th December Wednesday 12th December

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

ENQUIRIES CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults. COLLECTION OF LOTS

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

Please note that all lots will be cleared from the saleroom back to Castle Gate on Monday 17th December. If you are collecting items on or after this date please contact the department to arrange in advance. Thereafter, collection will be from our new Castle Gate Office Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX. Our Castle Gate address details and map are at the back of this catalogue. All accounts to be settled prior to collection. Payment is still made at Castle Street. ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a ‡ symbol which sell for more than 1000 are subject to the levy, payable by the bidder. Please refer to page 140 for full details. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 11th December. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 12 Inside cover: Lots 353, 358, 360 & 357 Back cover: Lot 283 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 11th December Please note there is a 3% +VAT surcharge for using this service.


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MARTIN WARE 1. An early Martin Brothers Medieval stoneware jug by Robert Wallace Martin, footed ovoid form with cylindrical neck, incised with two medieval maidens walking amongst stylised trees, another maiden playing music, between incised geometric bands, glazed green, blue and brown on a buff ground, with applied silver rim, incised R W Martin 7 MM Fulham 274, Richard Dennis paper label number 33, silver £200-300 rim stamped JB hallmarks London 1873 23.5cm. high Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 50 figure 54 for a comparable jug illustrated.

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Provenance The Martin Brothers Potter’s Richard Dennis, 1978, catalogue number 33 Arts and Crafts, Christie’s South Kensington, 5th November 2002 lot 32 A private collection of Martin Ware. 2. A Martin Brothers stoneware miniature jug by Edwin & Walter Martin, dated 1887, compressed ovoid form, incised with wild flowers in pale blue and £150-200 brown on a buff ground, incised 1-87 Martin Bros London 5cm. high Provenance The Martin Brothers Pottery Richard Dennis Gallery, 1978 A private collection of Martin Ware. 3. A Martin Brothers stoneware miniature vase by Edwin & Walter Martin, ovoid with cylindrical neck, incised with three butterflies flying past wild flower stems, in white, pale blue and ochre on a brown ground, incised Martin Bros London to base, 8cm. high £150-200 Provenance The Martin Brothers Pottery Richard Dennis Gallery, 1978 A private collection of Martin Ware. 4. A Martin Brothers stoneware jug by Edwin & Walter Martin, dated 1895, shouldered square section, incised with stems of daffodils, dahlias and daisies, in white and brown on a buff ground, incised 10-1894 Martin Bros London & Southall, firing crack to rim, 24.5cm. high £300-500 Provenance A private collection of Martin Ware.

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5. A Martin Brothers stoneware jug by Edwin & Walter Martin, dated 1892, shouldered, footed form with applied handle, incised with a band of scrolling foliage to the neck and body, glazed brown and blue on a buff ground incised 11-1892 Martin Brothers London & Southall, 18.5cm. high £350-450 6. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1887, shouldered cylindrical form, incised with wild flowers between slender geometric borders, in white, green and brown on a buff ground, incised 1-1887 R W Martin & Bros London & Southall,, repaired lip, 22cm. high £150-200 Provenance A private collection of Martin Ware 7. A Martin Brothers stoneware gourd jardiniere by Edwin & Walter Martin, dated 1914, tapering square section with incised veins, glazed black and grey incised 3-1914 Martin Bros London & Southall, 9.5cm. high £400-500

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8. A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, dated 1905, swollen, square section, modelled to each side in low relief with a grotesque fish swimming, glazed in green on a pale buff ground, the top rim glazed brown, incised 111905 Martin Bros London & Southall £400-500 Provenance A private collection of Martin Ware.

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9. A Martin Brothers stoneware solifleur vase by Edwin & Walter Martin, dated 1894, ovoid with waisted neck, painted with scrolling flower stems in brown on a cream ground, incised 4-1894 Martin Bros £250-300 London & Southall, 11cm. high

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10. A Martin Brothers stoneware Aquatic bowl, dated 1912, with inverted rim, incised with a band of scaly fish and eels amongst waterweed, in colours incised 1-1912 Martin Bros London & Southall, restored and over£200-300 painted 26cm. diam.

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11. A fine Martin Brothers stoneware Dragon vase by Edwin & Walter Martin, dated 1892, shouldered ovoid form, incised with four ferocious dragons, in shades of brown on a textured, matt green ground, incised 1-1892 Martin Bros London & Southall 22cm. high ÂŁ800-1,200 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 99 figure 144 for a similar footed vase decorated with dragons. Provenance A private collection of Martin Ware

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12. A unique Martin Brothers stoneware grotesque dog jar and cover by Robert Wallace Martin, dated 1884, modelled crouched, seated on all fours, his anthropomorphic face, wide smiling toothy grin, glazed ochre and brown with white highlights, incised to neck and underside of base 11-1884 R W Martin London & Southall, 23cm. high £30,000-50,000 Literature A Large Collection of Martin Brothers Stoneware, Sotheby’s, 19th April 1978, lot 230 for a similar grotesque produced in 1884. Provenance Private European collection.

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TILES 15. A large architectural Boar Hunt tile possibly by Minton, modelled in low relief with a medieval figure felled and fighting a boar as two other standing figures try to spear it, in shades of pale blue and sand on a cream ground, unmarked, minor glaze chips, 37 x 25.5cm. £500-800 Literature Tony Herbert & Kathryn Huggins The Decorative Tile in Architecture and Interiors, Phaidon, for examples of similar Minton’s majolica glaze tiles used at the Royal Dairy, Windsor. 16. A large Minton Hollins & Co portrait tile, painted with a Victorian lady in red dress with lace collar, before tall stems of white lilies, painted in colours impressed marks to reverse, painted Gen H Lessels 9/11/79, 30.5cm. square £100-200

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17. An Aesthetic Movement Minton Hollins & Co pottery three tile panel fireplace, the horizontal mantel panel decorated with swallows perched in prunus tree boughs, the side panels with a white heron watching a frog, and swallows, and a magpie and chick, in colours on a terracotta ground, impressed marks, minor rim chips, 100 x 20.5cm (mantel panel), 81 x 20.5cm. (3) £500-800 18. A set of ten Pilkington’s Tile and Pottery Co tiles designed by Lewis F Day, modelled in low relief with peacock feather panels, glazed green various impressed marks, 15cm. square, (10). £150-200

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13. A collection of thirty-five Minton & Co tiles the design attributed to Dr Christopher Dresser, each decorated with a stylised flower roundel inside matrix design in black and sand on a cream ground, impressed marks, £300-500 damages 15cm. square Literature Stuart Durant Christopher Dresser, Academy Editions, page 125 for a page of designs by or attributed to Dr Christopher Dresser, similar. 14. A Cambridge Art Tile Works tile, dust-pressed in low relief with a classical portrait of a Bacchanalian youth, glazed ochre, later framed, impressed Cambridge to reverse 15cm. square £120-180

Literature Joan Maria Hansen Lewis Foreman Day (1845-1910 Unity in Design and Industry, ACC Books, page 196 plates 6.53-6.55 for this design illustrated. 19. A J.C. Edwards four tile panel after a design by C.F.A. Voysey, dust-pressed in low relief with a simple flowering stem, in shades of pale yellow and green, framed impressed marks, tiles 15cm square, 66 x 21cm (framed panel) £700-900 Literature Karen Livingstone, Max Donnelly & Linda Parry CFA Voysey Arts and Crafts Designer, V&A Publishing, page , catalogue number 371 for a comparable ‘Tulip’ tile designed by Voysey and made by Pilkington’s Tile and Pottery Company.

Provenance Hotel Albert, Selva, Al, this tile was salvaged from the hearthstone of a fireplace in 1966 when the hotel (built circa 1900) was destroyed, according to a paper label applied to the reverse, by repute.

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20. Three large Mintons Chinaworks tiles the design attributed to Henry Stacy-Marks, painted with a medieval king sitting in court surrounded by attendants, in colours impressed factory marks, central tile broken and re-stuck, minor rim chips and paint flaking, 30.5cm. square £600-800

21. Two large Maw & Co four tile panels, each depicting a medieval hunting scene, one depicting a crossbowman and hounds, the other a man spearing a boar caught by a hound, mounted attendants behind, on a scrolling foliage ground, glazed in colours on cream, impressed marks, factory chipped corners for mounting in a fireplace, 78 x 23.5cm. £600-1,000

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22. A pair of Copeland tile plaques, each painted with an allegorical maiden, one blowing a horn, the other holding a sickle, in blue on a cream ground, later framed, indistinct impressed factory marks, 46 x 15cm (tiles), (2) £300-500

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23. Cinderella in the Kitchen a rare Morris and Co tile designed by Edward Burne-Jones, painted in colours unsigned, minor glaze chips and small hairline to base rim, 15 x 15.5cm. ÂŁ1,000-1,500 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 44 plate 12b for the original drawing including the Fairy Godmother entering the kitchen, illustrated.

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24. Cinderella - The Slipper Fits a rare Morris and Co tile designed by Edward Burne-Jones, depicting Cinderella holding the matching shoe before Prince Charming, painted in colours unmarked, minor rim chips, 14.5cm. square ÂŁ1,000-1,500 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 45 plate 13C for a comparable example of this tile illustrated.

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WILLIAM DE MORGAN

25. A good William De Morgan Pottery Late Fulham Period triple lustre tile, painted with a bird, a snake captured in its claws, in gold, blue and ruby lustre on a white ground with clumps of yellow grass impressed Late Fulham Period De Morgan, Iles and Passenger Brothers factory mark, 15.5cm. square ÂŁ1,500-2,000 Provenance Lady Alison Kremer and Mr Tom Kremer.

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26. A good William De Morgan Pottery Late Fulham Period triple lustre tile, painted with a cockerel crowing, in gold, blue and ruby lustre on a white ground with clumps of yellow grass, impressed Late Fulham Period De Morgan, Iles and Passenger Brothers factory mark, 15.5cm. square ÂŁ1,500-2,000 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis, page 127 figure 1012 for the original design illustrated. Provenance Lady Alison Kremer and Mr Tom Kremer.

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27. A William De Morgan 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, central tile with firing fault 21cm square tiles, 62 x 21cm. £3,000-5,000 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.

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28. A William De Morgan Sand’s End Pottery Ornate Bird tile, painted with a peacock bird in black on a turquoise ground, impressed factory mark, professional over painting, 15.5cm. square £1,500-2,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 128 figure 965 for the original design illustrated.

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29. A Craven Dunnill Maw & Co tile stand after William De Morgan, probably originally designed by Halsey Ricardo, decorated with a mythical beast amidst flowers and foliage in blue on a white ground, unsigned, small chip to rim, 15cm. square £120-180 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 167 catalogue number 261 for red lustre tile in this design.

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30. A William De Morgan lustre charger, painted to the well with three scaly fish, the border with a frieze of classical dolphins and masks, in ruby and golden lustre on a cream ground, the reverse painted with scroll rim and scale band, unsigned, 36cm. diam. £1,500-2,000

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31. 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 £300-500 32. An Ault Pottery toad probably designed by Dr Christopher Dresser, model no. 854, modelled with scaly skin, the vase and liner glazed green and aubergine, impressed number 854, glaze chips and £120-150 repair to liner, 21cm. wide (2)

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33. A pair of Arts and Crafts pottery chargers possibly Copeland, each painted with a medieval maiden in a formal garden, one working on an embroidery, the other at a spinning wheel, in shades of blue on a white ground, impressed and painted numbers to reverse, star-crack to one, the other a hairline to the rim, 34cm. diam. £120-180 34. A Minton’s New Stone Gothic platter designed by Augustus Welby Northmore Pugin, rounded rectangular form, printed to the well and rim in blue with stylised floral repeat, the rim highlighted in gilt, impressed and printed marks, 38cm. wide £100-150 Literature Paul Atterbury and Clive Wainwright Pugin Victoria & Albert Museum Exhibition, 1994, page 150 plate 278 for a comparable service.

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35. A lustre glazed pottery vase in the manner of Bushey Pottery, shouldered cylindrical form with inverted rim, on three moulded feet, decorated with mythical birds, in red lustre on a green ground, unmarked, 13cm. high £120-180

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36. An Aesthetic Movement Minton’s pottery vase, compressed form with everted rim, cast in low relief with a band of fruit and foliage in red, olive green and gilt on a brown ground impressed marks, 18cm. high £150-200

37. Three Minton’s porcelain plates by William Wise, printed and painted to the well with Victorian children playing, picking flowers and harvesting corn, in colours, inside turquoise blue border and gilt bands to rim, impressed marks, one plate signed W Wise, 24cm. diam, (3) £200-300

38 38. An Aesthetic Movement Minton’s Pottery wall charger, printed in dark blue with Oriental roundel depicting birds butterflies and bamboo stems, geometric mon, on a foliate background, on turquoise ground, impressed marks, 40cm. diam. £200-300

39. An Aesthetic Movement Minton’s Pottery wall charger, painted with a black kitten climbing an apple tree, in colours on a turquoise blue ground, impressed marks, impressed arrow date mark for 1874, hairline to rim, 39cm. diam. £300-500

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40. A pair of Minton’s Secessionist twinhandled vases designed by Leon Solon and John Wadsworth, footed form with scrolling handles, printed with a landscape design in colours on a cream ground, and a large Burmantofts Faience Partie-Colour vase decorated with blue peony, impressed 3320 and painted 3320 mark, repairs to one Minton’s vase, Burmantofts vase repaired, 27cm. high (Minton’s vases), (3) £120-180

41. A Vodrey Pottery Dublin frog spoonwarmer designed by Frederick Vodrey, modelled seated with open mouth and grotesque features, glazed yellow, impressed facsimile signature, minor glaze frits, 16cm. high £200-300

42 42. A Burmantofts Faience jardiniere and stand, model no 1857A, modelled in low relief with stems of flowers and foliage, covered in an olive glaze, a Burmantofts Faience jardiniere glazed turquoise, a Bretby Pottery Secessionist jardiniere, two jardinieres, two stands and three other items impressed marks, 73cm. high (11) £150-200

43. A Burmantofts Faience pottery stickstand, cylindrical form, modelled in low relief with boughs of fruit and foliage, below a band of swag motif, glazed deep aubergine, a Bretby Pottery jardiniere stand/stool modelled with shells and foliage, a jardiniere and a stand all glazed yellow main item unsigned, crack to top rim, 62cm. high (4) £150-200

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44. A Burmantofts Faience Anglo-Persian pillar vase by Leonard King, shape no.163, shouldered form, painted with panels of foliage in blue, turquoise, aubergine and green on a white ground, impressed and painted marks, professional restoration to top rim, 46cm. high £1,800-2,200 Provenance Private collection.

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45. A Burmantofts Faience Anglo-Persian bottle vase designed by Leonard King, model no. D.273, painted with vertical panels of flower stems and foliate panels, in shades of blue, turquoise, green and aubergine on a white ground, impressed and painted marks, paper label, minor professional restoration to the top rim, 35.5cm. high £2,000-2,500 Provenance Private collection.

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46. A Farnham Pottery Medieval jug and two beakers, the tall bellied jug with applied handle, covered in green glaze, unsigned, chips, 29.5cm. high (3) £120-180

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47. A large Farnham Pottery Owl bowl, circular with impressed and incised with an owl face and applied eyes to both sides, glazed green with brown highlights, and a Farnham Pottery flower vase and brick, with modelled pie-crust rim, glazed green unsigned, glaze loss and chips, 41cm. wide, (3) £150-250

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48. A Ewenny Pottery model of a sleeping pig, covered in a mottled green glaze, incised to side ‘Y Mochyn’ incised marks Ewenny Pottery 1913 to base, 15cm. wide £200-300 49. An unusual Sunflower Pottery vase by Sir Edmund Elton, ovoid with tapering neck, the base applied with three grotesque figures, glazed translucent dark grey painted £500-600 Elton mark, 23.5cm, high 50. A Sunflower Pottery ewer by Sir Edmund Elton, ovoid split gourd with tall pipe neck and split rim, and modelled foliate handle, covered in a crackled golden glaze, and another Sunflower Pottery jug, painted Elton marks, paper labels, chips and museum repairs, 27.5cm. high, (2) £200-300

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51. A Wedgwood Pottery jug in the manner of Alfred and Louise Powell, pattern B2319, large, bellied form painted with a band of scrolling flowers and foliage between blue trellis, in green and blue on a white ground, impressed mark, painted pattern mark, small chip to spout, 24cm. high £120-180 52. A Wedgwood Pottery vase by Grace Barnsley, shouldered form, painted with bands of geometric decoration and simple foliate motif, in colours on a white ground impressed Wedgwood marks, painted monogram and 217, missing cover 10cm. £200-300 high

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Literature Maureen Batkin, Wedgwood Ceramics 18461959, Richard Dennis Publications, page 153 plate 372 for a comparable piece with cover by Grace Barnsley, circa 1932.


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53. A Della Robbia pottery twin-handled vase by Arthur E Bells, dated 1898, shouldered form with applied scrolling handles, painted with scrolling foliage design in shades of yellow, green and turquoise on a brown ground, incised mark and AEB monogram, painted W and dated 1898, 30cm. high £300-500

54. A Della Robbia Pottery Cantagalli twin-handled vase by Gertrude Russell, swollen form with applied Dolphin handles to the shoulder, incised with panels of stylised Art Nouveau flowers and foliage, in green, turquoise, yellow and ochre, incised marks and monogram, restored top rim, crack to one handle, 32.5cm. high £300-500 Literature Peter Hyland The Della Robbia Pottery, ACC books, page 156 figure 166 for a comparable vase.

55. A large Della Robbia wall charger by Gwendoline Buckler, incised to the well with a lion rampant, with thistle, rose and shamrock roundel, the rim with scrolling foliage in blue, green and yellow on a brown ground, incised marks and GEMB monogram, professionally restored, 47cm. diam. £800-1,200

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56. A Ruskin Pottery crystalline glaze vase, dated 1930, ovoid with tapering neck, glazed blue graduating to sand yellow, a candlestick, eleven bowls and nine vases, impressed marks, 28cm. high, (22) £150-250

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57. A Ruskin Pottery crystalline vase, dated 1920, ovoid with cylindrical neck, turquoise graduating to yellow, and a collection of Ruskin Pottery vases and a small circular dish, impressed marks, 27cm. high, (10) £150-250

58. A collection of Pilkington’s Royal Lancastrian matt glaze ware, including matt green, turquoise and blue and two Lapis Ware bowls, impressed marks, 23cm. high (tallest), (20) £200-400

59. A Pilkington’s Royal Lancastrian vase by E. T. Radford, ovoid with collar neck, covered in a mottled orange glaze, a Pilkington’s Aventurine glaze plate, five other orange glaze vases and a collection Pilkington’s ware impressed marks, 18cm. £200-300 high, (28)

60. A large Pilkington’s Royal Lancastrian vase, model no. 2996, modelled, shouldered form, covered in a mottled orange glaze, a pair of tall cylindrical vases and two bowls similar, impressed marks, 14cm. high, (5) £200-300

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61. A Pilkington’s Royal Lancastrian bowl by Gladys Rogers, shallow form with inverted rim, painted to the well with radiating arched lines in golden lustre on a red lustre ground, the exterior mottled red and gold lustre impressed mark, painted artist cipher, 26.5cm. diam. £300-500

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62. Sola Nobilitas Virtus a Pilkington’s Royal Lancastrian wall plate by William S Mycock, dated 1928, shape no,3218, painted to the well with a heraldic Knight’s helmet and scrolling foliage and Latin inscription (virtue alone is true nobility) to the rim in gilt lustre on a red ground, the reverse with scroll border on lime-green ground impressed and painted marks, painted artist cipher and date mark, 29cm. diam. £300-500 Provenance The Bill Coles Collection British Art Pottery, Woolley and Wallis Auctioneer’s, 30th November 2011 lot 169 Private collection.

63. A Pilkington’s Lancastrian solifeur vase by Richard Joyce, dated 1919, painted with birds flying between boughs of berried laurel, in golden and ruby lustre on a mottled blue and green lustre ground, impressed factory mark, painted artist cipher and date mark, hairline to body, 19cm. high £400-600

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64. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1910, shouldered cylindrical form, painted with a broad band of vine with bunches of grapes, glazed gold and ruby lustre on a lime green ground, impressed marks, painted artist cipher and date mark, stress hairline to body, 20cm. high £400-600

65. An early Pilkington’s Lancastrian vase, footed, shouldered cylindrical form with shallow flutes, covered in a translucent green glaze with turquoise drips to the foot, printed Bee mark, 23.5cm. high £200-300

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66. ‘Johnson Bros Hanley Ltd’ an advertising plate, printed in black with factory vignettes, the interior with a printed portrait of Queen Victoria, inscribed Diamond Jubilee June 22nd 1897, in colours 25.5cm. diam. £120-180 Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 67. A rare Sherwin & Cotton tubelined tile designed by George Cartlidge, decorated with a windmill, in colours, two other tubelined tiles with single flower stem designs, four various Daffodil tiles designed by George Cartlidge, two colour variations of Spring, a Stag tile, two other tiles and two teapot stands decorated with figures, all designed by George Cartlidge, impressed marks and GC monogram, (15) £150-200 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, Private Press, page 16 for the 3 tubelined tiles (3638) and two of the Daffodil tiles (40 and 43) illustrated.

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Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 68. A collection of eighteen original lead moulds for the portrait tiles, including Abraham Lincoln, Thomas Hardy, Jesus Christ, the Madonna and Child, 23 x 15cm (Hardy), (18) £150-200 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, Private Press, page 78 for Abraham Lincoln (205) and Thomas Hardy (203) illustrated

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Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 69. ‘Queen Victoria’ a Sherwin & Cotton portrait tile by George Cartlidge, in sepia tones, a Sherwin & Cotton portrait tile of Lady Hamilton as Miranda, Uncle Joe and two J H Barratt portrait tiles of President Woodrow Wilson, General Foch by George Cartlidge, impressed marks, GC monogram 23 x 15cm (6) £150-200

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Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, Private Press, page 52 this design of Queen Victoria commemorating her Diamond Jubilee in 1897 illustrated. Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 70. A rare set of four Sherwin & Cotton Maori tiles designed by George Cartlidge, each with sepia portrait, comprising Bella, Sophia, Turai Netana and Matene Te Nga, impressed factory marks, GC monogram to front 23 x 15cm. (5) £600-1,000 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, Private Press, page 54 catalogue numbers 118-121. Provenance The Morrisware collection of Tony Johnson

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This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson.

69

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71. A Hancock & Sons Morrisware bowl designed by George Cartlidge, model no.C71-1, painted with geometric flower and foliage panels in blue, green and yellow on a purple ground, and another similar model no. C69-1, printed factory marks, painted facsimile signature, 26.5cm. diam. (3) £200-300

73

Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, Private Press, page 110 catalogue number 291 these actual bowls illustrated Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 72. A Hancock & Sons Morrisware bowl designed by Frank Abrahams, C83-25, octagonal section, tubelined to the interior with an exotic bird, in colours on a purple ground printed factory mark, painted facsimile signature and C83 mark, hairline to top rim, 22.5cm. diam. (2) £200-300 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, Private Press, page 115 for a comparable bowl illustrated. Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 73. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no.C17-2, cylindrical form with knopped neck, tubeline decorated with spiky flowers in purple, dark blue and green printed factory mark, painted facsimile signature and C17-2 mark, restored 30cm. high, (2) £200-300

74

Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 74. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no. C2727, waisted cylindrical form with everted rim, tubeline decorated with rhododendron flowers in shades of purple, green and red on a blue ground, printed factory mark, painted facsimile signature and C27-27 mark, 31.5cm. high (2) £400-600 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, Private Press, page 100 plate 268 this design illustrated. Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 75. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no. C99-1, cylindrical foot with swollen neck, painted in shades of purple, pink, red, green and sand printed factory mark, painted C99-1 mark, 28cm. high, (2) £300-500 Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson.

75

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DOULTON WARE

76. A tall Art Nouveau Royal Doulton stoneware vase by Eliza Simmance, made for the Art Union of London, shouldered form with waisted, flaring neck, incised, moulded and applied with scrolling foliage panels and flowers in shades of blue, green and brown, highlighted in white on a blue ground, impressed factory mark, incised monogram, 41cm. high £150-200

77 76

77. A Doulton Lambeth stoneware jug by Elizabeth Atkins, dated 1878, ovoid with collar rim and strap handle, applied and incised with florets, in shades of green, blue and brown, impressed marks, incised EA monogram, 17.5cm. high £120-180

78. A Doulton Lambeth stoneware vase by George Tinworth, slender, shouldered form, incised with a band of scrolling foliage and applied florets, in shades of blue and cream on a pale brown ground with slip foliate repeat impressed factory mark, incised monogram to side of vase, professional restoration to foot rim, 32cm. high £150-200

78

79

79. A Doulton Lambeth stoneware vase by Emma Martin and L E Edwards at the Lambeth School of Art, dated 1878, shouldered form with knopped cylindrical neck, incised with a band of flowers and scrolling foliage in blue and white on a buff ground slip decorated in white with foliage, between geometric bands, impressed factory mark and incised artist mark and inscription, 36cm. high £200-300

80. A Doulton Lambeth stoneware biscuit barrel with electroplated fittings and cover, dated 1886, cylindrical form, incised with medieval couple portrait roundels on stippled ground, inside scrolling foliage, glazed green, blue and ochre, highlighted in white on a buff ground, impressed factory marks, incised artists monograms, 18.5cm. high £250-350

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82

83

81. An Art Nouveau Royal Doulton stoneware vase by Frank Butler, swollen baluster form, tubeline decorated with panels of scrolling flowers and foliage in blue, ochre and green impressed factory mark, incised artist monogram, 24cm. high £150-200

82. A Royal Doulton stoneware vase by Hannah Barlow and Eliza Simmance, slender, shouldered form with swollen neck, incised with a sheep fighting a fox, whilst two lambs stand watching in shock, two other foxes running towards the fight, below foliate border, in green, ochre and blue on a buff ground, impressed factory mark, incised artists monograms, 31cm. high £800-1,200

83. A pair of Royal Doulton stoneware vases by Hannah Barlow, slender, shouldered form, each incised with a band of donkeys and goats, between tubelined foliate borders, in shades of ochre, green and brown, highlighted in white impressed factory mark, incised artists monograms, 33.5cm. high, (2) £500-1,000

84. A tall Doulton Lambeth ‘Harvest’ jug by Mark V Marshall, ovoid body with tall cylindrical neck and scroll handle, modelled in relief with scrolling foliage with a bird perched and feeding, at the base of the handle a small mouse hiding and looking out, glazed yellow, green and turquoise on a brown ground, impressed marks, glaze loss to high points, professional restoration, 49cm. high £800-1,200

84

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85. An Art Nouveau Royal Doulton Keramet stoneware vase designed by Francis Pope, shouldered form, modelled in relief with a sea maiden rising from turbulent waters, with a large scaly fish swimming, covered in a golden brown glaze, impressed factory marks, chips, 26cm. high £120-150 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 172 for two comparable examples illustrated. 86. A Royal Doulton stoneware Maori jardiniere, swollen cylindrical form modelled in low relief with a band of Maori mask and tiki, interspaced with Kia Ora panels, glazed in shades of blue, brown and green unsigned, 18.5cm. high £150-250

85

87. A Royal Doulton stoneware model of a bird designed by Harry Simeon, model 538, perched on a rounded base, glazed in colours impressed factory marks, incised HS monogram, 15cm. high £400-600

86

Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares Richard Dennis, page 260 for a comparable bird illustrated as a bibelot. 88. A Doulton Lambeth stoneware model of a Carpenter’s bag, modelled filled with plane, a saw and some rope, a wooden mallet and screwdriver resting to the side on the oval base, glazed brown on a buff ground, impressed factory marks, 12cm. wide £200-300

88

89. A Royal Doulton stoneware model of a duck designed by Harry Simeon, model no 539, resting on an oval base, painted in colours impressed factory marks, incised HS monogram, professional restoration, 17cm. wide. £400-600

87

Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 224 for a comparable example illustrated. 90. A Doulton Lambeth stoneware rabbit bibelot designed by Harry Simeon & Vera Huggins, the circular base modelled with a rabbit seated on haunches eating, glazed in colours impressed factory marks, 10cm. wide. £150-200 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 260 for a comparable example illustrated.

89

91. A Royal Doulton stoneware baby inkwell, originally designed to support the Suffrage Movement, modelled as a baby in green dress with white pinafore and sleeves, impressed £600-800 factory marks, 8.5cm. high Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 257 for the Votes for Women example illustrated.

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92

93

92. A tall Art Nouveau Royal Doulton vase by Frank Butler and Bessie Newberry, swollen, slender baluster form, modelled in low relief with stylised floral cartouche, in shades of blue and green on a golden brown ground, impressed factory mark, incised monograms, 36cm. high £300-500

93. A rare Doulton Lambeth Silicon Ware reticulated vase by Eliza Simmance, baluster form, carved and painted with panels of white lily flowers and stylised flowerhead panels, impressed marks, incised artist monogram. 39cm. high £300-400

94. A pair of Art Nouveau Royal Doulton stoneware vases by Mark V Marshall, shouldered form, tubeline decorated with stylised flower stems in shades of blue, green and ochre on a blue ground, impressed £300-500 factory mark, incised artist monogram, 27.5cm. high (2)

95

95. A pair of Art Nouveau Royal Doulton stoneware vases by Joan Honey, shouldered baluster form with everted top rim, tubeline decorated with a band of berried foliage, in shades of blue, purple, pink and green on a mottled and graduated green to blue ground, impressed factory mark, incised artist marks, 36cm. high (2) £300-500

96. A rare Doulton Burslem Dragon dish attributed to Mark V Marshall, the foliate bowl with uprising branch supporting a climbing ferocious dragon, glazed white printed Doulton Burslem mark, minor losses, 24cm. high £120-180

96

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ADMIRAL LORD NELSON 97. A Royal Doulton stoneware commemorative Admiral Lord Nelson jug, flaring conical form, modelled in low relief with a portrait panel flanked with two sailing ships, in colours on a blue ground impressed factory marks, 4cm. high £120-180 98. A Royal Doulton stoneware commemorative Admiral Lord Nelson beaker, flaring conical form, modelled in low relief with a portrait panel flanked with two sailing ships, in colours on a blue ground, impressed mark to base, 4.5cm. high £120-180

97

98

99. A Royal Doulton stoneware commemorative Admiral Lord Nelson candlestick, modelled as his hat and laurel wreath resting a blue cushion, the rope lined plinth inscribed Nelson 1758-1805, in colours impressed factory marks, professional restoration, 10cm. high £120-180 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 279 for a comparable example illustrated. 100. A Royal Doulton stoneware commemorative Admiral Lord Nelson teapot and cover, with rope handle, modelled in low relief with a portrait of Lord Nelson, the reverse with Victory at full sail, inside rope borders, the rim inscribed England Expects Every Man Will Do HIs Duty, in colours impressed factory marks, £120-180 tiny glaze frit to base rim, 13cm. high, (2) Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 279 this teapot design illustrated as part of the Centenary of the Battle of Trafalgar range 1905. 101. A Royal Doulton stoneware commemorative Admiral Lord Nelson tobacco jar and cover, modelled in low relief with portrait plaque, Victory sailing ship plaque and quotation plaque inside rope borders, in colours impressed factory marks, small flat chip to inside of cover, 12cm. high (2) £120-180

99

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102. A Royal Doulton stoneware commemorative Admiral Lord Nelson jug, swollen cylindrical form with applied rope handle, modelled in low relief with portrait panel flanked with sailing ships, with inscription England Expects Every Man Will do his Duty, in colours on a blue ground impressed marks, 20.5cm. high £120-180 103. A Royal Doulton stoneware commemorative Admiral Lord Nelson jug, swollen cylindrical form with applied rope handle, modelled in low relief with portrait panel flanked with sailing ships, with inscription England Expects Every Man Will do his Duty, in colours on a blue ground impressed marks, 20.5cm. high £120-180 104. ‘Nelson & His Captains’ a Royal Doulton stoneware commemorative Admiral Lord Nelson jug, cylindrical form with applied strap handle, printed with Admiral Nelson portrait roundel flanked with four smaller portrait roundels and two sailing ship panels, in black between two blue bands, impressed factory marks, 21cm. high £120-180 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 279 for an example illustrated.

102

103

105. ‘Admiral Nelson’ a Royal Doulton Dewar’s Whiskey flask, modelled in low relief to one side with a portrait before his fleet in colours on a brown ground, the reverse inscribed Dewar’s, printed factory £120-180 mark to base, 20cm. high 106. A Royal Doulton stoneware commemorative Admiral Lord Nelson tyg, decorated by Bessie Newberry, with two applied rope handles, modelled in low relief with portrait roundel, the reverse with plaque England Expects Every Man Will Do His Duty, incised rope borders, in colours impressed £120-180 factory marks, 14cm. high

104

106 both sides

105

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107. An Aesthetic Movement Doulton Burslem tile, printed and painted with two finches perched on an autumnal tree bough, in colours on a foliate ground, impressed marks, minor glaze chips, 20.5cm. square £150-200

107

108

108. A rare Aesthetic Movement Doulton Burslem plate clock, with cast gilt metal mounts and easel back, the plate with fluted rim, printed and painted in colours and gilt with blossom sprays, on a pale yellow ground, the back with printed millefiori blossom gilt design, the circular dial with gothic scrolled numerals, stamped Doulton Burslem mark, the dial marked Bryson & Sons £150-200 Edinburgh, 27cm. high

109. A Royal Doulton flambe model of a seated fox, covered in a rich blue glaze, printed factory marks, professional restoration to base, 17cm. high £200-300

109

110

110. A Royal Doulton stoneware Polar bear centrepiece by Vera Huggins, modelled as an icecap, with two polar bears sitting on the rim, glazed cream impressed factory mark, incised Vera Huggins signature, 24cm. wide. £200-300

111. A Royal Doulton Chinese Dragon flambe bowl, modelled in low relief with two ferocious beasts amidst cloud motif, in colours on a rich flambe ground, printed factory mark, and not for sale mark, 25cm. diam. £200-300

111

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112. A Royal Doulton Dragon flambe vase by William G Hodgkinson, shouldered form with everted rim, enamelled with a ferocious dragon flying amidst clouds, in turquoise and blue on a flambe red ground, highlighted in gilt, printed Doulton mark, 23cm. high £800-1,200

113. A Royal Doulton Sung vase designed by Charles Noke, slender, ovoid form with everted rim, painted with fish swimming, in pale blue, and turquoise with splashes, on a flambe red ground printed and painted marks, signed Noke and FM monogram, 15cm. high £150-200

112

113

114. A large Royal Doulton Sung vase by Charles Noke, swollen, shouldered form with collar rim, painted with prunus blossom in blue under a rich flambe glaze printed factory mark, painted Sung and Noke signature, 33cm. high £1,800-2,200

115. A pair of Royal Doulton Chang ashtrays with silver mounts designed by Charles Noke, by Harry Nixon, circular, shouldered form, the shoulder with running thick crackled white glaze splashed with green, yellow and turquoise, over a flambe red ground, painted Royal Doulton mark, Noke facsimile signature HN monogram and one mount hallmarked C B & S London 1928, the other without hallmarks, one professionally restored, 9cm. wide, (2) £800-1,200

114

115

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MOORCROFT 116. ‘Poppy Panel’ a James Macintyre & Co miniature vase designed by William Moorcroft, ovoid with twin-loop handles, painted in shades of blue, green and yellow on a white ground, printed factory marks, 6.5cm. high £300-500 117. ‘Floral Spray’ a James Macintyre & Co miniature vase designed by William Moorcroft, painted in colours on a celadon ground, printed factory mark, painted green signature, 8cm. high £400-600

116

117

118. A James Macintyre & Co vesta designed by William Moorcroft, footed ovoid form, tubeline decorated with simple flower stem design with Art Nouveau scrolling foliage, in shades of red and blue on a textured celadon ground, painted green WM signature, professional restoration to foot rim, 7cm. high £80-120 Provenance A private collection of Moorcroft Pottery 119. ‘Cornflower’ a James Macintyre & Co vesta designed by William Moorcroft, painted in shades of red and green on a sand ground, and another Macintyre vesta designed by William Moorcroft printed factory marks, first signed in £200-300 green, 6cm. high, (2)

119

118

120. A James Macintyre & Co Washington Faience stilton dish and cover, the domed cover set with modelled mouse finial, and decorated in low relief in white with mice running along a fruiting bough, on a celadon ground, printed factory mark, small chip to rim and ear, 16cm. high £150-250 121. ‘Poppies’ a James Macintyre & Co Gesso Faience jug designed by William Moorcroft, waisted, cylindrical form, painted with a band of flowers and foliage between scrolling bands, in shades of sand yellow, blue and green on a cream ground, with electroplated lid, a James Macintyre Gesso Faience teapot and cover decorated with pink and green foliage, a Gesso Faience jug with metal cover and a Washington Faience jug with metal cover, and a book on James Macintyre Pottery by Julie Cufflin, printed factory marks, chip to top rim of teapot, 17cm. high (9) £120-180

120

122. A James Macintyre & Co tea set probably designed by William Moorcroft, tubeline decorated with swags of blue flowers, in blue and green above a celadon band on cream, comprising teapot and cover, milk-jug and sugar basin, printed factory mark, 10cm. high (teapot), (4) £150-250

122

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123. ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, dated 1913, flaring urn shape on shallow foot, painted in shades of yellow, purple and green on a white ground, painted green signature and date, repaired rim, crazed ground, 22.5cm. high £800-1,200

124

124. ‘Harebell’ a James Macintyre & Co vase designed by William Moorcroft, compressed body with tall cylindrical neck and everted, fluted rim, painted in shades of blue and green on a white ground, painted green signature, professional restoration to top rim, 24.5cm. high £500-900 Provenance A private collection of Moorcroft Pottery

125. ‘Pansy’ a James Macintyre & Co twin-handled vase designed by William Moorcroft, waisted cylindrical form with loop handles, tubeline decorated with pansy flowers in shades of yellow, purple, pink and green on a white ground, printed factory mark, painted green signature, professional restoration to base rim, 20cm. high £600-1,000 Provenance A private collection of Moorcroft Pottery

125

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126. A James Macintyre & Co Florian Ware baluster vase designed by William Moorcroft, painted with trailing flowers and foliage in blue on a pale blue ground, printed factory mark, painted green signature, tiny glaze nick to top rim, 11cm. high £250-300 Provenance A private collection of Moorcroft Pottery 127. ‘Daisy’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, shouldered form with four applied handles, tubeline decorated with daisy flower sprays in blue on a pale blue ground printed factory mark, painted green signature, professional restoration, 12cm. high £400-600

126

127

Provenance A private collection of Moorcroft Pottery 128. A James Macintyre & Co Florian Ware vase designed by William Moorcroft, pattern M.709, tapering cylindrical form, tubeline decorated with poppy stems panels and fleur de lys motif, in blue on a pale blue ground, printed factory mark, incised monogram, 26cm. high £300-500 Provenance A private collection of Moorcroft Pottery 129. ‘Peacock Feather’ a James Macintyre & Co Florian Ware ewer designed by William Moorcroft, tapering cylindrical form, tubeline decorated with panels in blue on a pale blue ground, printed factory mark, painted green signature, small bruise to top rim, 20cm. high £200-300 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 40 for this design illustrated.

128 129

130. ‘Peacock Feathers’ a James Macintyre & Co Florian Ware twin-handled vase designed by William Moorcroft, painted in shades of yellow, blue and green on a white ground printed factory mark, painted green signature, professional restoration to top rim, £300-400 12.5cm. high Provenance A private collection of Moorcroft Pottery 131. ‘Peacock Feathers’ a Moorcroft Pottery sugar basin designed by William Moorcroft, twin-handled form, painted with Art Nouveau peacock feathers in blue and green on a celadon ground, painted green signature, 7.5cm. high £150-250

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130

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132

133

134

132. ‘Green and Gold Florian Ware’ a James Macintyre & Co vase designed by William Moorcroft, slender, shouldered form with everted rim, tubeline decorated in blue on a celadon green ground, highlighted in gilt, printed factory mark, painted green signature, 24.5cm. high £300-500 133. ‘Violets’ a Moorcroft Pottery vase designed by William Moorcroft, waisted cylindrical form with fluted rim, painted in shades of green and blue on a celadon ground, painted green signature, small underglaze chip to top rim, 25cm. high £400-600 134. ‘Violets’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, waisted cylindrical form with everted, fluted rim, glazed in shades of blue on a pale blue ground impressed factory mark, painted green signature, 19.5cm. high £300-500 135. ‘Lilac’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, waisted cylindrical form with swollen neck, glazed in shades of blue on a pale blue ground, with flambe highlights, printed factory mark, painted green signature, 26cm. high £500-800

135

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136. ‘Blue Poppy’ a James Macintyre & Co Florian Ware twin-handled vase designed by William Moorcroft, painted in shades of blue and green on a white ground, printed factory mark, painted green signature, small chip to outside of top rim, 25cm. high £400-600

137. ‘Blue Poppy’ a James Macintyre & Co Florian Ware ewer designed by William Moorcroft, tapering cylindrical form, tubeline decorated with flower stems in blue and green on a white ground, printed factory mark, painted green signature, 22.5cm. high £400-600 Provenance A private collection of Moorcroft Pottery

136

137 138. ‘Blue Poppy’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, painted in shades of blue and green on a white ground, printed factory mark, painted green signature, restored neck, 13.5cm. high £150-200

139. ‘Anemone’ a James Macintyre & Co tobacco jar and cover designed by William Moorcroft, compressed form with screw cover, tubeline decorated with panels of flower stems in red, purple and green on a sand ground, printed factory mark, cover repaired, 10cm. high, 14.5cm. wide. £250-350

138

139 140. ‘Lilac’ a James Macintyre & Co coupe and cover designed by William Moorcroft, painted with Art Nouveau panels in yellow, green and blue, highlighted in gilt on a white ground, printed factory mark, painted green signature, 22cm. high £700-1,000

141. ‘Floral Spray’ a James Macintyre & Co coupe and cover designed by William Moorcroft, retailed by F & T Ross Ltd, Hull, the slender cylindrical stem supporting twinhandled bowl and flat cover, painted in colours on a pale celadon ground, highlighted in gilt, printed factory marks, painted green signature, professional £300-500 restoration to cover, 22cm. high Provenance A private collection of Moorcroft Pottery

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140

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142

143 142. ‘Revived Cornflower’ a Moorcroft Pottery bowl designed by William Moorcroft, circular section with tapering shoulder, painted in shades of purple and green on a white ground, painted green signature, 19.5cm. diam. £500-800 Provenance A private collection of Moorcroft Pottery

144

143. ‘Revived Cornflower’ a James Macintyre & Co solifleur vase designed by William Moorcroft, painted with flower panels in blue and green on a white ground, printed factory mark, painted green signature, £250-350 hairline to top rim, 20.5cm. high

144. ‘Revived Cornflower’ a pair of James Macintyre & Co Florian Ware bottle vases designed by William Moorcroft, ovoid with swollen, slender cylindrical neck, painted in shades of yellow, blue and green on a white ground, printed Factory mark, painted green signature, paper collection label 16.5cm. high, (2) £800-1,200 Provenance The Albert Wade Collection, Sotheby’s 2002. A private collection of Moorcroft Pottery

145. ‘Revived Cornflower’ a large James Macintyre & Co vase designed by William Moorcroft, ovoid with swollen, slender cylindrical neck, painted in shades of red, ochre and blue on a streaked green ground, printed factory mark, facsimile green signature, 30cm. high £1,500-2,000 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 74 for a comparable example illustrated, Provenance A private collection of Moorcroft Pottery

145

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146. ‘Wisteria’ a rare Moorcroft Pottery sifter and cover designed by William Moorcroft, painted in shades of purple, mauve and green on a white ground, painted signature and 1913, professional restoration to top rim and cover, 16.5cm. high £800-1,200 Provenance A private collection of Moorcroft Pottery

147. ‘Persian’ a Moorcroft Pottery vase designed by William Moorcroft, tapering cylindrical form with applied twin-handles, painted in shades of blue, pink, purple and green on a white ground, between green bands impressed marks, painted green signature, one handle re-stuck, minor bruise to top rim, 20.5cm. high £500-1,000 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 87 for examples in this pattern illustrated. Provenance The Harrimann Judd Collection, Sotheby’s (online) A private collection of Moorcroft Pottery

146 148. ‘Persian’ a Moorcroft Pottery twin-handled pedestal dish designed by William Moorcroft, tubeline decorated in shades of purple, pink and green on a white ground, impressed marks, painted green signature, professional restoration to one handle, 15cm. high, 29cm. wide £400-600 Provenance A private collection of Moorcroft Pottery

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149. ‘Alhambra’ a James Macintyre & Co vase designed by William Moorcroft, M2376, slightly waisted cylindrical form with twin-handles to shoulder, tubeline decorated with flower panels in red and blue, highlighted in gilt on a salmon pink and blue ground, printed factory mark, painted model number, 23.5cm. high £500-800 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 53 plate 3 for examples of this pattern illustrated. Provenance A private collection of Moorcroft Pottery

149

150. ‘Hazledene’ a good Moorcroft Pottery vase designed by William Moorcroft made for Liberty & Co, gently tapering cylindrical form, shouldered with flaring neck, tubeline decorated with tall trees in a landscape, in shades of blue and green highlighted in yellow on a celadon green ground, printed factory mark, painted green signature, small bruise and minor glaze loss to foot rim, 30cm. high £4,000-6,000 Literature Paul Atterbury Moorcroft, Richard Dennis Publications, page 57 plate 4 this actual vase illustrated. Provenance Albert E Wade Collection, Sotheby’s 2002 A private collection of Moorcroft Pottery

150

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151

152

154

153

151. ‘Flamminian Ware’ a Moorcroft Pottery ginger-jar designed by William Moorcroft and retailed by Liberty & Co, shouldered form with incised foliate roundel glazed red on a rich red ground, a Moorcroft Powder Blue teapot and cover, milk jug and hot-water pot and cover designed for Liberty & Co, a James Macintyre Aurelian Ware jar with electroplated mount and cover designed by William Moorcroft, and a Moorcroft studio vase incised signature and printed £120-180 Liberty mark to Flamminian pot, 11cm. high (9)

152. ‘Waving Corn’ a Moorcroft Pottery bottle vase designed by William Moorcroft, ovoid with cylindrical neck, tubeline decorated on a cream ground, impressed marks, painted signature, 23cm. high £120-180

155

153. ‘Yacht’ a Moorcroft Pottery vase designed by William Moorcroft, baluster form, tubeline decorated in shades of green and blue, impressed factory marks, painted blue signature, 24.5cm. high £300-500 Literature Paul Atterbury William Moorcroft, Richard Dennis Publications, page 123 figure 4 for variations of this design dated 1934 to 1938.

154. ‘Peacock Feather’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with collar rim, tubeline decorated in green on a mottled cream and green matt ground, impressed factory marks £150-250 painted green signature, 9cm. high

155. ‘Banded Honesty’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in shades of blue, green and cream on a pale blue ground, impressed marks, underglaze chips to top rim, 10cm. high £300-500

156. ‘Floral Spray’ a James Macintyre & Co jardiniere designed by William Moorcroft, footed form with applied twin-handles, 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 £400-600

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157. ‘Late Florian’ a pair of Moorcroft Pottery solifleur vases designed by William Moorcroft, painted in shades of blue, green and yellow on a celadon green ground, painted green signature, professional restoration to top rims, 9.5cm. high, (2) £300-500 Provenance A private collection of Moorcroft Pottery 158. ‘Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in shades of green, blue and yellow, on a celadon ground, impressed factory marks, 8.5cm. high £120-180 Provenance A private collection of Moorcroft Pottery 159. ‘Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered ovoid form with waisted neck, painted in shades of green and blue on a celadon ground, impressed factory marks, painted blue signature, 8.5cm. high £120-180 Provenance A private collection of Moorcroft Pottery

157

160. ‘Spanish’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with small cylindrical neck, painted in shades of red, purple, ochre and blue on a blue and green ground, painted green signature, minor professional restoration to top rim, 8cm. high £250-300 Provenance A private collection of Moorcroft Pottery 161. ‘Spanish’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with collar rim, painted in shades of pink, purple ochre and green on a mottled green ground, painted green signature, 6.5cm. high £250-300 Provenance A private collection of Moorcroft Pottery

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163

162. ‘Pomegranate’ a near pair of Moorcroft Pottery vases designed by William Moorcroft, painted in shades of purple, pink and blue on a mottled green and blue ground, and another Moorcroft ‘Pomegranate’ pattern vase impressed factory marks, chip to top rim of one vase, solifleur vase restored, 9cm. high, (3) £200-300

163. ‘Pomegranate’ two Moorcroft pottery salt pots designed by William Moorcroft, tapering cylindrical form with applied silver mounts, painted in shades of pink, purple and ochre on a blue ground, impressed factory marks, hallmarks Birmingham 1922 and Sheffield 1923, 7.5cm. high (2) £120-180 Provenance A private collection of Moorcroft Pottery

164. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft retailed by Liberty, slender, shouldered form, painted in shades of red, purple, green and ochre on a streaked green and ochre ground, painted green signature, printed Liberty mark, 21.5cm. high £1,500-2,500 Provenance A private collection of Moorcroft Pottery

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165. ‘Claremont’ a Moorcroft Pottery jardiniere designed by William Moorcroft, ovoid with everted rim, painted in shades of yellow, red and purple on a green ground, painted green signature and date, stress hairline to base and foot rim, 18cm. high £1,500-2,000

166. ‘Claremont’ a Moorcroft Pottery jardiniere designed by William Moorcroft, ovoid with everted rim, painted in shades of red, purple and yellow on a mottled green ground, impressed marks, painted green signature, star-crack to base, 12.5cm. high £600-800

166

167. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with everted top rim, painted in shades of red, purple and yellow on a green ground, impressed factory marks, 9cm. high £400-600

167

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168. ‘Pansy’ a Moorcroft Pottery bowl designed by William Moorcroft, with electroplated rim, painted in shades of purple, blue and green impressed marks, painted green signature, 21cm. diam. £200-300

168

169. ‘Pansy’ a rare Moorcroft Pottery stone designed by William Moorcroft, oval, painted in shades of purple and yellow, painted green signature, 5cm. wide. £120-180 Catalogue notes These stones were manufactured to be mounted as jewellery (brooches) or to adorn boxes.

170. ‘Wisteria’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in shades of purple, pink, yellow and green on a blue ground, impressed factory marks, painted blue signature, 19cm. high £200-300

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170

171. ‘Wisteria’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered ovoid form, painted in shades of yellow, green, purple and pink on a blue ground, and another Moorcroft Pottery Wisteria pattern vase, impressed factory marks, 7 and 8.5cm. high, (2) £150-200 Provenance A private collection of Moorcroft Pottery 172. ‘Wisteria’ a Moorcroft Pottery sugar basin designed by William Moorcroft, painted in shades of purple, yellow, green and blue impressed marks, restored, 7cm. high £120-180

173. ‘Freesia’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid form with everted top rim, painted in colours on a green ground, impressed marks, painted green signature, original paper label, 24cm. high £250-300

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174. ‘Big Poppy’ a Moorcroft Pottery bowl designed by William Moorcroft, footed, circular form with inverted rim, tubelined decorated in red, ochre and green on a blue ground, impressed marks, painted blue signature, stress hairline to underside of foot, 21cm. diam. £300-500

175. ‘Big Poppy’ a Moorcroft Pottery footed bowl designed by William Moorcroft, painted in shades of blue, red, purple, green and ochre on a streaked green and blue ground, impressed marks, painted blue signature and paper label, 24cm. diam, 16.5cm. high £1,000-1,500 Provenance A private collection of Moorcroft Pottery

175 two views

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177

176. ‘Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, footed cylindrical form, painted in colours on a graduated green to blue ground, and a Moorcroft Pottery ‘African Lily’ ashtray impressed marks, 11cm. high, (2) £120-180 177. ‘Hibiscus’ a Moorcroft Pottery footed vase, painted in colours on a graduated green to blue ground, a Moorcroft ‘Anemone pattern milk-jug and sugar basin, and a ‘Clematis’ £120-180 vase original paper label, 9.5cm. high (4) 178. ‘Flambe Leaf and Blackberry’ a Moorcroft Pottery plate designed by William Moorcroft, painted in colours under a rich flambe glaze painted blue signature, 22cm. diam. £300-400

178

179. A Moorcroft Pottery flambe vase, compressed body with waisted cylindrical neck, covered in a mottled red and purple flambe glaze, another similar and a larger flambe vase impressed marks, 26cm. high, (3) £150-250 180. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with collar rim, painted in shades of blue, red and purple on a sand graduating to blue ground impressed factory marks, 7.5cm. high £200-300 Provenance A private collection of Moorcroft Pottery 181. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery plate designed by William Moorcroft, painted in matt blue, purple, green and cream on a white ground, and a Moorcroft Pottery ‘Leaf and Blackberry’ pattern bowl, impressed marks, painted blue signature, bowl professionally restored to rim, 22cm. diam. (plate), (2) £150-250

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182. ‘Moonlit Blue’ a Moorcroft Pottery dish designed by William Moorcroft, circular with inverted rim, painted in shades of blue and green on a deep blue ground, impressed factory marks, 11cm. diam. £150-200

183. ‘Eventide’ a Moorcroft Pottery jar with pewter mount and cover designed by William Moorcroft, painted in shades of ochre, red, blue and green impressed marks, painted blue signature, hairline crack from top rim, 19.5cm. high (2) £400-600

184. ‘Dawn’ a tall Moorcroft Pottery vase designed by William Moorcroft, painted with a landscape band between chevron borders, in matt shades of blue and cream with flambe highlights, impressed marks, painted blue signature, stress crack to base, 37cm. high £1,000-1,500

184

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185. ‘Flambe Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with cylindrical neck and everted rim, painted in colours under a rich flambe red glaze impressed factory marks, painted blue signature, restored to base rim, 26.5cm. high £350-450 186. ‘Leaf and Blackberry’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with waisted cylindrical neck, painted in colours on a tan ground, impressed factory mark, painted signature. 26.5cm. high £350-450 187. ‘Frilled Orchid’ a Moorcroft Pottery lamp base designed by William Moorcroft, painted in colours on a blue ground, on wooden base, with pink shade, marks concealed, 34cm. high £150-200 188. ‘Hibiscus’ a Moorcroft Pottery footed vase designed by Walter Moorcroft, painted in colours on a green ground, and another painted on a yellow ground impressed marks, painted signature, 12.5cm. high, (2) £120-180

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189. ‘Florian Peony’ a modern Moorcroft Pottery vase, compressed form, painted in shades of blue on a pale blue ground, impressed marks, painted marks, 16cm. high £120-180

186

190. ‘HMS Sirius’ a modern Moorcroft Pottery limited edition wall charger designed by Sally Tuffin, painted in colours on a cream ground, and another Moorcroft ‘Finches’ charger impressed marks, painted number and WM monogram, 35cm. diam. (2) £150-250 Catalogue notes The H.M.S Sirius range was created to celebrate the Australian Bi-centenary in 1988. The charger was produced in a limited edition of 150.

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191. ‘After The Storm’ a Moorcroft Pottery limited edition vase designed by Walter Moorcroft, dated 2000, painted in colours impressed and painted marks, original paper certificate £1,500-2,000 Catalogue notes This vase was produced in a limited edition of 200 pieces.

192. ‘Tree Bark Thief’ a Moorcroft Pottery limited edition jardiniere and stand designed by Rachel Bishop, dated 1998, painted in colours on a yellow ground, and wooden stand, impressed marks, painted signature and number, original paper certificate, 85cm. high (3) £3,000-5,000 Catalogue notes This jardiniere was produced in a limited edition of 50 pieces.

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DENNIS CHINA WORKS 193. ‘Snowdrops’ a Dennis China Works pot and cover designed by Sally Tuffin, dated 1997, cylindrical form, painted in shades of green and white on a graduated blue ground, and another Dennis Chinaworks ‘Bluebell’ pot and cover, impressed and painted marks, 10.5cm. high (4) £150-200 194. ‘Indian Elephant’ a Dennis China Works pot and cover designed by Sally Tuffin, dated 2004, cylindrical form, the cover with modelled elephant finial, in colours impressed and painted marks 12cm. high (2) £120-180

193 194

195. ‘Carp’ a Dennis China Works vase designed by Sally Tuffin, dated 2003, shouldered cylindrical form, painted in colours impressed and painted marks 31.5cm. high £120-180 196. ‘Beetle Scarab’ a Dennis China Works limited edition Etruscan vase designed by Sally Tuffin, dated 2004, painted in black on a graduated brown to yellow ground, impressed and painted marks, 30cm. high £200-300 197. ‘Cockerel’ a Dennis China Works limited edition Natural Baluster vase designed by Sally Tuffin, dated 2000, painted in colours on a beige ground, impressed and painted marks, 35cm. high £250-300

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198. ‘Hummingbird’ a Dennis China Works limited edition charger designed by Sally Tuffin, dated 2001, tubeline decorated on a graduated green to yellow ground, impressed and painted marks, 36.5cm. diam. £200-300

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199. ‘BBB’ a unique Dennis China Works T Bud vase designed by Sally Tuffin, dated 2018, painted after the tile design by William De Morgan, in shades of green, blue and ochre on a cream ground, impressed and painted marks, WW.15, 32cm. high £700-900 Catalogue notes This vase was designed and made specifically for this auction and is based on the BBB tile design made by William De Morgan for Barnard, Bishop and Barnard the Victorian cast iron manufacturers - who used the tiles for fire surrounds.

199

200. ‘Black Embroidery’ a unique Dennis China Works chalice designed by Sally Tuffin, dated 2018, based on an embroidery held in the Victoria and Albert Museum collection, tubeline decorated in black on a cream ground, impressed and painted marks, WW14, 30cm. high £400-600 Catalogue notes This chalice was designed and made specifically for this auction. 200

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201. ‘Polar Bear’ a Dennis China Works vase designed by Sally Dennis, dated 2003, painted in black on a graduated blue to white ground, impressed and painted marks, 8.5cm. high £120-180

202. ‘Penguin’ a pair of Dennis China Works limited edition stepped candlesticks designed by Sally Tuffin, painted in colours on a cream ground, impressed and painted marks, 21.5cm. high (2) £200-300

201 203. ‘Datura’ a large Dennis China Works vase designed by Sally Tuffin, dated 2004, potted by Rory Mcleod, tubeline decorated on a black ground, impressed and painted marks, no.16, 46cm. high £200-300

202 204. ‘Magnolia’ a Dennis China Works miniature vase designed by Sally Tuffin, dated 2005, glazed in shades of black, green and brown, and another Dennis China Works Magnolia pattern vase, impressed and £120-180 painted marks, 8cm. high (2)

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BERNARD MOORE 205. A Bernard Moore flambe pottery bowl, painted to the well with a stylised bird amongst scrolling foliage in golden lustre on a midnight black ground, the exterior flambe red signed Bernard Moore, 20.5cm. diam. £300-500

206. A Bernard Moore flambe bowl, painted to the well with a heron on a riverbank, inside oriental geometric border with chrysanthemum and prunus roundels, in black on a red flambe ground, signed Bernard Moore and artist monogram, hairline £150-200 to rim, 26cm. diam.

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207. A Bernard Moore flambe gourd vase by Cicery Jackson, painted with a design of berries and spider’s webs in shades of red flambe on a smoked ground, signed Bernard Moore and CJ monogram, 22cm. high £250-350

208. A Bernard Moore flambe baluster vase by Cicery Jackson, decorated with prunus sprays in red flambe on a smoked ground, signed B Moore, CJ monogram, £250-350 20.5cm. high

209. A Bernard Moore flambe vase by Cicery Jackson, compressed form with cylindrical neck, painted with flower stems between chevron bands in red flambe on a smoked ground, with wooden stand, Bernard Moore England, CJ monogram, 25cm. high (2) £300-400

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210. A Wood & Sons Korea three vase garniture designed by Frederick Rhead, comprising a jar and cover and two spill vases, printed in black and white with exotic birds amongst prunus, highlighted in gilt, a similar Wood & Sons Trellis tubelined three vase garniture designed by Frederick Rhead and a large Trellis footed vase printed and painted marks, 24cm. high (9) £150-200

211

Literature Bernard Bumpus Charlotte Rhead Potter & Designer, Kevin Francis Publishing, page 22 figure 8 for an example of Trellis illustrated. 211. A Fulham Pottery flower vase designed by Constance Spry, model FMC1, slender elliptical form with loop handles, the interior glazed, and another smaller impressed marks, 55cm. wide, 18cm. high, (2) £200-300

212

212. An Art Deco Royal Winton Jazz coffee set for six, painted with a geometric foliate design in colours, comprising; coffee pot and cover milk-jug and sugar basin, six cans and saucers £120-180 printed factory marks, 18.5cm. high (coffee pot) Literature Andrew Casey Art Deco Ceramics in Britain, ACC Books, page 218 plate 26.2 for a comparable coffee pot. illustrated 213. ‘Graduated Bands’ a collection of Susie Cooper, including a Kestrel shape teapot and cover, hot-water pot and cover, coffee pot and cover, two milk-jugs a sugar basin, preserve pot and cover and a collection of table ware, a Susie Cooper plate painted with a geometric design, a plate decorated with a leaf and a Gray’s Pottery lustre plate printed marks, 19.5cm. high (coffee pot), (a lot) £150-250

213

214. 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) £150-250

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215. ‘Yellow Block’ a Shelley porcelain Regent tea set designed by Eric Slater, pattern W12128, painted with a geometric motif in yellow, grey and black, comprising, milk-jug and sugar basin, six cups, saucers and side plates and a sandwich plate, printed and painted marks, damages to one cup, 25cm. wide (sandwich plate), (21) £200-300 216. A Foley porcelain coffee set for two designed by Angelica Bell, model V.620, made for the 1934 Art in Industry Exhibition, painted with flowerheads on a spotted ground, in shades of blue, green, red and black on a white ground, comprising coffee pot and cover, milk-jug two cups, saucers and a plate, printed and painted marks, chips to spout of pot, 17.5cm. high (8) £500-1,000 Exhibited Grupa Bloomsbury British Bohemia, The Bloomsbury Circle of Vanessa Bell, International Cultural Centre, Krakow, Poland, 2010.

216

Literature Grupa Bloomsbury British Bohemia, The Bloomsbury Circle of Vanessa Bell, exhibition catalogue, page 169 this actual set illustrated. Angelica Bell, the daughter of Duncan Grant and Vanessa Bell was commissioned to design this coffee set for the 1934 Art in Industry exhibition at the age of just 16. The exhibition featured work by Paul Nash, Laura Knight and her parents, produced by Clarice Cliff at Wilkinson’s Pottery, Foley and also glass by Steven’s & Williams. 217. ‘Pastel Melon’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between green, pink and blue bands, printed factory marks, 14cm. high £300-500

217 both sides

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218. ‘Bell’ a Carlton Ware bowl, printed and painted in colours and gilt on a blue ground, another similar in the Garden pattern and two Handcraft dishes printed and painted marks, small chip to rim of main dish, 25.5cm. wide. (4) £120-180

219. ‘Tutankhamun’ a Carlton Ware bowl designed by Enoch Boulton, printed in gilt and enamelled in colours on a blue lustre ground with ancient Egyptian hieroglyph and motif printed and painted marks, 17.5cm. £150-250 diam.

218

219 two views

220. ‘Paradise Bird and Tree’ a Carlton Ware vase, cylindrical form, printed and painted in colours and gilt on a blue lustre ground, and a pair of Carlton Ware ‘Stork and Bamboo’ vases, pattern no. 2932, printed and painted marks, 15cm. high, (3) £150-250

221. A Carlton Ware Armand Lustre bowl designed by Horace Wain, printed and painted to the interior with butterflies, in colours on a pearl lustre ground, the exterior with gilt butterflies on a blue lustre ground, a pot and cover similar, a Crown Devon bowl decorated with newts and four other items printed factory marks, 15cm. diam. (7) £150-250

222. A Wedgwood Dragon Lustre bowl designed by Daisy Makeig-Jones, the exterior printed in gilt on a green lustre ground, the interior pearl lustre, and another Wedgwood Dragon Lustre bowl printed factory marks, 20cm. diam. (2) £150-250

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223. A Wedgwood Dragon Lustre bowl designed by Daisy Makeig-Jones, printed in gilt with three ferocious dragons, on a claret lustre ground, the interior pearl lustre decorated with butterflies, printed factory marks, wear to exterior lustre 28cm. diam. £150-250

225

224. A Wedgwood lustre bowl, octagonal form, printed and painted in colours and gilt with fish, on a pale blue ground, a Wedgwood Dragon lustre bowl and three other Wedgwood bowls, printed and painted marks, 12cm. diam. (largest), (5) £150-250

225. A Wedgwood Butterfly lustre bowl designed by Daisy Makeig-Jones, printed and painted with exotic butterflies to interior and exterior, the exterior on a pearl lustre ground, and two other graduated Wedgwood Butterfly Lustre octagonal bowls, printed and painted marks, 20cm. diam. (3) £150-250

226. A Wedgwood Dragon Lustre vase and cover designed by Daisy Makeig-Jones, pattern Z4829, printed in gilt on a pale blue streaked lustre ground printed and painted marks, 21.5cm. high, (2) £150-250

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227. ‘Leapfrogging Elves’ a Wedgwood Fairyland Lustre York Cup designed by Daisy Makeig-Jones, printed and painted in colours and gilt, the interior in a pearl lustre, the exterior black lustre printed factory mark, 12cm. diam. £300-500

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POOLE POTTERY 228. An Art Deco Poole Pottery charger designed by Truda Adams, painted by Ann Hatchard, pattern SL, painted with geometric flowers and foliage in colours on a white ground, painted marks, 36cm. diam. £120-180 229. An Art Deco Poole Pottery vase designed by Truda Carter, painted by Winifred Rose, pattern GPA, swollen body, painted with stylised foliage in shades of green, black and grey on a white ground, impressed and painted marks, 15cm. high £100-200

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230. A Poole Pottery Persian Deer vase, originally designed by Truda Adams, painted in colours on a white ground, printed factory marks, firing flaw to base 33cm. high £120-180 231. A Poole Pottery vase by N Blackmore, shape no.85, tapering cylindrical form, painted with Art Deco style flowers and foliage in green, grey and black on a white ground, two Delphis bud vases, an Aegean footed bowl a vase by Alan White and seven plates painted with maps of Brownsea Island and Poole, printed and painted marks, 39.5cm. high (12) £100-150

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232. An Art Deco Poole Pottery vase designed by John Adams, shape no.503, shouldered form, applied with two dove handles, spray-glazed matt ice green and mushroom, and four modern Poole Pottery vases, impressed and printed marks, 25cm. high, (5) £120-180

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233. A Poole Pottery Contemporary jardiniere designed by Alfred Read and Guy Sydenham, pattern HOL, flaring form, painted with columns of helix in shades of mint, blue, purple and grey on a white ground printed and painted marks, 18.5cm. high £120-180

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234. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with a pig and piglet in a yard, in colours, and another Carter Farmyard series four tile panel of a sheep and lamb, impressed marks, painted FY mark, sheep panel repaired, 30.5cm. square (panel), (8) £150-250 Provenance Dewhurst butchers, King’s Road, Fulham

234

235. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with two ducks swimming on a pond, in colours, and another set of four Carter Farmyard Series tiles decorated with two white geese, impressed marks, painted FY mark, repair to one Goose tile, 30.5cm. square (panel), (8) £150-250 Provenance Dewhurst butchers, King’s Road, Fulham Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 169 for the Farmyard Series of individual tiles illustrated.

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236. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with two black and white rabbits grazing, in colours, impressed marks, painted FY mark, 30.5cm. square (panel), (4) £150-250 Provenance Dewhurst butchers, King’s Road, Fulham

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237. A Guy Sydenham salt glaze stoneware bellarmine jug, swollen form with caved mask to neck, the body with stylised foliate and heraldic panels, another similar a cruet set and a Queen’s Silver Jubilee commemorative salt-glaze bottle, impressed marks, 19.5cm. high (5) £120-180 238. A Poole Pottery stoneware Atlantis vase by Alan White, flaring form on narrow foot, the body with combed geometric decoration, partially covered with a salt glaze, and a Poole Pottery Atlantis vase by Alan White, ovoid with solifleur neck, covered in a streaked dark umber and green glaze with flashes of orange, impressed mark and AW stamp, 16cm. high, (2) £100-150

241 239. A Poole Pottery Atlantis vase, model A20.3, tapering cylindrical form, painted with columns in brown on a tan and grey glaze, and three others similar, impressed and incised £120-180 marks, tallest 16.5cm. high (4) 240. A Poole Pottery Atlantis vase by Guy Sydenham, the tapering cylindrical body with broad flaring rim, glazed with a mottled band of yellow on silver-white, the interior glazed mottled orange and yellow impressed Poole mark, incised GS monogram, 19cm. high £120-180

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241. A Poole Pottery Atlantis vase by Jenny Haigh, model A91, tapering cylindrical body with wide flaring rim, incised with geometric panels glazed dark umber on a terracotta ground, another Poole Atlantis vase by Jenny Haigh with carved leaf design and another similar by Alan White impressed and incised marks, 17cm. high, (3) £120-180 242. A Poole Pottery Atlantis vase by Alan White, ribbed ovoid form, covered in a mottled green glazed band over deep umber, two Poole Pottery Atlantis cylinder vases by Jenny Haigh and another Poole Pottery Atlantis vase, impressed and incised marks, 13cm. high (main vase), (4) £120-180

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243. A Poole Pottery Atlantis vase by Jenny Haigh, model A2/3 ovoid with pulled top and offset aperture, painted with ice green design white, another smaller and four other Atlantis vases similar, impressed and incised marks, 13cm. high (6) £120-180 244. A Poole Pottery Atlantis vase by Catherine Connett, ovoid with carved vertical ribs, glazed black on a mottled pale green ground, and two other Poole Pottery Atlantis vases impressed Poole marks, various incised monograms, 12cm. high, (3) £150-200

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245. A Poole Pottery Delphis plate, painted with arc motif in vivid and textured colours, and another similar printed and painted marks, 27cm. diam. (2) £150-200 Provenance Private collection

246

246. A Poole Pottery Studio charger, painted with an abstract geometric design in shades of ochre, blue, green and turquoise, printed Poole Studio England mark, 34cm. diam. £120-180

247. A Poole Pottery Studio charger, painted with abstracted flowerhead design in shades of ochre, green and blue printed Poole Studio England mark, 34cm. diam. £120-180

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248

249

248. A Rye Pottery tin-glazed footed vase, elliptical section, painted with a sgraffito design in pink on a white ground, another similar, a modern Rye Pottery lustre vase by Dennis Townsend and a collection of Rye pottery printed factory marks, 18.5cm. wide (a lot) £120-180 249. Upchurch Pottery a cylindrical pottery vase, with collar rim, covered with a lavender and running purple glaze, another Upchurch Pottery twin-handled vase covered in a streaked pink glaze, and a collection of fifteen Upchurch vases, jugs and bowls impressed and incised marks, 18.5cm. high (17) £150-200 250. A Richard Parkinson Pottery Golfer designed by Susan Parkinson, model no.70, painted in shades of blue-grey impressed marks 39cm. high £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 107 for a comparable example 251. Brigitte Appleby (1926-2000) Farm Landscape, 1964 oil on canvas, framed signed and indistinctly dated lower right, annotated property of Josephine Appleby to reverse 60 x 50cm (image) £150-250

250 both sides

Catalogue notes Brigitte Appleby (Goldschmidt) set up the Briglin Pottery with Eileen Lewenstein in Baker Street, London in 1948. They were both active in the forming of the Craft Potters Association, in 1958. 252. Katherine Lloyd an earthenware vase, dated 1996, swollen cylindrical form, incised and painted in colours with scaly fish swimming amongst waterweed, another similar and two bows by Katherine Lloyd incised and painted with fruit and foliage painted marks, 32cm. high, (4) £150-250

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253. Charles Vyse (1882-1971) a stoneware footed bowl, covered to the foot in a Chun and Lavender glaze incised C Vyse, collection label 18.5cm. diam. £150-250

253

Provenance Charles Vyse Stoneware Pottery, Wilton Gallery, Belgrave Square, London, catalogue number 22 James Haydock, thence by descent. 254. Charles Vyse (1882-1971) a stoneware vase, shouldered form, incised with a band of stylised flowers and foliage, covered to the foot with a celadon glaze incised Charles Vyse, Chelsea, paper exhibition label number 55, 18cm. high £200-300 Provenance Charles Vyse Stoneware Pottery, Wilton Gallery, Belgrave Square, London, catalogue number 55. James Haydock, thence by descent. 255. Charles Vyse (1882-1971) a stoneware vase, dated 1928, shouldered form, covered to the foot with an ash glaze, splashed with tenmoku, incised CV 1928, 10cm. high £150-200 256. Charles Vyse (1882-1971) a stoneware vase, ovoid with collar rim, decorated in resist with stylised flowers in Chun on a celadon ground, and a Charles Vyse stoneware vase covered in a tenmoku graduating to mirrored black glaze, incised Charles Vyse, Chelsea to base, Haydock collection label, (2) £150-200 Literature Charles Vyse Richard Dennis/Fine Art Society, 1974, page 46 catalogue number 84 for a vase with comparable glaze illustrated.

254

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255

Provenance Charles Vyse Stoneware Pottery, Wilton Gallery, Belgrave Square, London James Haydock, thence by descent.

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257. Charles Vyse (1882-1971) a stoneware footed bowl, resist decorated to the interior with a fish swimming past waterweed, the exterior a mottled tenmoku glaze, incised C Vyse Chelsea, collection paper label, 15.5cm. diam. £150-200 Literature Charles Vyse Richard Dennis/Fine Art Society, 1974, page 44 catalogue number 69 for a comparable fish bowl illustrated. Provenance Charles Vyse Stoneware Pottery, Wilton Gallery, Belgrave Square, London James Haydock, thence by descent.

258. Charles Vyse (1882-1971) a stoneware vase dated 1930, shouldered form, covered to the foot with a pale celadon green glaze, painted with simple scrolling flowers and foliage design, incised CV 1930 to base, 24cm. high £200-300

257

259. Charles Vyse (1882-1971) a stoneware footed bowl, decorated in black with a simple flowerhead to the well, on a tenmoku ground, another smaller tenmoku glazed bowl, a streaked ash and celadon glaze bowl and a bowl with inverted rim covered to the foot with a pale celadon glaze incised C Vyse and collection label, 14.5cm. diam. (4) £150-200

258

259 detail

259

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260. A collection of books on studio pottery and British art pottery, including William De Morgan by Clayton Stamm, Lucie Rie by Tony Birks, Lucie Rie Arts Council edited by John Houston, The Martin Brothers Potters by Malcolm Haslam, and books on Bernard and David Leach (24) £50-100 261. Ray Finch (1914-2012) a Winchcombe Pottery stoneware vase, shouldered form decorated with simple painted motif in ochre over tenmoku, a tenmoku glazed jug by Ray Finch, a pale celadon vase by Jason Wason, a vase by Bernard Irwin, a Palshus Danish bowl, seven other studio pottery pieces and a cast yellow glass figure in the style of Picasso impressed seal marks, 19cm. high (13) £150-200

260

‡ 262. Katharine Pleydell-Bouverie (1895-1985) a swollen cylindrical stoneware vase, with incised vertical petal motif, glazed to the foot in an ash glaze, impressed seal mark, painted glaze mark to base, 17cm. high £300-350 Provenance British Art Pottery, 1st December 2010, Woolley and Wallis auctioneers, lot 404.

261

‡ 263. Jim Malone (born 1946) a Lessonhall Pottery stoneware bowl, footed form, covered to the foot with a hakeme glaze and painted iron and cobalt brush grass stem decoration, impressed seal marks, 25cm. diam. £200-300 Provenance Gallery at Bevere, 2007 Private collection

‡ 264. Jim Malone (born 1946) a Burnby stoneware footed vase, covered to the foot with an ash and nuka glaze, incised with simple grasses, impressed seal mark and B seal mark, 25cm. high £200-300

263

262

Provenance Craft Potters Association, (CPA), 2004 Private collection

‡ 265. Jim Malone (born 1946) an Ainstable Pottery stoneware bottle vase, incised and painted with arched foliate spray repeat in iron and cobalt blue on a speckled £200-300 cream ground, impressed seal marks, 27cm. high Provenance Bettles Gallery, 1994 Private collection

264

265

266. David Leach OBE (1911-2005) a Lowerdown Pottery tin-glazed earthenware cruet set comprising bottle and stopper, Vinegar and oil bottles, and two saucers, incised titles, covered in a speckled grey glaze, a David Leach cut-sided sugar basin and cup and saucer covered in a Y-Ching glaze and a stoneware serving dish, impressed seal marks, small chip to one stopper, 21.5cm. high (bottle), (12) £150-200 Literature Emmanuel Cooper and Kathy Niblett David Leach Richard Dennis Publications, page 85 figure 38 for a comparable oil and vinegar cruet illustrated.

266

Provenance A private collection of studio pottery

‡ 267. David Leach OBE (1911-2005) a Lowerdown Pottery cut-sided porcelain bowl, covered in a reduced copper glaze impressed seal mark, 13.5cm. diam. £120-180 Provenance A private collection of studio pottery

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270

269 268

‡ 268. Phil Rogers (born 1951) a salt-glazed stoneware vase with lug handles, shouldered form, each shoulder applied with small looped handles, with diagonal cut decoration covered in an ash glaze impressed seal mark to foot, 25cm. high £120-180 Provenance A private collection of studio pottery

‡ 269. Janet Leach (1918-1997) a Leach Pottery stoneware plate, resist decorated with simple broad bands, in white on matt black, impressed seal marks, £120-180 18.5cm. diam.

271 ‡ 270. Janet Leach (1918-1997) a Leach Pottery stoneware lug-handled vase, tapering cylindrical form with knopped neck, the neck glazed tenmoku over white impressed seal marks, 15.5cm. high £200-300

‡ 271. Janet Leach (1918-1997) a Leach Pottery stoneware vase with lug handles, shouldered form with cylindrical neck and everted rim, covered in a running olive green ash glaze, impressed seal marks to base, 16cm. high £200-300

‡ 272. Bernard Leach (1887-1979) a Leach Pottery stoneware beaker vase, flaring cylindrical form, covered to the foot with a celadon glaze, painted with simple brush foliage design in blue, impressed seal marks to side, hairline to top rim, 13cm. high £200-300

272

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‡ 273. William Bill Marshall (1923-2007) a tall cut-sided stoneware vase, covered in a translucent speckled glaze, the shoulder applied with thick running cream and white chun poured glaze impressed seal mark to side 42.5cm. high £800-1,200 Provenance Beaux Arts, 1991 Private collection

273

‡ 274. William Bill Marshall (1923-2007) a tall stoneware bottle vase made in his last firing, white slip with iron and manganese painted decoration, ying/ching glaze overall, impressed seal mark to base, applied paper exhibition number 4, 38.5cm. high £1,500-2,000

72

Provenance William Marshall (1923-2007) Bettles Gallery, Ringwood, 2007, catalogue number 4. Private collection

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mark 275 ‡ 275. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery bowl, painted to the interior with an owl, in golden lustre on a grey ground, the exterior with fluting, painted marks, indistinct year mark, 25cm. diam. £150-200

‡ 276. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery albarello vase, painted in silver and ruby lustre on a blue ground, painted marks, indistinct date mark, 28cm. high £200-400 Provenance Purchased directly from Alan Caiger-Smith by the vendor.

276

mark

277

mark

‡ 277. Alan Caiger-Smith (born 1930) an Aldermaston Pottery tin-glazed pottery ewer, dated 1980,strap handle, painted with simple red lustre stroke design on grey ground painted marks, painted date mark, 25cm. high £150-200

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278 two views

279 two views

‡ 278. Alan Caiger-Smith (born 1930) a large Aldermaston Pottery tin-glazed earthenware footed bowl, dated 1973, flaring form painted to the interior with simple foliage brush design in golden lustre on a mushroom ground, the exterior with a frieze of berried foliage, painted mark and date mark, 44cm. diam. £1,000-1,500

‡ 279. Alan Caiger-Smith (born 1930) an Aldermaston Pottery tin-glaze earthenware bowl, flaring, footed form, painted with a band of berried foliage to the interior in copper and red lustre on a grey ground, painted marks, 43cm. diam. £200-300

‡ 280. Alan Caiger-Smith (born 1930) a large Aldermaston Pottery tin-glazed earthenware jar and cover, dated 1965, ovoid with modelled handles, painted with abstract design in black, ochre and yellow on a grey ground, painted £1,000-1,500 monogram and date mark, 39cm. high

74

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‡ 281. Margaret ‘Margi’ Hine (1927-1987) an earthenware angel platter dated 1951, rounded rectangular form slip decorated with a flying angel, in shades of brown on a cream ground, the rim with simple slip leaf repeat, painted Margi Hine 1951 to reverse, 39cm. wide £400-500

281

‡ 282. Margaret ‘Margi’ Hine (1927-1987) Girl on a Horse, a stoneware sculpture, glazed in colours painted signature to underside, minor professional restoration, 43cm. high £1,200-1,800

282

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detail

283

‡ 283. A collection of 51 Bimini glass buttons, various designs, including designs attributed to Dame Lucie Rie, some with Bimini stamps to mounts, (51) £1,000-2,000 Literature Dame Lucie Rie Sale of a Lifetime, Bonhams 7th April 1997, lots 39-51 for comparable examples.

‡ 284. Dame Lucie Rie DBE (1902-1995) a small porcelain sgraffito dish, footed circular form with raised rims, the inside glazed manganese with sgraffito lines, the exterior off white, impressed seal mark, 10.53cm. wide £800-1,200

284 two views

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‡ 285. Dame Lucie Rie DBE (1902-1995) a stoneware bowl, tapering cylindrical form, pitted grey glaze, the rim with bleeding manganese highlight, impressed seal mark, 14cm. diam, 8.5cm. high £2,000-3,000 Provenance Contemporary Ceramics, Bonham’s, by repute, purchased by the vendor Private collection.

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‡ 286. Dame Lucie Rie DBE (1902-1995) a stoneware coffee set for six, comprising coffee pot and cover, milk-jug and sugar basin, six cans and saucers, the exterior glazed matt black manganese, the interior pale grey impressed seal mark to base, one cup repaired, minor damages, 19cm. high (coffee pot) £3,000-5,000 Provenance This set was purchased from Heal’s, London and given to the present vendor as a wedding present in 1965. Literature Tony Birks Lucie Rie, Alphabooks, page 141 for a teapot similar illustrated dated circa 1965.

78


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‡ 287. Dame Lucie Rie DBE (1902-1995) a porcelain bottle vase, swollen form with narrow cylindrical neck and flaring rim, the rim and shoulder decorated with two bands of sgraffito etched lines on a matt blue glaze, the neck and body covered in a bronze glaze to the foot, impressed seal mark to base, 22cm. high £15,000-25,000 Literature John Houston, Lucie Rie, Crafts Council, page 84 plate 175 for a comparable bottle vase, dated circa 1976, illustrated. Provenance 88, Totnes Private collection.

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THE STUDIO POTTERY COLLECTION OF SARA PEARCH ‡ 288. Katharine Pleydell-Bouverie (1895-1985) a stoneware vase, shouldered form with incised decoration, covered to the foot with a celadon glaze impressed seal mark flooded with glaze, 7.5cm. high £200-300 Provenance Galerie Besson The studio pottery collection of Sara Pearch

288 289

‡ 289. Henry Hammond (1914-1989) a rare stoneware tile, painted with a snail amongst grass and stylised daisy flowers in iron and blue on a cream ground, incised SW - 25 1273/1 to reverse, minor rim chips, 15cm. square £150-200 Provenance The studio pottery collection of Sara Pearch Literature Henry Hammond (1914-1989), Bonhams, 5th April 1990, contents of Hammond’s studio auction, lot 162 illustrated page 162 for a comparable tile decorated with a snail.

‡ 290. David Leach OBE (1911-2005) a Lowerdown cut-sided bowl, covered to the foot with a tenmoku glaze impressed seal mark to base, 12cm. high £120-180 Provenance Galerie Besson The studio pottery collection of Sara Pearch

290 291

‡ 291. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware tea canister and cover, cut sided, celadon glaze with iron speckles, impressed seal mark, 13cm. high (2) £120-180 Provenance Galerie Besson The studio pottery collection of Sara Pearch 292. Shoji Hamada (1894-1978), interest a Korean kick-wheel 47cm. high, 38cm. diam. £800-1,200 Provenance Leach Pottery, given by Shoji Hamada to Janet Leach in 1956. Given by Janet Leach to Sara Pearch The studio pottery collection of Sara Pearch This kick wheel was brought to Cornwall by Shoji Hamada in 1956 as one of two examples installed for use at the Leach Pottery. Along with one other example, which still remains at the Leach Pottery museum, the wheels were used for potting with one of them photographed in 1963 being used by Shinsaku Hamada, watched by Shoji.

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293. Takeshi Yasuda (born 1943) a twin-handled stoneware platter, circular form, covered in a sancai glaze, unsigned, 29cm. wide. £300-400 Provenance The studio pottery collection of Sara Pearch Literature Garth Clark The Potter’s Art, Phaidon, page 165 fora comparable bowl form illustrated.

294. Takeshi Yasuda (born 1943) a stoneware twin-handled platter, covered in a pale celadon glaze by Matt Waite, unsigned, 29cm. diam. £250-300 Provenance The studio pottery collection of Sara Pearch

293

295. Rjoyi Koie (born 1936) a stoneware Taja tea ceremony water jar and cover, shouldered form with applied lug handles, internally glazed with simple ash glaze, unsigned, 18cm. high £150-200 Provenance Aberystwyth University - made as a demonstration piece in 1991. The studio pottery collection of Sara Pearch

296. Shoji Hamada (1894-1978) a stoneware incense box and cover, circular section, covered in a tenmoku glaze, the cover with simple painted flowerhead motif in iron, unsigned, 7.5cm. diam. £800-1,200

294

Provenance Purchased from the New Craftsman gallery, St Ives in 1991 with a note from Janet Leach stating the pot for incense was made by Hamada in 1954. The studio pottery collection of Sara Pearch Literature Bernard Leach Hamada Potter, Kodansha International, plate 64 for a comparable incense box and cover illustrated.

295

295

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297 two views

‡ 297. John Maltby (born 1936) a stoneware footed dish, rectangular form painted with cross motif in shades of black and dark blue, highlighted with coral red brush strokes on a pale grey ground, painted Maltby signature, 25cm. wide. £300-400 Provenance The studio pottery collection of Sara Pearch

298

‡ 298. Walter Keeler (born 1942) Leaning Jar and cover, a salt-glaze stoneware jar and cover, the slightly domed cover with stepped finial, impressed seal mark, 14cm. high (2) £120-180 Provenance The studio pottery collection of Sara Pearch

‡ 299. Trevor Corser (born 1938) a Leach Pottery cut-sided stoneware jug, covered to the foot in a rich tenmoku glaze, impressed seal marks, small glaze chip to spout, 24cm. high £120-180 Provenance The studio pottery collection of Sara Pearch

‡ 300. Neil Ions (born 1949) a terracotta double flute, dated 1984, cast in low relief with two fish and waterweed, incised signature and date, 36.5cm. long £120-180 Provenance The studio pottery collection of Sara Pearch

299

300

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‡ 301. Dame Lucie Rie DBE (1902-1995) a tall stoneware bottle vase, on slender cylindrical foot, swollen body with cylindrical knopped tall neck, covered in a volcanic blue glaze with purple and sky blue swirls and buff patches, impressed LR seal mark, 35.5cm. high £20,000-30,000 Provenance Purchased by the vendor from the Aldeburgh Ceramic Festival circa 1985. The studio pottery collection of Sara Pearch Literature Geraldine Christy and Sara Pearch Step by Step Art School Ceramics, Chartwell Books/Hamlyn Publishing, page 11 this actual vase illustrated. Tony Birks Lucie Rie , Alphabooks, page 190 for a comparable glaze on a vase with flaring neck, circa 1980.

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‡ 302. David Lloyd Jones (1928-1994) a stoneware vase, tapering cylindrical form with stepped shoulder and everted top rim, covered to the foot with a translucent speckled brown glaze, impressed seal mark, 27.5cm. high £120-180 ‡ 303. Charles Tustin (1921-1996) a large Winchcombe Pottery platter, oval with raised rim, slip decorated to the well in brown on a tan/yellow ground impressed £100-150 seal marks, 39cm. diam.

302

‡ 304. Jenifer Jones (born 1940) a stoneware garden vase, shouldered form with collar rim and small lug handles, incised with two bands of fine fluting, glazed matt black, impressed seal mark to inside of neck, chips and garden patination, 52cm. high £400-600

303

305. Abuja Pottery a large bellied pottery vessel, single-handled form, incised to the shoulder with a snake, above geometric band, in ash glazed over tenmoku, unsigned 31cm. high £120-180 Literature Tanya Harrod, The Crafts in Britain in the 20th Century, Yale page 261, plate 272 for a similar form. 306. Takeshi Yasuda (born 1943) a footed stoneware plate, the circular plate on five modelled feet, covered in a Sancai glaze impressed seal mark to foot, 32cm. diam. £150-200 Provenance A private collection of studio pottery

304

305

306

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308 two views

307 ‡ 307. David Roberts (born 1947) a large raku pottery floor vase, shouldered form with knopped disc neck and flaring rim, covered to the foot in a cream white glaze, impressed seal mark, 60.5cm. high £1,500-2,000 Provenance Courcoux & Courcoux Private collection.

309 two views

‡ 308. David Roberts (born 1947) a raku earthenware bowl with broad rim, off white crackled glaze with black spots impressed seal mark, museum restored hairline, 46.5cm. diam. £150-200 ‡ 309. David Roberts (born 1947) a large raku pottery bowl, covered to the fritted rim with a crackled white glaze impressed seal mark, 57.5cm. diam. £800-1,200 Provenance Courcoux & Courcoux Private collection.

‡ 310. David Roberts (born 1947) a coil-built raku bottle vase, the ovoid body with waisted neck, burnished finish, the neck with blue chevron design, impressed seal mark, 47cm. high £300-400 Provenance Courcoux & Courcoux, 1991 Private collection ‡ 311. David Roberts (born 1947) a tall raku vase, ovoid with flaring neck and applied loop handles, covered with a matt crackled glaze to the neck, the body with pink graduating top purple lustrous crackle glaze, impressed seal mark, 49.5cm. high £700-1,000 Provenance Candover Gallery, 1989 Private collection

310

311

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313

WALTER KEELER 312 ‡ 312. Walter Keeler (born 1942), manner of a stoneware ewer, waisted form with strap handle, covered in a salt-glazed tan and brown glaze, unsigned, 23.5cm. high £150-250

‡ 313. Walter Keeler (born 1942) a salt-glazed stoneware angled pot and cover, covered in a blue and grey glaze, a Walter Keeler angled jug a smaller Walter Keeler pourer and four salt-glazed mugs, impressed seal mark, £150-250 14cm. high (8) Provenance Victoria & Albert Museum shop, 1988 Private collection

314

‡ 314. Walter Keeler (born 1942) a Whieldon glaze earthenware platter, circular section with straight sides applied with two scroll handles, covered in a streaked yellow, blue and green glaze, the interior glazed blue unsigned, 29.5cm. wide £120-180 Provenance A private collection of studio pottery

‡ 315. Walter Keeler (born 1942) a salt-glazed stoneware twin-handled bowl, elliptical form with applied scrolling handles, covered in a blue glaze impressed seal mark to side, 29cm. wide £120-180 Provenance A private collection of studio pottery

315

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316 both sides

‡ 316. Walter Keeler (born 1942) a salt-glazed stoneware Macaroni teapot and cover, with applied tube handle and spout, the cover with similar tube finial, glazed blue unsigned, paper exhibition number label to cover, 10.5cm. high £180-220 Provenance A private collection of studio pottery

‡ 317. Walter Keeler (born 1942) a salt-glaze stoneware Ionic teapot, drum form with long tube spout with scroll support and scroll handle, conical cover, covered in a blue glaze, impressed seal mark, 23cm. high £300-500 Provenance Purchased directly from Walter Keeler by the vendor. Literature Emmanuel Cooper and Amanda Fielding, Walter Keeler, Ruthin Craft Centre, page 60, for a comparable illustrated.

317

‡ 318. Walter Keeler (born 1942) a Whieldon glaze jug, cylindrical with angled spout, covered in a running green and yellow glaze, impressed seal mark, 16cm. high £150-250

‡ 319. Walter Keeler (born 1942) a salt-glazed stoneware jug, angled cylindrical form with applied strap handle, covered in a blue glaze impressed seal mark to side, 15cm. high £120-180 Provenance A private collection of studio pottery

318

319

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‡ 320. Mary Rich (born 1940) an ovoid porcelain vase with flaring neck, decorated with applied gilt geometric bands over matt glazed blue bands, impressed seal mark, 16cm. high £200-300 Provenance Sheila Harrison Gallery, 1989 Private collection

‡ 321. Mary Rich (born 1940) a porcelain pedestal bowl, painted in shades of purple and blue, with applied gilt geometric bands, and a miniature part tea set two cups, saucers and a jug gilt signature Mary Rich to £120-180 pedestal bowl, 10.5cm. high

321

320

Provenance A private collection of studio pottery

‡ 322. Liz Beckenham an earthenware vase form, flat, shouldered form with flaring rim, painted with geometric chequered design in shades of yellow, blue and black on a mushroom ground, etched signature Liz Beckenham to base, 18cm. high £120-180

322

‡ 323. Robin Welch (born 1936) a stoneware vase, elliptical section, slightly waisted cylindrical form, white glaze with blue textured band to waist and painted purple and cream blocks impressed seal mark, 26.5cm. high £150-250 Provenance Southampton Gallery Private collection

323

324. Elizabeth Blackadder OBE RA (born 1931) Chopsticks, a limited edition Royal Academy plate by Mason’s Ironstone, printed in colours and gilt, in original card box, printed factory marks and facsimile signature, limited edition of 1500, 26cm. diam. £120-180 Provenance Harrods, 1993 Private collection 325. John Dunn (born 1944) a large Raku charger, covered in a crackled pink and cream lustre glaze, impressed seal mark to front, 53.5cm. diam. £120-150

324

326. Eric Marwick a Highland Stoneware vase dated 2000, shouldered form with everted rim, painted with panels of a fisherman seated on a rock, in blue on a pale celadon ground, a near pair of Highland Stoneware vases and another two vases, by Eric Marwick, printed and painted marks, 22.5cm. high, (5) £120-180

325

327. Jane Moore a tall footed earthenware vase and cover, the ovoid body painted with a vase of lily flowers and fruit design in pastel colours on a cream ground, the cover with a grey squirrel, impressed seal mark to inside top rim, 56cm. high £200-300 Provenance Kenneth Barlow Ltd Decorative Arts

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328 329 ‡ 328. Edmund de Waal (born 1964) a small porcelain copper lidded jar, cylindrical covered with a pale blue glaze under ox-blood, impressed seal mark to side, 9cm. high £1,000-1,500 Provenance Alpha House Gallery, 1997 Private collection ‡ 329. Emmanuel Cooper (1938-2012) a stoneware bowl, covered in a pitted blue and white volcanic glaze, impressed seal mark, paper exhibition number label, 19.5cm. diam. £350-450 Provenance Southampton Art Gallery, 1990 Private collection

330

‡ 330. Emmanuel Cooper (1938-2012) a stem bowl, covered with a splitting thick blue glaze, the rim highlighted with manganese band impressed seal mark to base, two small nicks to the rim, 14.5cm. diam. £400-600 Provenance Given by Emmanuel Cooper to the vendor’s mother.

‡ 331. Peter Beard (born 1951) a stoneware vase, ovoid matt black with pale blue and white stripes, impressed seal mark, 12cm. high £120-180 Provenance Peter Dingley, 1989 Private collection ‡ 332. Peter Beard (born 1951) a stoneware vase, shouldered ovoid form, matt pale blue glaze with vertical columns and yellow splashed highlight impressed seal marks, 13.5cm. high £150-200 Provenance A private collection of studio pottery

331

332

‡ 333. Peter Beard (born 1951) a stoneware low bowl, flaring, footed form, decorated with radiating stripes in turquoise blue, £300-500 impressed seal mark, 40cm. diam. Provenance Peter Dingley, 1989 Private collection

333

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‡ 334. Richard Landy a large ewer form, footed ovoid body with pulled lip and applied loop handle, applied slip decoration glazed in a translucent green and blue glaze, impressed artist seal mark to side of handle, 39cm. high £200-300 Provenance Kenneth Barlow Ltd Decorative Arts Catalogue notes Richard Landy studied at the Royal College of Arts, gaining a Masters degree.

‡ 335. Duncan Ross (born 1943) a burnished terracotta sigillata vase form, decorated with geometric bands, incised monogram to base, 24.5cm. high £250-350

334

335

Literature Amanda Gane Contemporary British Crafts, The Goodison Gift to the Fitzwilliam Museum, PWP, page 24-25 catalogue number 3 for a comparable vase. Provenance Candover Gallery, 1989 Private collection 336. Chinoko Sakamoto (born 1992) a stoneware bud vase, 2017, modelled as an artichoke heart, glazed to the foot in a pitted grey glaze, incised Chinoko to base 14cm. high £120-180

‡ 337. Tim Andrews (born 1960) a large burnished raku pot with crackle glaze, swollen form with everted rim, the matt burnished body with splashes of crackled white and iron glaze impressed seal mark to base, 33.5cm. high £200-300

336

Provenance Bettles Gallery, Ringwood, 1990 Private collection

337

‡ 338. Rob Whelpton (born 1952) a tall, slender raku vase and cover, swollen cylindrical form, painted with a family of spotted dogs, in colours on a crackled white ground, the cover with loop finial, 47cm. high £200-300 Provenance Beaux Arts, 1989 Private collection. ‡ 339. Martin Smith RCA (born 1950) a unique red earthenware table, 1988, red earthenware tiles with glass cement, on turned, birch laminate plywood, and red earthenware foot chips to foot rim 69cm. £300-500 high, 54cm diam. Provenance Lord Parmoor Private collection Exhibited Contemporary Applied Arts, London 1988

90

338

339


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342

341

340

340. Sotis Filippides (born 1963) a tall stoneware vase, cylindrical with waisted, flaring cylindrical neck, glazed matt black manganese with broad platinum band to the neck, impressed seal mark, 41cm. high £450-550

341. Sotis Filippides (born 1963) a stoneware vase, flaring cylindrical form, covered to the exterior with a matt black manganese glaze, the interior glazed platinum, impressed seal mark, 23cm. high £250-300

343

342. Sotis Filippides (born 1963) a set of three stoneware vases, each flaring conical form, glazed to the exterior with bands of cobalt on a matt black manganese ground, the interiors glazed cobalt blue impressed seal mark 13cm. high £200-300

343. Paul Young (born 1961) Sheep Tree, an earthenware sculpture, glazed in colours £250-350 unsigned, 33.5cm. high

344. Paul Young (born 1961) Howlin Wolf an earthenware figure, glazed in colours titled to base, unsigned, 25.5cm. high £450-550

344

91


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345 two views

JOHN MALTBY ‡ 345. John Maltby (born 1936) a large stoneware bowl, with slightly inverted rim, painted to the well with a ship sailing past a buoy and headland, the foreground a large fish, all below rain clouds, in colours impressed seal mark, small glaze frit to rim and hairline, 28cm. diam. £400-500 Provenance Beaux Arts, 2005 Private collection

‡ 346. John Maltby (born 1936) a stoneware cup form, flaring rectangular section with angled handle, painted with geometric panels to both sides in coral red and blue on a buff ground painted Maltby to base, 14cm. high £250-300 ‡ 347. John Maltby (born 1936) a stoneware bowl form, with applied fluted handle, painted to the interior with a cross motif and abstract landscape, painted Maltby signature, applied paper exhibition number, 17cm. wide £400-500

346 both sides

Provenance Candover Gallery, 1989 Private collection

‡ 348. John Maltby (born 1936) a stoneware cup form, painted with ships in a harbour, in blue and off-white on a deep bronze ground, painted Maltby to base, 10.5cm. high £200-300

92

347

348


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‡ 349. John Maltby (born 1936) a large sculptural form made for exhibition, slab built painted with graveyard crosses in red enamel, black and white on a sand ground, with blue splashes, painted Maltby signature to back, 56cm. high, 32cm. wide. £3,000-5,000 Provenance Produced in a limited edition of two for an exhibition at the New Craftsman Gallery, St Ives, it is believed this example was kept by John Maltby. Lantic Gallery, Tiverton Private collection.

93


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‡ 350. John Maltby (born 1936) Bird on a Boat with a Fish a stoneware box and cover, impressed seal mark, 16.5cm. high £150-200 Provenance British Art Pottery Woolley and Wallis Auctioneer’s 28th November 2012, lot 565 Private collection.

‡ 351. John Maltby (born 1936) Angel a pottery figure, glazed white, on oak base signed to base, applied number 10 exhibition label, 25cm. high £150-200

350

351

352

‡ 352. John Maltby (born 1936) Mad King a pottery figure on square plinth, with articulated crown, glazed, signed and titled to base, applied number 4 exhibition label, 24.5cm. high £150-250 ‡ 353. John Maltby (born 1936) Marriage a La Mode, 2007 a stoneware sculpture on black painted wood base, impressed seal mark, painted signature, title and date to base, 26.5cm. high £200-300 Provenance Beaux Arts, Bath February 2010 Private collection.

354 353

‡ 354. John Maltby (born 1936) Knight Riding a Lion a stoneware figure, glazed rust red and black, impressed seal mark, paper exhibition number, 21cm. high £150-250 Provenance Bohun Gallery, 2005 Private collection ‡ 355. John Maltby (born 1936) Seated Woman a stoneware sculpture, impressed seal mark, 20.5cm. high £150-200 Provenance The Bath Autumn Sale, Bonham’s Bath, 15th October 2007 lot 494. Private collection.

‡ 356. John Maltby (born 1936) Angel on Base a pottery figure, glazed, on ebonised wood base, signed to base, applied number 8 exhibition label, 31cm. high £150-200

94

355

356


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‡ 357. John Maltby (born 1936) Little Admiral, 2007 a stoneware sculpture on black painted wood base, signed, titled and dated to base, 41.5cm. high £300-500 Provenance Lantic Gallery, Tiverton, 26th November 2007 Private collection

‡ 358. John Maltby (born 1936) Man Bird Fish a stoneware sculpture, impressed seal, painted mark, applied exhibition paper number and title to back, 45.5cm. high £200-300 Provenance Beaux Arts, Bath November 2003 Private collection. ‡ 359. John Maltby (born 1936) Black Boat a stoneware sculpture, glazed black, impressed seal mark and applied gallery number 16, 39.5cm. wide. £450-550 Provenance Beaux Arts, 2001 Private collection

357 ‡ 360. John Maltby (born 1936) King and Raven, 2011 a stoneware sculpture, signed, titled and dated to base, 38cm high, 24cm wide. £300-500 Provenance Godfrey & Watt, Harrogate, December 2011, (JM 17) Private collection

358

359

360

95


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‡ 361. Gordon Baldwin (born 1932) Alembic I, 2002 a hand-built earthenware sculpture with slips, oxides and glazes incised GB and date to base 56cm wide, 34ch deep. £1,000-1,500

96


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‡ 362. Gordon Baldwin (born 1932) Alembic II, 2002 a hand-built earthenware sculpture with slips, oxides and glazes incised GB and date 56cm. wide, 31cm. high £1,000-1,500

97


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‡ 363. Christie Brown (born 1946) Stone Mother 4, 1996 slab built white pottery with inclusions and red painted glaze highlights 78cm. high £350-450 Literature Oliver Watson British Studio Pottery V&A/Phaidon, page 132 plate 109 catalogue number 62 for a Torso form comparable.

363

‡ 364. Christie Brown (born 1946) Curious Automaton, 1996 slab built white pottery with inclusions and painted red glaze highlights 76cm. high £350-450

364

98


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‡ 365. Ewen Henderson (1934-2000) a medium large jar with applied agates of porcelain and stoneware, unsigned, 38cm. high £1,200-1,800 Provenance Alpha House Gallery, 2003 Private collection

‡ 366. Colin Pearson (1923-2007) Winged Pot, a massive hand-built porcelain vase, covered in a metallic black glaze, impressed seal mark, 44cm. wide, 25.5cm. high £1,200-1,800 Provenance Alpha House Gallery, 1996 Private collection

365

Literature Tanya Harrod, The Crafts in Britian in the 20th Century, Yale page 395, plate 424 for a comparable form, 1987.

366

99


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KATE MALONE

‡ 367. Kate Malone (born 1959) Flowerhead, 1993 an early pottery wall plaque, glazed blue and red over yellow, impressed seal marks and date 93, 21cm. diam. £150-250

‡ 368. Kate Malone (born 1959) Waddesdon Jug, 2015 cylindrical form with raised acorns and oak leaf motif and printed Waddesdon figures, incised signature and date to base, 10cm. high £150-250

367

‡ 369. Kate Malone (born 1959) Baby Heart Pod I, 1999 a press-moulded earthenware vessel, covered in a pale green crystalline glaze, the interior graduating to pooled turquoise, incised signature to base, 20cm. diam, 12.5cm. high £250-350 Provenance The Allotment New Ceramics by Kate Malone, The Gallery Ruthin Craft Centre 16th January to 7th March 1999, catalogue number 6. Private collection.

368

369 two views

100


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‡ 370. Kate Malone (born 1959) Baby Magma with two Hexagons, 2015 a crystalline stoneware vase, incised Mrs Kate Malone to base, 13.5cm. high, 20cm wide. £400-500 Catalogue notes this sculpture is KM.1713

‡ 371. Kate Malone (born 1959) Baby Bud oak vase, 2017 a stoneware vase with raised oak leaf and acorn motif, glazed crystalline green incised Mrs Kate Malone 2017, 11cm. high £350-450

370

Provenance Adrian Sassoon (KM1921)

‡ 372. Kate Malone (born 1959) Baby Heart Pod III, 1999 a press-moulded earthenware vessel, covered in a blue crystalline glaze, the interior graduating to pooled turquoise, incised signature to base, 20cm. diam, 12.5cm. high £250-350 Provenance The Allotment New Ceramics by Kate Malone, The Gallery Ruthin Craft Centre 16th January to 7th March 1999, catalogue number 8 Private collection.

371

372 two views

101


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JOHN WARD

reverse

‡ 373. John Ward (born 1938) a hand-built stoneware tulip vase, black and white geometric panels, impressed seal mark, 21cm. high £1,000-1,500 Provenance Courcoux & Courcoux, 1989 Private collection

102


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‡ 374. John Ward (born 1938) a fine and large hand-built stoneware vase, the rounded vase with flat shoulder supporting cylindrical neck, decorated with black and white geometric panels, impressed seal mark to base, 33.5cm. high £6,000-10,000 Provenance Woodbury Studio Gallery, 2002 Private collection

103


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‡ 375. John Ward (born 1938) a hand-built stoneware disc vase, flattened circular form with tapering elliptical neck, glazed in a matt green and ochre pitted glaze with concentric brown columns emphasising the form to both sides, impressed seal mark, 31cm. high £800-1,200 Provenance Private collection

375

‡ 376. John Ward (born 1938) a hand-built stoneware vase, ovoid with narrow shoulder and tapering neck, covered in a green glaze with rust brown, impressed seal mark, 19cm. high £1,000-1,500 Provenance Oxford Gallery, 1993 Private collection

376

104


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‡ 377. John Ward (born 1938) a tall hand-built stoneware vase, flattened disc form with tapering neck, covered in a mottled white glaze with narrow turquoise bands to the edges, impressed seal mark, 44cm. high £5,000-8,000 Provenance Courcoux & Courcoux Private collection.

105


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‥ 378. John Ward (born 1938) an impressive large hand-built stoneware vase, ovoid with tapering square neck, covered in a matt black glaze, the shoulder and neck with turquoise glaze and black patches, impressed seal mark, 34.5cm. high £3,000-5,000 Provenance Courcoux & Courcoux Private collection.

106


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‡ 379. John Ward (born 1938) a hand-built stoneware vase, ovoid with tapering square neck, covered in a black metallic glaze, the neck with blue-green patches impressed seal mark, 28cm. high £2,000-3,000 Provenance Courcoux & Courcoux Private collection. Literature Amanda Game Contemporary British Crafts The Goodison Gift, page 144 cat. no. 56 for a comparable form.

107


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380

381 ‡ 380. Robi Renzi, Renzi & Reale Baroque Rains, 2003 white glazed porcelain surrealist sculpture, in glass dome with ebonised wood base, signed Renzi E Reale, 2003 MI to base 46cm. high £1,500-2,000

382

108

‡ 381. Robi Renzi, Renzi & Reale, Milano Baroque Rains, In Aprile, 2003 a white glazed surrealist sculpture incised signature, title and date to base 20cm. high

£500-800

‡ 382. Robi Renzi, Renzi & Reale, Milano Baroque Rains, a white glaze surrealist sculpture signed Renzi and Reale 31cm. high

£800-1,200


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DESIGN


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GLASS 383. Three Art Nouveau Theresienthal enamelled glass glasses, each with green glass stem, the clear glass bowl enamelled with flowers in colours, unsigned, 14.5cm. high £150-200 384. A Bakalowits Meyr’s Neffe wine glass designed by Koloman Moser, the swollen cylindrical stem supporting swollen green graduated glass bowl with circular lens motif, unsigned, 20cm. high £150-200

383

385. A Daum Nancy glass vase, tapering cylindrical form with swollen neck, opaque glass cased in yellow and brown, wheel cut Daum Nancy, 31cm. high £120-180 386. An Art Deco Schneider glass vase by Charles Schneider, slender, swollen cylindrical form on flaring bun foot, short collar neck and flaring top rim, dark red glass internally decorated with orange swirls to the shoulder, the foot and lower body with gold aventurine inclusions, incised Schneider signature and vase mark, 30.5cm. high £150-200

384

110

385

386


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387

388

387. ‘Aries’ (Rams Head) a Lalique clear and frosted glass vase designed by Rene Lalique, etched Lalique France, 22cm. high £120-180 388. ‘Lapin’ no.285 a Lalique opalescent glass cendrier designed by Rene Lalique, etched R Lalique France no.285 to base, 9cm. diam. £150-200 389. ‘Six Hirondelles Perchees’ model no.763 a Lalique frosted glass clock designed by Rene Lalique, modelled in low relief and sepia stained, etched R Lalique France no.763 and cast R Lalique, 15.5cm. high £800-1,200 Catalogue notes This design was introduced in 1920. 390. A tall Svaja glass vase, bucket form, decorated with white, blue and green swirls, cased in clear, and a large Svaja charger/bowl similar etched Svaja mark to both 44.5cm. high, (2) £120-180 391. A Barovier glass fox designed by Ercole Barovier, clear glass with aubergine striped inclusions, with applied black glass eyes, nose and feet, unsigned, damages and repairs, 36cm. wide £200-300 392. No lot

389

390

391

111


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393. An English Art Deco lemonade jug and six glasses in the manner of Stuart Glass, flaring cylindrical form on applied amber glass feet, etched with diagonal bands of geometric patterns, two Medieval style glass ewers, a Turn Royal Vienna Secessionist pottery vase decorated with panels of Glasgow rose and flowers, and a pot cover, jug set unmarked, jug 22.5cm. high, (11) £120-180

394

393 part

394. A Stuart cut glass decanter and stopper, cut with vertical columns and panels, acid etched Stuart England to the £120-180 base, 31cm. high (2)

395. A large ribbed glass vase probably Whitefriars, bucket shaped brown glass with seven moulded horizontal ribs, unsigned, 31cm. high £120-180

396. An Art Nouveau Thomas Webb iridescent green glass vase, the dimpled square body with everted fluted rim, green glass with surface iridescence, a smaller Webb Iris vase with golden orange iridescence and a green glass vase with vertical ribs the design attributed to James Powell, Whitefriars unmarked, 14cm. high (3) £150-250

396

395

Provenance The Antique Trader at The Millinery Works, October 2002, main vase and ribbed vase. Jeanette Hayhurst, 2003, Webb Iris vase.

‡ 397. Steven Newell (born 1948) a bulbous stripy vase, green and blue stripes cased in clear etched signature, 22.5cm. high £150-200 Provenance The Antique Trader at The Millinery Works Gallery, January 2011, exhibit no.88.

397

398

‡ 398. Peter Layton (born 1937) a chalcedony flared vase, made at the London Glassblowing Workshop, olive green striations on blue, cased in clear, incised signature to base, 24cm. high £150-200 Provenance Peter Layton and the London Glassblowing Workshop, The De Morgan Centre, 4-30th April 2003 catalogue number 13.

399. A Mdina Glass solifleur vase, square section with pulled neck, blue, brown and white glass cased in clear, a large vase with yellow, purple and green panels, Svaya glass vase and a Vizner glass ovoid vase etched marks, 17.5cm. high (Mdina solifleur), (4) £120-180

112

399


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400

401

400. A Mdina Glass Fish vase designed by Michael Harris, purple glass cased in clear, with yellow striations, etched marks to base, 24.5cm. high £120-180

401. A Mdina Glass Fish vase designed by Michael Harris, dated 1981. striated brown and celadon bands cased in clear, etched Mdina and 1981, 28cm. high £120-180

402. A Mdina Glass Fish vase designed by Michael Harris, dated 1977, blue and brown mottled glass, cased in clear with striations, etched marks and date to base, 19.5cm. high £120-180

402

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SAM HERMAN 403. Sam Herman (born 1936) a shouldered vase with swollen body, made at Lots Road, elliptical section, the dark glass body with white line and red panel inclusions, the surface decorated with metallic oxide iridescent finish, etched signature to side of base, CAM.73, 19cm. high £150-200 Provenance The Morgan collection of Art Glass. Catalogue notes This vase was probably made in the early 1980s.

404 403

404. Sam Herman (born 1936) a cylindrical glass vase with pulled top rim, streaked glass cased in clear etched signature and date 1970, 18.5cm. high £150-200 Provenance The Morgan collection of Art Glass.

405. Sam Herman (born 1936) a shouldered, cylindrical vase with flaring, irregular neck, dated 1975, made at the Jam Factory, South Australia, pale golden yellow cased in clear with a metallic oxide iridescent surface, incised signature SA and date 1975, 15cm. high £150-200 Provenance The Morgan collection of Art Glass.

405

406

406. Sam Herman (born 1936) a shouldered glass vase with collar rim, elliptical section, streaked glass with a light surface metallic oxide iridescent finish, unsigned 23cm. high £150-200 Provenance Given by Sam Herman to Frank Thrower, Fieldings Auctioneer’s lot 302, 26th November 2011. The Morgan collection of Art Glass.

407. Sam Herman (born 1936) a shouldered vase with solifleur neck, square section, clear glass graduating to blue, cased in clear with pulled yellow and air bubbles, unsigned, 20cm. high £150-200 Provenance The Morgan collection of Art Glass.

408. Sam Herman (born 1936) a swollen glass solifleur vase, the pale blue streaked glass body with swollen green knop, with metallic oxide iridescent surface, unsigned, 29.5cm. high £200-300

114

407

408

Provenance Decades of Design, Fieldings Auctioneers 26th April 2014 lot 781. The Morgan collection of Art Glass.


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CONTINENTAL CERAMICS 409. An Art Nouveau Amphora Pottery vase, model no.4115, compressed form with flaring neck, modelled with a setter dog looking at a frog, glazed in colours, highlighted in gilt, impressed marks, professional restoration, 26cm. high £300-500 410. An Art Nouveau Jerome Massier ewer, the tall slender ewer with pulled vertical rim, applied with an Art Nouveau maiden handle, covered in a green lustre glaze, impressed Jerome Massier mark, signed Jerome Massier Vallauris to the side, repaired damages to arm and rim, 46.5cm. high £120-180 411. An Aesthetic Movement Bourgoit French pottery vase, slender, shouldered solifleur form, painted with prunus blossom on a scrolling ground, the neck with columns of flowers and foliage, in shades of red, yellow, brown and green painted Bourgoit 21 Rue B Paris, impressed marks, 26cm. high £50-100

409

411

412. A Boch Freres Keramis vase designed by Charles Catteau, model no.D.745, shouldered form with collar neck, painted with panels of fruit and blue ribbon, in colours on a crackled white ground, and another Boch Freres tall, slender vase in the same pattern printed and painted factory marks, taller vase repaired to foot, 17.5cm. high (2) £120-180 413. Beim Photographen a Goldscheider Pottery model of a seated young boy designed by B. Haniroff, model no. 1225, modelled seated and resting, wearing shorts, jacket and deerstalker hat, glazed in naturalistic colours impressed marks, damages and old repair, 57cm. long £400-500

410

412

Literature Robert E Dechant & Filipp Goldscheider Goldscheider, Arnoldsche, page 315 catalogue number 1225 for an example illustrated dated 1897-98. Ora Pinhas, Goldscheider Richard Dennis Publications, page 32 for this model illustrated. 414. Two graduated Bing & Grondahl stoneware vases designed by Valdemar Pedersen, shouldered cylindrical form, incised with geometric panels, covered in a brown hare’s fur glaze, four graduated vases and five other Bing & Grondahl pieces by Valdemar Pedersen, printed marks, impressed marks VP monogram 24cm. high (11) £200-400 415. A Primavera Pottery vase in the manner of Georges Jouve, swollen ovoid form with collar neck, covered in a crackled turquoise glaze, impressed marks, chip to top rim, 14cm. high £120-180

413

414

416. A small Goldscheider Pottery wall mask of a woman holding a mask, model no.8935, glazed in colours a Goldscheider wall mask of a woman with white hair blowing in the wing and another of a woman with black hair, printed West German marks, impressed numbers, original paper label to main, 18cm. high (smallest), (3) £120-180 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 1175 for a comparable woman with a mask

415

416

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WORKS ON PAPER 417. Eric Gill (1882-1940) Xenia Nowelle Lowinsky, (1924) wood engraving on paper, and three Canterbury Tales (borders) by Eric Gill in common mount signed in reverse in the print EG 23 x 15cm (2) £120-180 Literature Christopher Skelton Eric Gill The Engravings, The Herbert Press, plate 278 for this design (Lowinsky) illustrated. 418. Louis Icart (1888-1950) Nijinsky, Russian Ballet Dancer aquatint on paper, framed signed lower right Louis Icart 46 x 31cm. (image)

417

£200-300

419. Louis Icart (1888-1950) Les Masques (Masks), 1926 dry-point etching and aquatint on paper with hand colouring, framed signed in pencil lower right, numbered 225, embossed artist blindstamp, 46 x 36.5cm. (image) £250-350 420. Louis Icart (1888-1950) Fair Dancer, 1939 etching and aquatint on paper with hand colouring, framed signed in pencil lower right, embossed artists blindstamp, 56 x 47cm (image) £200-300

418

116

419

420

421. Ernst Ruprecht (1891-1935) Grand Prix Bern 3/4 Juni 1950 Championnat du Monde a lithographic poster printed by Polygraphische Gesellschaft Laupen-Bern, signed in the print 67.5 x 48.5cm. £300-500

421


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TEXTILES

422 detail

422. A Morris & Co Tulip & Rose woven silk textile designed by William Morris, originally designed in 1876 and woven by Heckmondwike, in shades of green and red on a green ground unsigned, 160 x 84cm. £150-250 Literature Linda Parry William Morris Textiles, Crescent, page 148 catalogue number 12 for an example in a different colour scheme.

423. A pair of Morris & Co Tulip & Rose woven curtains designed by William Morris, originally designed in 1876, in shades of green and beige on a deep green ground, losses to one edge, 288 x 167cm and 28 x 162cm (2) £800-1,200 Literature Linda Parry William Morris Textiles, Crescent, page 148 catalogue no. 12 for this design illustrated. it is stated that the textile was woven by Heckmondwike. Provenance Napier Road, Kensington, by repute.

423 detail 423 detail

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FURNITURE 424. An Aesthetic Movement ebonised wood chair in the manner of Dr Christopher Dresser, with cane back and seat pads unsigned, 77cm. high £100-150

425

425. A Glasgow School Wag at the Wa brass wall clock, octagonal form, with slightly domed dial, stamped in low relief with foliate domed roundel and Celtic Knot border, with Arabic numerals, the pendulum with similar foliate roundel, and two plain £300-500 weights unsigned, 36cm. wide. 426. A Liberty & Co Cairene mahogany armchair, the angled seat on five turned legs, the arms and back inset with mashrabiya panels, unsigned, 90cm. high £300-500 Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, ACC Books page 14 plate 1.6 for a reproduction of this model illustrated in The Cabinet Maker, April 1885.

424

427. An Anglo-Moorish inlaid occasional table, possibly retailed by Liberty & Co, hexagonal section on arched legs, inlaid with marquetry and mother of pearl panels, the top with central star motif, unsigned, 52cm. high, 48cm. diam. £300-400

 428. An Anglo-Moorish inlaid table possibly retailed by Liberty & Co, possibly retailed by Liberty & Co, octagonal section, inlaid with ivory, marquetry and mother of pearl with star motif and chequer panels, unsigned, 63cm. high £300-400

426

429. An Aesthetic Movement brass and coloured glass firescreen, the central rectangular panel with moulded amber glass vase with leaf design, inside a border of painted glass and geometric coloured glass panels, unsigned, 88cm. high, 57cm wide. £120-180

427

118

428

429


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431

430

430. A large Arts and Crafts oak double wardrobe in the manner of E.G. Punnett, two large deep drawers supporting twin door wardrobe fitted with hanging rail, overhanging mantle, with polished metal door furniture, inlaid with metal and stylised candle panels, ebony and boxwood bead borders, unsigned, 202cm. high, 171cm wide, 59cm. deep. £400-600

431. A Scottish Arts and Crafts bookcase in the manner of E.A Taylor, two loose shelves below two glazed cupboards, unsigned, 137cm wide, 159cm. high, 29.5cm. deep. £500-800

432. An Anglo Persian mahogany corner hall stand possibly retailed by Liberty & Co, open structure, the umbrella stand with turned front supports and drop in enamelled metal drip trays, supporting small two shelf unit with Persian undercarriage, unmarked, 159cm. high, 64cm. wide £200-300

432

119


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433. An Arts and Crafts copper mounted fire screen, shield shaped, stamped in relief with a heraldic lion, another Arts and Crafts fire screen and two sets of fire dogs, unsigned, 87cm. high, (6) £120-180

434. A set of eight Arts and Crafts oak dining chairs in the manner of William Birch, turned uprights, with three curved splat back rest, plank seat, unsigned, 101cm. high, (8) £600-800

433 435. An Anglo Persian mahogany occasional table, probably retailed by Liberty & Co, hexagonal section on slender turned legs and Persian arched under tier, applied collection paper label, 66cm. high, 40cm. diam. £150-200

436. An Arts and Crafts oak occasional table, circular top with flaring square section legs, with pierced Art Nouveau flowerhead panels to undercarriage, unsigned, 69cm. high, 53.5cm. diam top. £120-180

437. An Anglo-Japanese mahogany music cupboard in the manned of E.W. Godwin, flaring square legs, hinged panel door, unsigned, 85cm. high. 53cm square top £150-200

434

120

435

436

437


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

438 438. A PEL Modernist chrome umbrella stand, with enamelled metal drip tray, applied PEL label, 50cm. wide £150-250 Provenance Britain Between the Wars, Fine Art Society, March 23-April 29th 2004. Clarice Cliff, Art Deco & Design, Woolley and Wallis 7th March 2012 lot 901

440

439

439. A Fornasetti Architettura CD rack, tall, slender rectangular form on stepped square foot and with pointed roof, printed with architectural window design in black and white, applied brass label to base, stamped mark Fornasetti 3/1000, 167cm. £300-500 high, 34cm wide (at base).

440. A large Fornasetti perspex tray, square section, printed in colours with cocktails and their recipes, printed facsimile signature lower right corner, 82.5cm. square £120-180

441

441. A modern Vitra cherry wood veneer and grey leather 670 lounge chair and 671 ottoman originally designed by Charles & Ray Eames for Herman Miller, dated 2005, applied Vitra labels M13 dated 2005, 82cm. high (2) £2,000-2,500 Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 276 and 277 for the original Herman Miller design illustrated.

442. A modern Vitra cherry wood veneer and grey leather 670 lounge chair originally designed by Charles & Ray Eames for Herman Miller, dated 2005, applied Vitra labels M13 dated 2005, 82cm. high £1,500-2,000

442 two views

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443

444

SCULPTURE 443. An Art Deco patinated metal model of two exotic pheasants, on rectangular polished black slate base unsigned, 64cm. wide £120-180

444. Henri Fugere (1872-1944) Woman with a Deer patinated bronze, on veined marble base signed in the base, 41.5cm. wide. £4,000-6,000

445

445. A patinated bronze model of a young boy skier, modelled standing resting, on a textured, naturalistic stone base unsigned, 17.5cm. high £400-600

446. A large patinated bronze figure of a young boy hunting by Maurice Bouval, modelled holding a slingshot, with two dead birds on his belt, signed in the cast, 69cm. high £400-600

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446


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447 447. Gilbert Bayes (1872-1953) The Scales of Time, 1908 patinated bronze on green veined marble base signed, titled and dated in the cast, 5FB, 43cm. high

448

£5,000-8,000

Literature The Art Journal January 1909, page 30 for an example illustrated. Louise Irvine & Paul Atterbury Gilbert Bayes Sculptor 1872-1953, Richard Dennis/Fine Art Society, page 113 for a comparable example illustrated. Provenance Private collection

448. Bruno Zach (1891-1935) Slave Market a large patinated bronze sculpture, cast as a naked young woman beside a seated Arab merchant figure, on red marble base, signed Zach in the cast, 68cm. high £1,200-1,500

 449. Bruno Zach, attributed (1891-1935) Lady with a Riding Crop, bronze and ivory on a green alabaster base, unsigned, 38cm. high

£5,000-8,000

449

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451

450. Claire Jeanne Colinet (1880-1950) The Juggler a polished bronze sculpture, on domed brown striated onyx base, etched Colinet to base, 37cm. high

450

£500-700

451. A Hagenauer polished wood model of a polar bear and cub, streamlined form, on rectangular metal base, stamped mark to base, 31cm. wide. £400-600

452. Josef Lorenzl (1892-1950) an Art Deco cold-painted bronze figure of a woman, modelled in a caped dress, on swollen, veined rectangular base, signed in the cast Lorenzl, 32cm. high. £500-800

453. Cyriel de Brauwer (1914-1989) Grazing Horse and Foal patinated bronze signed in the cast de Brauwer e/a 48cm. wide

452

124

453

£2,000-3,000


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

455

454

METALWARE 454. A Newlyn Industrial Classes copper tea caddy and cover, cylindrical, repousse hammered with a scaly fish between strapwork panels, the cover with raised Tea title, stamped Newlyn to base, 10cm. high £120-180

455. A pair of brass three branch ceiling lights the design attributed to W.A.S Benson, three curved branches, central ball supporting foliate terminal, unsigned, 29cm. wide. (2) £120-180

456

456. A W.A.S. Benson copper and brass oil lamp, model no.293, on four arched feet, flaring conical reservoir and brass fittings, another Arts and Crafts copper, brass and wrought iron oil lamp probably Benson and a small oil lamp main stamped WAS Benson to reservoir cap, 34cm. high (3) £120-180 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC Books, page 249 plate 5 this design (with different reservoir) illustrated from the original Benson light catalogue.

457. A pair of W.A.S Benson copper and brass oil lamps , model no. 72, each on domed copper foot, with knopped brass stems, and another similar unsigned, 37cm. high, (3) £120-180 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC Books, page 248 plate 3 this design illustrated from the original Benson lighting catalogue.

457

458. A pair of copper and brass candlesticks the design attributed to W.A.S Benson, the cruciform brass foot supporting foliate legs, and swollen brass stem, with copper foliate drip pans a W.A.S Benson copper kettle on brass stand, another kettle and a pair of brass candlesticks probably £120-180 Benham & Froud, unmarked, 25.5cm. high (7)

458

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459

459 open

 459. A painted satinwood triptych depicting a Proper Sonnet, the exterior doors decorated with two cavaliers standing beside a cherub holding comedy and tragedy masks, the domed mantel panel with cavaliers before a lady, with ivory handles, the interior with illuminated text I smile to see how you devise...the doors with scenes of a medieval banquet, inside Glasgow rose borders, unsigned 56cm. high £700-1,000

460

460. An Art Nouveau WMF pewter inkwell, model no.232, cast in low relief with a maiden with long flowing hair, square inkwell with hinged cover, glass bottle, and a WMF tray model no. 280, cast in low relief with a courting couple, stamped marks, 17cm. wide. (3) £150-200

461. A modern Sabattini electroplated knife and fork set originally designed by Charles Rennie Mackintosh and Margaret Macdonald Mackintosh, designed circa 1900-1903 and manufactured in 1984-86, in original presentation case with pink silk lining, stamped marks, 22.5cm. long (2) £150-200

126

461

462

462. Rose des Sables a silvered and gilded bronze brooch by Line Vautrin, hexagonal form cast in low relief stamped LV 6.5cm. wide £400-600


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463

463. A Liberty & Co Tudric Pewter biscuit barrel designed by Archibald Knox, with later green glass liner, cast in low relief with foliate panels, unsigned 15cm. high £300-500 Catalogue notes This model was illustrated in Liberty’s adverts costing 14/6. Provenance Arts and Crafts Christie’s South Kensington, 14th May 2002 lot 154.

464

464. A Pewter wall mirror, possibly retailed by Liberty & Co, circular cast in relief with foliate roundels, unsigned, 56cm. diam. £150-200

465. A Compton Potters Arts Guild Celtic jardiniere designed by Archibald Knox, cast in relief with swirling Art Nouveau foliage unmarked, 32cm. diam. £500-800 Literature Veronica Franklin Gould, Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, page 29 this design illustrated.

465

127


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466

468 467

469

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466. A George Connell silver and enamel dish probably retailed by Liberty & Co, elliptical section, stamped with two foliate handles, enamelled in blue and green stamped marks, London 1904, 16cm. wide £250-350

467. A Liberty & Co silver and enamel vesta case designed by Archibald Knox, rectangular with hinged cover, cast in low relief with Celtic knot motif enamelled in blue and green, engraved to reverse, stamped £150-200 marks Birmingham 1904 5cm. long Literature Stephen A Martin Archibald Knox, ARTMEDIA page 213 for a comparable vesta illustrated. Archibald Knox Beauty & Modernity A Designer Ahead of His Time, Archibald Knox Society, 2014, page 39 catalogue number.66 for a comparable example.

468. A Liberty & Co silver and enamel case designed by Archibald Knox, rectangular form, cast in low relief with Art Nouveau entrelac panel, enamelled green and blue stamped marks, Birmingham 1905 8.5cm. long £300-500 Literature Archibald Knox Beauty & Modernity A Designer Ahead of His Time, Archibald Knox Society, 2014, page 39 catalogue number 62 for a comparable example illustrated.

469. A Liberty & Co Cymric silver and enamel aide memoire, rectangular hinged form, cast in low relief with Art Nouveau entrelac panel, enamelled in shades of green and yellow stamped marks, L C & Co, Birmingham 1904, 6.5cm. long £300-500

END OF SALE

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CLARICE CLIFF, ART DECO & DESIGN Wednesday 20th March 2019 Closing date for entries 25th January

Red Trees and House a Clarice Cliff Bizarre wall charger Estimate: £3,000 - £5,000

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


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FURNITURE, WORKS OF ART & CLOCKS Wednesday 9th January 2019

An Art Deco bronze, ‘Olympian’ by Pierre Le Faguays, 107.8cm high. Estimate: £2,000 - £3,000

ENQUIRIES Mark Yuan-Richards | Tel: +44 (0) 1722 411854 | myr@woolleyandwallis.co.uk


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SILVER & OBJECTS OF VERTU

Tuesday 22nd & Wednesday 23rd January 2019

A modern parcel-gilt silver centre-piece, by Christopher Lawrence London 1973 20cm high. Estimate: £1,000 - £1,500

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


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JEWELLERY

Thursday 24th January 2019

A selection of a large group of antique rings and a brooch to be sold from a private collection. Estimates range £200-600

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


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FINE PORCELAIN & POTTERY Tuesday 19th February 2019

Entries are currently being invited for this sale

A pair of Samson Safavid-style porcelain vases, late 19th century, 58cm. Estimate: £1,200 - £1,500

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


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TRIBAL ART & ANTIQUITIES

Wednesday 20th February 2019 Entries are currently being invited for this sale

A Middle Sepik suspension hook Papua New Guinea 65cm high Provenance: The Bob Wise Collection. Estimate: £500 - £1,000 ENQUIRIES Will Hobbs | Tel: +44 (0)1722 339752 | wh@woolleyandwallis.co.uk


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Auction Information

Castle Gate Offices Monday to Friday 9am – 5.30pm

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3% + VAT charge for this service.

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

In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you:

OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm and 10am – 1pm on Saturdays

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address 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 the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

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

Mailboxes

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

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.

Pack & Send

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

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


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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega () have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked  may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.


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

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

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


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

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

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.


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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

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

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

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000


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

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

We may collect the following personal data about you:

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

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

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

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

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


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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

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

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


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Design & Production by Jamm Design Ltd. 020 7424 7830 jammdesign.co.uk


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WOO L LE Y & WA L LI S

Absentee Bid Form British Art Pottery & Design

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 12th December 2018 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

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

Signature

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

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www.woolleyandwallis.co.uk


Auction Calendar 20TH CENTURY DESIGN 20th March 2019 – Clarice Cliff, Art Deco & Design 19th June 2019 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 9th January 2019 3rd April 2019 3rd July 2019 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk SILVER 22nd & 23rd January 2019 – Silver & Objects of Vertu 16th & 17th April 2019 – Fine Silver & Objects of Vertu 16th & 17th July 2019 – Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 24th January 2019 – Jewellery 18th April 2019 – Fine Jewellery 18th July 2019 – Jewellery Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 19th February 2019 – Fine Porcelain & Pottery 30th April 2019 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th February 2019 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk PAINTINGS 6th March 2019 – Old Masters, British & European Paintings 5th June 2019 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 446961 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 446962 • jb@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 1st May 2019 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 21st & 22nd May 2019 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0) 1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk


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Woolley & Wallis  

British Art Pottery | Wednesday 12th December 2018

Woolley & Wallis  

British Art Pottery | Wednesday 12th December 2018