Woolley & Wallis Arts & Crafts June 2013

Woo l le y & WA l li s SA L I S B U R Y SA L E R O O M S

Arts & Crafts Wednesday 19th June 2013

Specialist Departments Please dial +44 (0)1722 followed by the number listed below

20TH CENTURY DESIGN Michael Jeffery

—

ASIAN ART John Axford MRICS ASFAV — Sophie Lister — Alex Doméracki Freya Yuan

424505

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598

424506 424591

MARKETING Tamzin Corbett

CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price — 07741 242421 Will Hobbs — 339752 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 FURNITURE Will Hobbs Mark Richards Jim Gale

— — —

339752 411854 339161

JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

—

424504 424595

PAINTINGS Victor Fauvelle Jo Butler

— —

424503 424592

ACCOUNTS Janice Clift Ruth Pike GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young SALEROOM MANAGER David Jordan

— —

424501 424594

—

424500

—

424500

—

424500

John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

FRICS

COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift

Members of The Society

424590

BOARD OF DIRECTORS Paul Viney ASFAV Chairman

Willi Verdon-Smith SILVER Rupert Slingsby Lucy Chalmers

—

of Fine Art Auctioneers

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

—

424599

Arts & CrAfts Wednesday 19th June 2013 at 10.30am Saturday 15th June Monday 17th June Tuesday 18th June Wednesday 19th June

Viewing Times 10.00am – 1.00pm 10.00am – 4.30pm 10.00am – 4.30pm 9.00am – 10.30am

ENQUIRIES Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

Catalogue £10.00 (£12.00 by post) Please note multiple lot images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

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

Please note all items of furniture will be removed to the Old Sarum warehouse on Friday 21st June.

There is no surcharge for using this service.

GlAss

1 2

4

5

3

6

1.

A stained glass window, the central roundel decorated with a bird skimming over a river, grasses in the background, with rectangular coloured glass panels 88 x 29cm. £80-120 Provenance The Albert E Wade Collection 2.

A small stained glass window, decorated with a central roundel of holly, inside panel border of stylised flowers, window 31 x 33cm. £50-100 3.

An Aesthetic Movement stained glass window, rectangular, painted with a bird perched amongst foliage boughs 48 x 36cm. £100-200 4.

An Aesthetic Movement stained glass window, geometric leaded glass painted with birds flying past prunus blossom sprays, in colours, in later pine wood frame 79 x 82cm. £200-300 5.

Five stained glass window panels, the shaped, rectangular panels with blue bird and flowers design largest panels, 51 x 30cm. £100-200 7 6.

An Arts and Crafts leaded glass window, rectangular, decorated with a boat at full sail, 53 x 47cm. £100-150

7.

‘The Legend of St Giles’ a watercolour on paper design for a stained glass window by Henry John Hunt, under the coat of arms for Camberwell, mounted on card, painted signature 30 x 19cm. £150-200 Exhibited Henry John Hunt exhibited a ‘design for stained glass - Arms of Camberwell’ at the Royal Academy in 1941.

8.

A stained glass window depicting Mary and the infant Jesus, in a manger setting, two cows watching on in the background, mounted in a light-box frame unsigned window 74 x 52cm. £300-500 Provenance Rachel Moss Private Collection 8

5

9.

A large stained glass triptych window, in iron frames, the leaded windows depicting the Crucifixion of Christ, flanked by Mary and Saint ÂŁ4,000-6,000 John, Crucifixion panel 266cm. high Provenance Roundway Hospital Chapel, Devizes Wiltshire Private collection Roundway Hospital was designed by the architects Thomas Henry Wyatt and David Brandon and was built between 1847 and 1849, it was partially demolished in 1995.

6

10. ‘St Michael’ a large and impressive stained glass window, depicting the archangel resting, holding a spear and leaning his shield on his side 233cm x 76cm. ÂŁ2,500-3,500 The window was commissioned in loving memory of James Augood who died March 18th 1918 aged 83 and it is believed was commissioned for a church in Ilford, Essex.

7

11

12

13 11. An Aesthetic Movement stained glass window, two panels, painted with a heron, eating a frog it has just caught, before flag iris flowers on the river bank 64 x 36cm. £150-200

12. A large Aesthetic Movement stained glass window, rectangular form, decorated with a heron fishing amongst the bulrushes, wading amongst the waterlilies as a kingfisher watches on, inside geometric panel borders 101 x 60cm. £400-600

13. ‘Classical Beauty’ a Hans Strohofer collage, marbled papers, pen and ink, framed and glazed and another Classical Beauty reverse painted glass panel by Hans Strohofer unsigned, glass panel smashed image 43 x 24.5cm. £300-500 Provenance Vienna 1880-1930 Paintings and Drawings, Sotheby’s 10th February 1988 lot 81 in 1911 Strohofer was commissioned to design thirteen glass panels for the dining room of the architect Otto Wagner’s Huttelsdorf Villa. they were executed circa 1913-1914.

14 14. A rare James Powell & Sons, Whitefriars Minerbi glass goblet, the wide bowl with green pulled down melted in threads, on twisted stem, 18.5cm. high £150-200 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis, page 107 plate 44 and 45 for other items from the Minerbi suite

15. A James Powell & Sons Whitefriars glass Serpent vase, designed by Harry Powell, sea green glass with applied blue decoration, a claret bottle designed by Harry Powell, and a wave ribbed bowl designed by William Butler £100-200 Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 112 plate 71 for an identical Serpent vase and page 30 figure 75 for an identical claret bottle.

8

15

16

17

20

18

21

19

22

23

16. A James Powell & Sons Whitefriars green glass decanter and stopper, designed by Harry Powell, shouldered, square section with flaring rim, with crimped leaf shaped stopper, 24.5cm. high £80-120 Literature Lesley Jackson Whitefriars Glass, James Powell & Sons, Richard Dennis Publications, page 113 plate 77 for three comparable decanters 17. A John Walsh Walsh vaseline glass vase, floriform shape, internally decorated with veins, on flaring foot 14cm. high £80-120

24

18. A set of nine various glass bowls by Hannah Walton, each painted with a frieze of roses in pink and green to the rim, with one rose stem to the well, comprising, six small bowls and three larger bowls, painted HW monogram to some, large 12.3cm diam, small 11.5cm. diam. £250-350 19. A Tudor cut glass vase, swollen cylindrical form, cut with fish swimming amongst waterweed, and another cut glass vase on applied foot, acid etched mark Tudor vase 20cm. high £50-100 20. Five clear glass bowls probably James Powell & Sons Whitefriars, a decanter with trailed decoration and two bowls unsigned bowls 13.5cm. diam. £100-200 21. An enamelled glass vase, probably Austrian, flaring, bucket form, enamelled with flower sprays in red, blue and green highlighted in yellow 24cm. high £80-120 22. A Tiffany Studios Favrile glass candlestick, the tapering cylindrical body with twist decoration, with iridescent golden finish etched L.C.T. 17.5cm. high £300-400

25

23. A set of four Theresienthal, Bohemia enamelled glass hock glasses, each with enamelled flower design, on swollen green stem, highlighted in gilt 21cm. high £200-300 24. An iridescent glass vase probably Loetz, ovoid body with pulled trefoil rim, covered in a crackled golden iridescence, 14cm. high £100-200 25. A Loetz Cytisus glass vase, shouldered form with everted rim, yellow glass with pulled green, surface decorated with golden iridescent spots, 12cm. high £1,200-1,800 Literature Hatje Cantz Loetz Bohemian Glass 1880-1940, Neue Gallery, page 291 plate B.23 for a comparable vase 26. A Rindskopf Pepita glass vase, tapering cylindrical form with knopped neck and pinched rim, red to green lustrous finish 35cm. high £150-200 26

9

27

29

28

30

31

tiles 27. A set of four Minton, Hollins & Co Times of the Day tiles, printed in red, black and yellow, comprising Morning, Noon, Evening and Night impressed marks to back 20.5cm. square £300-500 28. A set of six Minton’s pottery tiles designed by Dr Christopher Dresser, printed and painted in colours on a black ground with panels of anemone and crocus flowers impressed marks, 20.5cm. square £100-200 29. A Minton’s Pottery tile designed by Dr Christopher Dresser, printed in black with birds flanking a daffodil and stylised flowers and foliage, two Craven Dunnill allegorical tiles, ‘January’ a Wedgwood tile designed by Helen J A Miles, and a collection of tiles various marks, damages Minton’s tile 20.5 x 20.5cm. £150-200 Literature Michael Whiteway Christopher Dresser 1834-1904 Skira, page 56 figure 11 for a comparable tile.

32 30. Eighteen various Art Nouveau tiles, each with floral design various marks, 15.5cm. square £200-300 31. A Pilkington’s Lancastrian Art Nouveau tile, slip decorated, with a flower stem, glazed green and yellow on a green ground, four slip decorated Secessionist tiles, probably Minton’s and a collection of Art Nouveau and encaustic tiles impressed marks, 15.5cm. square £200-300 32. A pair of Maw & Co tile panels, each identically printed and painted with a Geisha shading under an umbrella whilst walking on a beach, a sailing junk in the distance, in shades of blue and turquoise on a white ground impressed Maw mark, 31 x 15.5cm. £300-500 Literature Fired Earth 1000 Years of Tiles in Europe TACS/Richard Dennis, page 108 figure 227 for a comparable image on a two tile panel.

Aspects of the Aesthetic Movement, Dan Klein Ltd, an identical tile illustrated on the back cover, catalogue number 47.

33. A Minton Hollins & Co tile, painted with an owl perched before starry night sky, an oil lamp hanging to his side cast marks, 21cm. square £100-200 33

10

34

37

35

38

36

39

40

34. Seven Midsummer Night’s Dream Wedgwood tiles designed by Helen J.A. Miles, each printed with a Shakespearean character, in a rare, unrecorded colourway of green on a cream ground, impressed marks 20.5cm. square £400-600 Literature Maureen Batkin Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 112 plate 245.

35. A walnut framed tile jardiniere, the tiles probably Johnson’s or Henry Richards, hexagonal section, the six tiles each modelled in low relief with Art Nouveau flower stems, glazed green impressed C roundel to tiles 36cm. wide £200-400 36. A continental Art Nouveau tile panel, rectangular, slip decorated with an Art Nouveau maiden looking at a bird perched in a tree, in colours, incised 907 to reverse 28 x 16cm. £150-200 37. A pair of tiles after designs by Randolph Caldecott, printed and painted in colours with Victorian scenes, 15cm. square £80-120

41

38. A Minton’s Pottery tile jardiniere, the tiles designed by William Wise, printed in sepia deer and farmyard animals, in brass frame with ball feet and terminals cast marks to tiles, facsimile signature and dated 1879 to some of the tiles 21cm. high £100-150 Wise took the designs from Robert Hills ‘Etchings of Animals Drawn From Nature’ published in 1817.

39. A pair of Carter’s Tiles, Poole Pottery architectural tiles, probably modelled by William Unwin, each modelled as a classical dolphin either side of an urn, glazed ochre, chips, 31cm. wide £100-200 40. A Maw & Co three tile panel, painted with a vase of stylised flowers, in green and blue on a white ground, framed impressed marks to reverse tiles 61 x 20cm. £60-100

42

41. A large architectural tile, attributed to the Leeds Fireclay Company, cast in low relief with scrolling formal flowers and foliage design in sand on a sky blue ground unsigned 39cm. square £300-400 42. Eleven Carter’s Poole Pottery tiles, each modelled in low relief with classical Dolphins rearing up from waves, glazed in cream and pale blue, with a collection of square spacer tiles each modelled with a Tudor rose motif chips, dolphin tiles 15.5cm. square £200-300 Literature Leslie Heywood and Paul Atterbury Poole Pottery Richard Dennis, page 21 the original watercolour design illustrated, pattern number 871.

43. A Carter’s Poole Pottery Nursery tile fire surround and hearth designed by Dora Batty, comprising fourteen character tiles, interspaced with flower tiles, spacers and black spacer border, with chrome metal rim, 94cm. high, 97cm wide £300-500 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 171 for this tile range illustrated.

43

11

44

45

47

46

48 49 44. A Sunflower pattern Dutch tin-glazed tile designed by William De Morgan or William Morris, probably retailed by Morris & Co, glazed in blue and white unsigned 15cm, square £200-300 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 105 figure 165 for comparable tiles

50

45. Four tin-glazed earthenware Daisy tiles designed by William Morris, probably retailed by Morris & Co, painted in shades of yellow and blue on a white ground, in cast iron frame from a fireplace, each tile 15.5cm. square £300-500 Literature Richard and Hilary Myers William Morris Tiles, Richard Dennis Publications, page 36 plate 4c for comparable tiles 46. A Sunflower William De Morgan tile, designed by William De Morgan or William Morris, decorated in ruby lustre with a sunflower design, on white ground unsigned, chipped down one side 15.5cm. square £80-120 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 133 plate 797 for the tile design.

Linda Parry William Morris Victoria & Albert Museum Exhibition, 1996, page 190 figure K.13 for a comparable tile

51

47. A pair of William De Morgan Poole Architectural BBB tiles, painted in shades of green, aubergine and blue on a white ground impressed marks, minor glaze chips 15.5cm. square £300-500 48. A pair of William De Morgan Poole Architectural BBB tiles, painted in shades of green, aubergine and blue on a white ground impressed marks, minor glaze chips 15.5cm. square £300-500 49. A pair of William De Morgan Poole Architectural BBB tiles, painted in shades of green, aubergine and blue on a white ground, and another BBB tile impressed marks, chips, additional tile broken in half, 15.5cm. square £150-200 50. A pair of William De Morgan Poole Architectural BBB tiles, painted in shades of green, aubergine and blue on a white ground impressed marks, minor glaze chips 15.5cm. square £300-500

52

51. A William De Morgan Chelsea Period New Bedford Park Daisy tile, painted with panels of flowers in aubergine and green on a white ground impressed marks, museum restored 21cm. square £250-350 52. A large William De Morgan Merton Abbey Bedford Park Daisy tile, painted in shades of green, yellow and brown on a white ground impressed marks, minor old restoration, 20.5cm. square £100-200 53. A William De Morgan Merton Abbey Persian tile, painted with blue carnation flowers, in green and blue on a white ground impressed mark 21cm. wide £200-300

12

53

54

54. A Theodore Deck Iznik tile, painted with a band of scrolling foliage between borders, in shades of blue, turquoise, pink and black on a white ground impressed Deck to reverse, chips,25cm. square £150-250

55 55. A William De Morgan two-tile Galleon panel, painted with a manned galleon rowing past a classical landscape, whilst the sails are raised, in a green and white palette, framed, 31cm wide £2,000-3,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 176 figure 470. for a comparable panel

56. A William De Morgan Sand’s End Pottery tile, painted with a dragon-like creature in a Persian palette of green, blue and aubergine on a white ground, framed impressed marks, minor restoration to corner 15.5cm. square £700-900 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 237 figure 244 for this creature illustrated.

56

57. A good William De Morgan Chelsea Period tile, painted with a griffin being attacked by a cat-like creature, in shades of blue on a white ground impressed marks, 15.5cm. square £2,000-3,000 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, this tile design illustrated page 125 catalogue number 906.

57

13

58

61

59

62

60

63

64

58. A pair of William De Morgan Chelsea Period tiles, painted with three flowering stems in aubergine and green on a white ground impressed marks, 15.5cm. square £100-200 59. A pair of William De Morgan Merton Abbey Manchester tiles, each painted in shades of blue, green and aubergine on a white ground, framed impressed marks, each tile 20.5cm. wide £500-700 60. A pair of William De Morgan Chelsea Period tiles, each painted with three flower stems, in aubergine and green on a white ground impressed marks, museum restoration 15.5cm. wide £200-300 61. A William De Morgan Persian three tile panel, painted with a carnation flowers design in green, blue and aubergine, framed, each tile 15.5cm. square £600-900 Provenance Ceramic Design Bonhams 14th March 2007 lot 314, part of the Peter Creffield Collection of Tiles Private collection 62. A pair of Willian De Morgan Merton Abbey Persian tiles, painted in colours on a white ground, framed impressed marks, 15.5cm. square £500-600 63. Two William De Morgan New Persian No.1 tiles, painted in shades of blue and green on a white ground, framed with a blue spacer tile museum restored 15.5cm. square £200-300 Literature Jon Catleugh Willliam De Morgan Tiles, Trefoil, page 114 figure 160 for comparable.

64. Five William De Morgan Chelsea Period tiles, painted with berried foliage in shades of yellow and blue on a white ground impressed marks, old restoration to chips 15.5cm. square £150-200 65. A William De Morgan eight tile panel, painted with scrolling foliage design in shades of green on a white ground, framed, minor damages, each tile 15.5cm. square £600-900 Literature Jon Catleugh Willliam De Morgan Tiles, Trefoil, page 113 figure 159 for comparable.

14

65

66

67

70

68

71

69

72

66. A William De Morgan Sand’s End Pottery tile, cast in low relief with two lions, glazed in yellow and mustard impressed factory mark, 15.5cm. wide. £150-200 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, this design illustrated page 121 plate 1074 for the original design illustrated.

73

67. A pair of William De Morgan Chelsea Period tiles, each painted with a rose stem in green on a white ground impressed marks, minor old restoration to corners 16cm. square £100-200 68. A William De Morgan Sand’s End Pottery tile, painted with a grape vine design in aubergine and green on a white ground, and another William De Morgan tile impressed marks, 15.5cm. square£150-250 69. A Pair of William De Morgan tiles, painted with pink carnations, in shades of pink and green on a white ground impressed Merton Abbey and Fulham marks, restored 15cm. square £100-200 70. Three William De Morgan Sand’s End Pottery tiles, each small tile painted with three flowers on a scrolling foliate ground, impressed marks, minor glaze chips 13cm. square £150-200 Provenance Ceramic Design Bonhams 14th March 2007 lot 390, part of the Peter Creffield Collection of Tiles

74

Private collection 71. A William De Morgan KL Rose tile on Poole Architectural blank, painted with two yellow flower stems, in shades of yellow, green and brown on a white ground, and a William De Morgan New Pineapple variation ruby lustre tile impressed marks, damages and restoration 15.5cm. square £150-200 72. A William De Morgan Chelsea Period New Pineapple tile, painted in shades of green, yellow and aubergine, in later frame impressed mark, museum restored, 15cm. square £100-200 75 73. A William De Morgan Rose Trellis tile on Poole Architectural blank, painted in shades of blue and green on a white ground, a Tulip and Trellis William De Morgan tile, and a Carnation William De Morgan tile various marks, 15.5cm. square £200-300 74. A large William De Morgan Rose and Scroll tile on Wedgwood blank, painted in ruby lustre with quartered design impressed Wedgwood marks, 21cm. square £250-300 Provenance Peter Creffield Collection Private collection Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications page 139 figure 665 for the original design illustrated.

75. A William De Morgan tile on Wedgwood blank, painted with sprays of foliage on ruby lustre impressed urn mark, 15.5cm. square £150-200 Provenance Peter Creffield Collection Private collection 76. A William De Morgan three tile panel, painted with scrolling flowers and foliage in ruby on a white ground, framed 20.5cm square each £800-1,200 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, this design illustrated page 143 plate 651

76

15

77

78 79

77. A William De Morgan pottery charger, painted to the well with a gazelle to the well, before stylised foliage, the rim with a frieze of fruiting foliage in shades of ruby lustre, the reverse painted with stylised flowers and foliage unsigned 36cm. diam. £800-1,200 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, this design illustrated page 37 plate 1165 the original design illustrated.

78. A stoneware jar and cover, probably by William De Morgan, painted in ruby lustre on a white ground with flowers and foliage unsigned, glaze chips 15cm. high £100-200 80

79. A William De Morgan Pottery vase, swollen, shouldered form, painted with panels of peacock birds before foliage in ruby lustre on a white ground unsigned, small chip tot top rim, 22cm. high £1,500-2,500

80. A William De Morgan rice dish by Charles Passenger, the well painted with a rabbit grazing, the rim a frieze of exotic birds amongst scrolling foliage, in ruby lustre on a white ground painted W De Morgan and CP monogram, two small glaze nicks to rim, 24cm. diam. £1,800-2,200

81. A large William De Morgan Persian twin-handled vase, shouldered form with knopped neck and strap handles, painted with carnation flowers in aubergine, green and blue unsigned, glaze loss, chips 31cm. high £1,000-2,000

81

16

82. A large William De Morgan Pottery Persian vase, shouldered, twin-handled form, the body painted with large scaly fish, the swollen neck with crabs, in shades of blue and black on a white ground unsigned, minor professional restoration 36cm. high ÂŁ6,000-10,000

17

83. A rare Maw & Co Ship ewer designed by Walter Crane, model no. 9420, shouldered form with applied dolphin handle, painted with a figures paddling long-boats, before the rising sun, in a sandy-red lustre glaze painted factory marks to base, 32cm. high ÂŁ5,000-8,000 Literature Greg Smith & Sarah Hyde Walter Crane Artist, Designer and Socialist, Whitworth Gallery catalogue, Lund Humphries page 143 K8(ii) for a comparable example.

Inspired by Design Manchester City Art Gallery, page 17 plate 7 for a comparable example.

The Best of British - The Auction Paul Reeves/Sotheby’s 20th March 2008 page 169 lot 117 for a comparable ewer.

18

84. A Maw & Co Pottery charger dated 1886 designed

by Lewis F Day, painted with a rearing dragon creature, in ruby lustre on a white ground, impressed and painted marks 34cm. diam. £500-800 Literature Joan Maria Hansen Lewis Foreman Day 1845-1910, Antique Collector’s Club, page 181 figure 6.23. this charger design illustrated from Nature & Ornament.

84

85. A Burmantofts Faience Anglo-Persian vase designed by Leonard King, model no.D.62, the swollen body with tapering cylindrical neck, painted with blue daisy flowers, in Persian colours on a white ground impressed and painted marks, minor glaze frits to top rim, 25cm. high £1,500-2,000

85

86. A large Doulton stoneware vase by Hannah Barlow, incised with a pride of lions resting, in ochre and white between bands in shades of brown and green parts of impressed mark, incised monogram, restored neck 48cm. high £800-1,200

86

19

88 87

89

91

90

94

92

93 87. A Doulton Faience vase, dated 1882, shouldered form painted with panels of white opium poppies, on a blue ground, highlighted in gilt impressed and painted marks,33cm. high £120-180 88. A pair of Royal Doulton Slater’s Patent stoneware vases, swollen form with slender solifleur neck and everted rim, surface decorated. painted in colours and highlighted in gilt impressed and incised marks, 40cm. high £80-120

95

96

89.

A Doulton Lambeth stoneware vase by Frank Butler, dated 1883, shouldered cylindrical form pate sur pate incised with panels of foliage in green, blue and ochre impressed and incised marks, rim smashed and re-stuck, 40cm. high £150-250 90. A Doulton Lambeth Carrara Ware ewer by Frank Butler and Edith Lupton, painted with flower sprays in colours, highlighted in gilt on a buff ground, impressed and incised marks, 26cm. high £100-200

91. A Doulton Lambeth stoneware Toby match-holder designed by Harry Simeon, modelled as a seated medieval drinking man, glazed in colours impressed mark, 11.5cm. diam. £100-200 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares Richard Dennis, page 224 numbered 8594 this model illustrated.

92. ‘Booby’ a Royal Doulton stoneware paperweight, modelled seated on a stepped plinth, titled, covered in a green glaze impressed mark, 11cm. high £100-200 93. A Royal Doulton stoneware dish commemorating the British Empire Exhibition, Wembley 1924, square section with round well, the rim with Empire lion motif in low relief, glazed green and ochre impressed mark, 10cm. square £100-150 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares Richard Dennis, page 261 this actual dish illustrated.

94. A Doulton Lambeth Faience vase by Martha Adams, dated 1878, painted with autumnal foliage in shades of brown and green on a deep blue ground, and a Doulton Lambeth vase by Helen Arding, impressed and painted marks, 22cm. high £80-120 95. A pair of Doulton Lambeth stoneware vases by Eiza Simmance, baluster form, each slip decorated with a frieze of Art Nouveau flower stems, in ochre, brown and green on a mottled green ground impressed and incised marks, 26.5cm. high £600-1,000

97

96. A Doulton Lambeth stoneware Boer War commemorative tyg, commemorating the hoisting of the British flag in Pretoria, inscribed God Save The Queen, below a portrait of Queen Victoria and crossed flags, glazed in colours impressed marks, 16.5cm. high £80-120 Literature Desmond Eyles and Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 277 for a comparable piece 97. A rare Doulton Lambeth stoneware figure of a Boar War soldier by John Broad, the salt-glaze figure on socle base, with metal rifle with bayonet attached impressed marks, incised signature 31cm. high £200-400

20

99

100

101

98

98. A pair of Doulton Lambeth stoneware vases by Florence Barlow, tubeline and pate sur pate decorated with panels of finches in green and white on an ochre ground, impressed numbers, incised monogram 27cm. high £800-1,200

99. ‘Florence Barlow’ a rare oil on paper portrait by Hannah Barlow, framed signed in pencil HB monogram, titled Florence image 24.5 x 19.5cm. £800-1,200 Provenance The Albert Dawson Trust

100. ‘Poetical Justice’ a pen and ink study on paper by Hannah Barlow, framed signed HBB and titled in pencil image 21 x 15.5cm. £200-300

102

Provenance The Albert Dawson Trust This design was included in a notebook of designs by Hannah Barlow.

101. ‘The Challenge’ a pastel on paper by Hannah Barlow, framed signed in pencil with monogram image 37 x 26.5cm. £400-500

102. A Doulton Lambeth stoneware Galleon finial designed by Gilbert Bayes, made for the washing line posts at St Pancras Housing Association Estates, London, modelled in relief and glazed in colours minor chip 51cm. high £500-1,000 Literature Desmond Eyles and Louise Irvine The Doulton Lambeth Wares Richard Dennis Publications page 231 for a comparable finial.

103. A Doulton Lambeth stoneware Galleon finial designed by Gilbert Bayes, made for the washing line posts at St Pancras Housing Association Estates, London, modelled in relief and glazed in colours minor restoration43cm. high £500-1,000

103

Literature Desmond Eyles and Louise Irvine The Doulton Lambeth Wares Richard Dennis Publications page 231 for a comparable finial.

104. A Doulton Lambeth stoneware Tudor Rose finial designed by Gilbert Bayes, made for the washing line posts at St Pancras Housing Association Estates, London, modelled in relief and glazed in colours 36cm. high £500-1,000 Literature Desmond Eyles and Louise Irvine The Doulton Lambeth Wares Richard Dennis Publications page 231 for a comparable finial.

Louise Irvine & Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis Publications, page 172 for a comparable finial.

104

21

106 105

107

108 109

105. A Royal Doulton Veined Flambe vase, shape no.1617, shouldered cylindrical form with cylinder neck, flambe red glaze with speckled and smoked blue pitted glaze to base, and two Royal Doulton Veined Flambe vases printed factory marks 35cm. high £150-200 106. A large Royal Doulton Veined Flambe vase, model no.1624, shouldered form, flambe red covered to the base with veined smoked blue glaze to the base printed mark, 42cm. high £300-500 107. A Royal Doulton flambe vase by Harry Nixon, shouldered form, painted with tulip flowers in red, green and yellow on a flambe ground, highlighted in gilt printed mark artists HN monogram 16.5cm. high £1,000-1,500 108. A rare Royal Doulton Chang miniature vase by Charles Noke, shouldered cylinder form with collar neck, deep flambe ground covered in a running volcanic white glaze with flambe, yellow and green patches printed and painted marks 6cm. high £600-900 109. A Royal Doulton Veined Flambe vase, flattened, shouldered form, covered in a smoked blue-grey glaze over flambe printed mark, 15cm. high £250-300

110

22

110. An Aesthetic Movement wall charger by G R Purvis, painted with a kingfisher flying past flowers and foliage, in colours on a cream ground, impressed marks and painted signature to reverse 43.5cm. high £200-300

111

113

112

114

115 116 118

117 111. A large Aesthetic Movement charger, unusually modelled in low relief and painted with a maiden portrait, depicted offering up a pheasant on a tray of heather and yellow berries, in colours impressed numbers to reverse 58cm. diam. £700-1,000 112. ‘A Jack in the Office’ a Howell & James wall charger, painted after Edwin Henry Landseer, painted by H Ayres, applied exhibition label, painted monogram 36cm. diam. £200-300

118. A Dudson Pottery Jet Ware moon flask, modelled with Dolphin handles, decorated with oriental figures in a garden setting, in colours on a black ground, highlighted in gilt impressed mark 22.5cm. high £150-200 119. A Minton’s encaustic bread plate designed by Augustus Welby Northmore Pugin, circular the rim inscribed Waste Not Want Not the well with radiating ears of corn, in rust and blue on a sand ground impressed 430 to reverse 33.5cm. diam. £1,000-2,000

Provenance Howell & James’ Art Pottery Exhibition 1881

Literature Paul Atterbury and Clive Wainwright Pugin Victoria & Albert Museum exhibition catalogue, page 143 plate 260 for a comparable plate.

113. An Aesthetic Movement plate, painted to the well with a maiden portrait, inside autumnal foliage on a sky blue ground painted E s d to reverse 22.5cm. diam. £80-120

Charlotte Gere and Michael Whiteway Nineteenth Century Design from Pugin to Mackintosh, Weidenfeld & Nicolson, page 53 plate 49 for a comparable example.

114. A Copeland Spode charger, printed and painted with a medieval chef carrying a wild boar’s head to the table, inside a border of classical foliage, in colours impressed and printed marks, 36cm. diam. £80-120 115. A Minton’s New Stone Gothic dinner service designed by Augustus Welby Northmore Pugin, printed with a formal floral design to well and borders in shades of red and blue, comprising, meat platter, two graduated platters, a tureen, cover and stand, an open cover, a low tazza, a footed serving platter, three small platters, three saucers, nine soup bowls, eight plates, and seven side plates, impressed and printed marks, damages largest platter 45cm. wide £100-200 Literature Paul Atterbury and Clive Wainwright Pugin, Victoria & Albert Museum Exhibition, 1994 page150 plate 278 for a comparable service 116. A Minton tureen and cover designed by Augustus Welby Northmore Pugin, elliptical section, printed in green and purple with foliate and cruciform repeat, the handles a ribbon motif, highlighted in gilt impressed marks, 37cm. wide £80-120 Provenance The Albert Dawson Trust Literature Paul Atterbury and Clive Wainwright Pugin, Victoria & Albert Museum Exhibition, 1994 page 150 figure 279 for a comparable tureen.

117. A plate possibly designed by John Pearson, painted to the well with a recoiling lion creature, the border with chevron and dot panels in shades of blue on a white ground, unsigned, crack to well 23.5cm. diam. £100-150

119

23

MArtin Brothers Pottery

120. A unique Martin Brothers stoneware study of a weasel by Robert Wallace Martin, dated 1888, modelled cornered and rearing up its mouth open, glazed ochre and pale brown, on textured base incised to the reverse Sketch of Weasel Caught in the Pottery Dec 1888, the front incised R W Martin Southall Middx 17cm. wide. ÂŁ800-1,200 This unique figure was modelled by Robert Wallace Martin and is part of a series of study figures including fish and a dead Chicken.

24

121. A fine, large Martin Brothers stoneware bird sculpture by Robert Wallace Martin, dated 1891, the jar and cover deeply modelled, with puffed out chest and outstretched wings, the head with forward looking staring eyes and broad beak, glazed in blue, green and ochre, incised to head and base R W Martin & Bros, London & Southall 11..1891, small flat chip underside of neck 42cm. high ÂŁ35,000-45,000 Exhibited The Martin Brothers Potters Woolley and Wallis Auctioneers, 31st October 2005.

Provenance Private Collection.

25

123

122

122. ‘The Collection of Martinware Formed by Mr Frederick John Nettlefold’ by Charles R Beard, privately printed for the owner by Waterlow & Sons, 1936 £250-350

123. ‘Boobies, Boojums and Snarks’ a loose leaf catalogue published by The Jordan-Volpe Gallery, New York, 1982, in original presentation case, with commemorative badge, press release and invitation form £100-200

124

125

124. A Martin Brothers stoneware kerb tile, incised with a band of scrolling flowers and foliage, between formal borders, in shades of ochre and brown unsigned, chips, 31cm. wide £100-200 Provenance British Art Pottery, Woolley and Wallis 26th November 2008 lot 70 Private Collection.

126 125. A Martin Brothers stoneware vase, ovoid form, covered in a mottled brown glaze 1-96 Martin Bros London & Southall, minor restoration to top rim, 9.5cm. high £50-100

126. A Martin Brothers stoneware face fragment, modelled smiling glazed ochre, later mounted on ebonised wood panel, with later head-scarf unsigned, damages and restoration mount 26cm diam. £300-400

127. A Martin Brothers stoneware wall vesta holder by Robert Wallace Martin, dated 1875, modelled as a dragon eating its own tail, glazed in shades of blue, green and ochre incised R W Martin London 6-1875, repair to wing tip, minor glaze loss13cm. high £500-1,000

26

127

128. A large and well fired Martin Brothers Aquatic stoneware vase, dated 1898, shouldered form, incised with grotesque anthropomorphic fish swimming and feasting on shell fish and jelly fish, in shades of ochre and green on a pale blue ground incised 10-1898 Martin Bros, London & Southall, fine hairline across base, 34cm. high ÂŁ4,000-6,000 Provenance Private Collection

27

129. A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, dated 1899, flattened, gourd form, painted with scaly fish swimming amongst waterweed to all sides, the neck with a jelly fish, in shades of blue, green and brown on a buff ground incised 1-1899 Martin Bros London & Southall 19.5cm. high £3,000-4,000

129

130. A Martin Brothers stoneware ewer, dated 1892, shouldered, square section, carved and incised with grotesque fish, jelly-fish, octopus and a shells amongst waterweed, painted in shades of ochre, green and brown on a pale blue ground, with patinated white metal Japoniste stopper cast in low relief with Narcissi flower stems, incised 8 1892, Martin Bros, London & Southall, neck re-stuck 22cm. high £800-1,200

130

131. A pair of Martin Brothers stoneware Aquatic vases by Edwin & Walter Martin, dated 1899, swollen square section, incised with swimming lizards amongst waterweed, in ochre, green and brown on a buff ground, incised 3 1899 Martin Bros London & Southall, chip to rim of one 19.5cm. high £1,000-2,000

131

28

132. A Martin Brothers stoneware Aquatic jug, dated 1899, incised with grotesque fish swimming amongst jelly fish and octopus, in ochre and brown, highlighted in white incised 4-1899, Martin Bros London & Southall, professionally restored 23cm. high £1,000-2,000

132

133. A Martin Brothers stoneware Aquatic flask, by Walter and Edwin Martin, dated 1900, incised with large scaly fish swimming amongst eels, smaller fish and waterweed, in green and ochre on a pale blue ground incised Martin Bros London & Southall 4-1900, body cracks 20cm. high £600-1,000

133

134. A Martin Brothers stoneware Aquatic vase, dated 1898, swollen square section, incised with grotesque fish, a crab and aquatic insects, in green and brown on a blue ground incised 8-1898 Martin Bros London & Southall, museum restoration to base 23cm. high £600-1,000

134

29

135. A Martin Brothers stoneware Aquatic jug, dated 1887, shouldered form with collar rim and applied handle, incised with grotesque fish hunting a shoal of smaller fish amongst the waterweed, in shades of green and ochre on a blue to brown ground incised 5-1887, R W Martin & Bros, London & Southall 22cm. high £1,000-1,500 Provenance Private Collection

135

136. A Martin Brothers stoneware Aquatic jardiniere, dated 1899, shouldered form, incised with crabs, snails, shrimps and jelly fish, in ochre on a brown ground incised 51899 Martin Bros London & Southall, restored 22cm. high £1,500-2,000

136

Provenance Private Collection

137. A Martin Brothers stoneware face mug, by Robert Wallace Martin, cast and incised with a smiling face to one side, the other a more smirking grimace, glazed ochre and brown incised mark R W Martin & Bros, London & Southall 12cm. high £1,000-1,500

137

138. A Martin Brothers stoneware miniature Aquatic vase by Edwin and Walter Martin, dated 1902, shaped, square section, each side incised and painted with a jelly fish, in green and brown incised 101902 Martin Bros London & Southall, burst glaze bubble to top rim, 5.5cm. wide £600-800

139. A Martin Brothers stoneware vase by Robert Wallace Martin, shouldered cylindrical form with cylindrical neck, incised with birds flying and perched in a blossoming tree bough, in white brown and ochre on a pale buff ground, the neck with formal blue forget me not flowers incised R W Martin & Bros London & Southall, neck re-stuck 23cm. high £700-900

30

138

139

140. A large and impressive Martin Brothers stoneware Aquatic vase by Robert Wallace Martin, dated 1884, modelled in relief and incised with grotesque fish swimming and feeding amongst waterweed and shell fish, the handles modelled as grotesque eel like creatures, glazed in shades of green, brown and blue incised R W Martin London & Southall to the shoulder, incised R W Martin & Bros London & Southall 5-1884, kiln kiss to body, hairline to top rim, kiln faults to handles 31cm. high ÂŁ4,000-6,000 Provenance Private Collection.

31

141. A Martin Brothers stoneware Imp Musician, modelled seated playing a mandolin, covered in an ochre and brown glaze, apparently unsigned, professional restoration to the headstock 10cm. high £600-1,000

141

142. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1891, modelled in low relief with a Bacchanalian mask, amidst vine leaf, in green and brown on an ochre ground incised R W Martin London & Southall, 1891 22cm. high £3,000-5,000 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 92 for a comparable jug Provenance Private Collection

142

143. A Martin Brothers stoneware ewer

by Robert Wallace Martin, shouldered cylindrical form, incised with finches perched amongst fruiting blackberry sprays, in ochre, brown and blue incised 16 1 80, R W Martin London & Southall 24cm. high £400-500

144. An early Martin Brothers stoneware vase by Robert Wallace Martin, shouldered form, incised with a band of aesthetic Movement sunflowers, in yellow, green and brown on a buff ground incised R W Martin Southall, smashed and repaired 25cm. high £100-200

32

143

144

145. A rare Martin Brothers stoneware Eskimo jug by Robert Wallace Martin, incised decorations, glazed ochre, brown and green 14.9.1903 R W Martin & Bros London & Southall, hairline to top rim 35.5cm. high ÂŁ5,000-8,000 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 92 figure 130 for a comparable example.

33

147

146

148

146. A Martin Brothers stoneware vase, dated 1903, baluster form incised and painted with birds flying above grasses, in green and brown on a pale buff ground incised 11-1903 Martin Bros London & Southall, museum restored chip to top rim 14.5cm. high £500-800

147. A rare Martin Brothers stoneware miniature bird vase, dated 1901, swollen form with collar rim, incised with flying martins above grasses, in white, blue and brown on an ochre ground incised 10-1901 Martin Bros London & Southall 6cm. high £700-900

148. A Martin Brothers stoneware jug, incised with a finches flying and resting on a tree bough, in shades of brown and ochre, highlighted in white Martin Bros London and Southall, minor professional restoration to the top rim 12cm. high £150-200

149. A Martin Brothers stoneware bird jug

by Edwin and Walter Martin, dated 1896, square section, incised and painted with anthropomorphic birds two modelled gossiping whilst one listens on, the other stands resplendent, glazed in brown, blue and green on a buff ground incised 2-1896 Martin Bros London & Southall 20cm. high £3,000-4,000

34

149

150

151

152

150. A Martin Brothers stoneware jug, swollen form on applied foot, incised with leaf design in shades of green and brown on a buff ground incised Martin London & Southall, restored handle 23cm. high £250-300

151. An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1879, footed, slender form with flaring rim, incised with scrolling foliage in blue on a blue and brown ground incised 409, 9.12.79 R W Martin London & Southall, small chips to top rim £150-200

152. A Martin Brothers stoneware tobacco jar and cover, dated 1893, shouldered cylindrical form, incised with scrolling foliage and armorial crests for Ramsbotham of Crowborough, in brown on a deep brown ground, incised 12-1893, Martin Bros London & Southall 19cm. high £600-1,000

153

153. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1892, shouldered, square section, incised and painted with lily stems, in white and green on a brown ground incised 3-1892 Martin Brothers London & Southall, minor firing crack to base, minor professional restoration to top rim 22.5cm. high £800-1,200

154. An unusual Martin Brothers stoneware vase, dated 1894, modelled in low relief with red squirrels foraging cobnuts, glazed in brown, highlighted in white on a terracotta ground incised 4-1894, Martin Bros London & Southall 20cm. high £1,000-2,000 154

35

155

156

157

158

155. A Martin Brothers stoneware vase, dated 1896, incised with scrolling, fruiting foliage, in green on a matt blue ground marked 9 96 Martin Bros London & Southall, small kiln kiss to side 7cm. high £100-200

156. A good Martin Brothers gourd vase by Edwin & Walter Martin, incised with a snakeskin design, glazed green and ochre incised Martin Bros London 7cm. high £250-350 Provenance The Harrimann Judd Collection - British Art Pottery, Sotheby’s New York 22nd January 2001 lot 251 Private Collection.

157. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, swollen square section, incised with simple veins, covered in a blue and grey glaze incised 6-1907 Martin Bros London & Southall 13cm. high £200-300 159

158. A Martin Brothers stoneware gourd vase, tapering square section with flaring neck, incised vertical ribs, glazed brown incised 9-1898 Martin Bros London & Southall 23cm. high £300-400

159. A Martin Brothers stoneware gourd vase by Walter & Edwin Martin, shouldered form with tapering, inverted neck, applied with loop handles, covered in a bronzed brown glaze, highlighted in green incised 6-1905 Martin Bros London & Southall 16cm. high £600-1,000 Provenance The Martin Brothers Potters Woolley and Wallis, Monday 31st October 2005, lot 27 Private Collection

160. A good Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1899, swollen form with thin incised veins, covered in a pale blue and green glaze, the rim picked out in brown incised 7-99 Martin Bros London & Southall, 13.5cm. high £500-800

36

160

161. A large and impressive Martin Brothers stoneware gourd vase by Edwin & Walter Martin dated 1900, modelled as a large splitting, veined gourd glazed in shades of green and ochre incised 11 1900, Martin Bros London & Southall, 25cm. high £5,000-7,000 Provenance The Martin Brothers Potters Richard Dennis Gallery, 26th September to 14th October 1978, Sotheby’s Belgravia, catalogue number 385.

Private Collection Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 120 figure 186 this exact vase illustrated.

A W Coysh British Art Pottery page 27 this exact vase illustrated

37

165 162 163

164

162. A Pilkington’s Royal Lancastrian vase by Richard Joyce and E T Radford, shape no.223, painted with a band of geometric design in green and blue on a turquoise ground, and a silver mounted terracotta jug after a design by Dr Christopher Dresser impressed and incised marks, handle stapled, London 1873 18.5cm. high £100-200

166

167

163. A Villeroy & Boch jardineire, model no.871, drum form on bun feet, painted with stylised foliate panels in colours on a matt brown ground impressed marks, 22cm. high £150-200

164. An unusual Linthorpe Pottery mantle clock, tapering rectangular section with angled handles, modelled in low relief with daisy flower stems, and a frieze of flowerheads, glazed white on a brown ground, with Ansonia Clock Co New York dial and movement impressed marks to base, professional restoration, 23.5cm. high £300-500

168

165. A Linthorpe Pottery jardiniere designed by Dr Christopher Dresser, model no.535, shouldered form with everted fluted rim, applied with flowerhead motif and looped handles, covered in a running red and yellow glaze, and an Ault Pottery vase impressed marks, repaired handle, hairlines 18cm. high £100-150

166. A Linthorpe Pottery vase, the design attributed to Dr Christopher Dresser, model no.24, shouldered, dimpled form with cylindrical neck, covered in a veined blue glaze impressed marks, 23cm. high £100-200

167. A Linthorpe Pottery ewer, the design attributed to Dr Christopher Dresser, model no.602, ovoid with cylindrical neck and angled handle, glazed green to ochre impressed marks, 22cm. high £200-300

168. A Linthorpe Pottery wall bracket, model no.1713, flaring, fluted form with crenellated rim, glazed blue with yellow patches impressed marks, 27cm. high £100-200

169. A Leeds Fireclay Company Lefco Ware stoneware jardiniere and stand, the tapering square section stand supporting ovoid, shouldered bowl cast in low relief with stylised foliage panels, covered in an oatmeal glaze impressed marks, minor repair to foot rim, 93cm. high £500-1,000

38

169

170 mark 170

171

170. A pottery solifleur vase in the manner of Della Robbia, the ovoid body incised and painted with flowers and foliage in shades of yellow, green and ochre on a buff ground incised mark, 30cm. high £80-120

171. A large Della Robbia pottery vase, dated 1900, the flattened bottle form applied with twin mask handles, incised in low relief with flowers and foliage, glazed light blue incised Della Robbia marks and PB artist mark, professional restoration 45cm. high £700-1,000

172 172. A Della Robbia Pottery charger probably by Charles Collis, incised to the well with radiating poppy flowers, the rim with a band of scrolling foliage, in shades of pink, yellow, blue and green on a brown ground incised marks, C monogram 38cm. diam. £800-1,200

173. A Della Robbia pottery charger by John Fogo, incised to the well with yellow tulip flowers inside scrolling green foliage, applied paper label over Della Robbia mark, incised JF and painted PJ probably for Aphra Pierce, hairlines, 34cm. diam £150-250 173

39

174

177 175

178

176

180

179

181

174. A pottery pedestal bowl by C Spiers, painted with flowers and foliage in shades of blue, green and black painted signature, hairlines 25cm. diam. £80-120 175. A large ceramic charger, painted with a woman in medieval dress and green hat with ostrich feather plume, on a golden background decorated with fleur de lys painted mark, minor glaze frits 52cm. diam. £200-300 176. A wall charger painted with an armorial crest, by E Krahl, probably for Baron Rokitansky incised 37 to reverse 37cm. diam. £300-400 177. An Upchurch Pottery stoneware vase, cylindrical form with applied lug handles, covered in a running blue glaze, another similar and two Poole Pottery vases impressed marks, damage to Poole vase 12cm. high £80-120 178. A Sunflower Pottery jug by Sir Edmund Elton, ovoid with pinched trefoil rim, covered in a deep aubergine lustre glaze painted Elton to base 12.5cm. high £400-500 179. A Sunflower Pottery jar and cover by Sir Edmund Elton, ovoid with pulled trefoil rim, slip decorated with flowers in blue and green on a streaked green, blue and ochre ground painted Elton 25 to base 15cm. high £120-150 180. A Forrester’s Phoenix Ware garniture of jardinere and pair of vases, slip decorated with a peacock before a rising sun, in colours, highlighted in gilt and another vase printed factory marks, hairlines 36cm. high £150-200 181. A Wedgwood Pottery vase, pattern CMH5806, painted with stylised flowers and foliage in colours between chevron bands, on a straw ground impressed and painted marks, 16.5cm. high £50-100 182

182. A pair of Monumental Sunflower Pottery candlesticks by Sir Edmund Elton, comprising tapering, stepped base on three claw feet, with cylindrical section stem and flaring sconce with brass tray, glazed blue and marbled red, green and ochre 135cm. high £800-1,200 183. A Burmantoft’s Faience Sunflower jardiniere and stand, the ovoid bowl and cylindrical stand cast in low relied with sunflower stems in panels, covered in a green glaze impressed marks, 95cm. high £150-200

40

183

184

186

185

188

187

189 191 190

184. A Ewenny Pottery money box, dated 1894, with modelled chicken finial and a flock of birds being stalked by a fox, incised dedication Miss Davies, Penprisk, 1894 in a pale yellow glaze unsigned, losses 18cm. high £650-750 Literature Gwyneth Evans Ewenny Potteries, Potters and Pots Old Bakehouse Publications, page 71 figure 38 for comparable piece 185. A Ewenny Pottery vase, ovoid with slightly flaring neck, with impressed fern frond decoration, glazed cream unsigned 22cm. high £150-250 Literature Gwyneth Evans Ewenny Potteries, Potters and Pots Old Bakehouse Publications, page 106 figure 138 for comparable pieces 186. A slip decorated vase by Horace Elliott, dated 1801, shouldered form with three twist handles, simply decorated with slip bands incised Elliot London 1801, glaze chips, 18cm. high £400-500

192

187. A Castle Hedingham pottery jug by Edward Bingham, shouldered form, modelled in low relief with horse-shoe motif, glazed brown incised E Bingham Castle Hedingham 16cm. high £100-150 188. A pair of pottery jugs, each with compressed body, swollen neck and angular handles, glazed green unsigned, minor chips 18cm. high £100-200 189. An earthenware figure of a child holding a cornucopia by Jessie Lawson Peacey, glazed in colours incised signature 22cm. high £120-180

193

190. A Moore Brothers centrepiece, modelled as an owl perched on a tree stump, with flowers and a snail, glazed in colours impressed Moore 32cm. high £400-500 191. A Leeds Fireclay Co Ltd advertising dish, modelled as a dragon to the rim, covered in a pale green glaze impressed marks to rim, chips, 13cm wide £100-200 192. A set of six Wedgwood bantam egg cups, each glazed in colours with silver decoration, impressed marks, 5cm. high £150-250 Provenance Presented to the vendors mother by the Wedgwood family 193. A Farnham Pottery chamberstick, cylindrical form, incised with flag iris, in green on a brown ground, and two Owl bowls, and a C.H. Brannam vase 16cm. high £100-200 194. A pair of large Torquay Pottery terracotta wall plaques, circular with milled border, painted to the well with morning glory, rose and wild flowers sprays, in colours impressed and printed marks 52.5cm. diam. £500-600 Provenance James Green & Nephew, Queen Victoria Street, St Paul’s paper label

194

41

195 196

198

197

201 200

202

199 195. An Alexander Lauder, Barum pottery grotesque candlestick, modelled as a scaly fish, its gaping open mouth modelled to hold spills, glazed green, yellow and blue incised marks, minor glaze frits 13cm. high £250-300 196. A C H Brannam, Barnstaple vase, by William Baron, dated 1886, tapering flask form with everted rim, incised with a bird before flowering foliage, in shades of green, blue and ochre on a cream ground incised marks to base 22.5cm. high £150-200 197. A Ewenny Pottery Political Commemorative twin-handled cup, waisted cylindrical form, incised ‘General Election South Glamorgan July 19th 1895 Wyndham Quin Majority 825’ glazed yellow incised E Jenkins Ewenny Pottery, small chip to top rim 15cm. high £250-300 198. A C.H.Brannam Ltd model of a monkey, modelled seated holding a nut, covered in a blue glaze impressed marks, 26cm. high £100-150

203

199. A C.H. Brannam, Barum jug retailed by Liberty & Co, slip decorated with a Celtic knot design and a poem, in colours impressed marks, glaze chips, 15cm. high £100-200 200. A C.H. Brannam Barum pottery sauce jug, by Frederick Bowden, dated 1893, the handle modelled as a grotesque mask, modelled in low relief with flowers in shades of blue and ochre on a cream ground incised marks, glaze loss and small chip to rim, 21.5cm. wide £180-220 201. A large C.H. Brannam Barum jug dated 1895, ovoid form, incised and painted with scaly fish swimming amongst waterweed,in shades of green and blue and another decorated with stylised flowers on a cream ground, incised marks, chips and hairlines 21cm. high £60-100 202. A C.H. Brannam, Barum jug made for the Hungarian Millennial Exhibition, 1896, the spout and handle modelled as a fish, with inscription, glazed in blue and green incised marks, glaze loss £150-200 203. A C.H. Brannam pottery grotesque griffin candlestick, modelled seated on a leaf, offering up a flowerhead sconce, glazed blue impressed mark, glaze loss 17cm. high £220-280 204. A Baron Ware, Barnstaple grotesque pocket watch-holder by Blanche Vulliamy, modelled as a rotund figure with large open mouth and big disk ears, glazed in shades of blue, green and cream incised Baron marks 13.5cm. high £450-500

204

42

Literature Brian Coleman The Best of British Arts and Crafts, Schiffer, page 172 for a comparable watch-holder

206 205

208

207

210 208A 209 205. A C.H. Brannam, Barum vase by James Dewdney, dated 1897, shouldered form, applied with dragon handles, incised and applied with slip decoration in colours on a cream ground incised marks, restored wing and glaze loss 23cm. high £300-350 206. An interesting pair of C.H. Brannam tiles, dated 1884, one decorated in low relief with three fish, the other with a toad, in blue on a brown ground incised marks, minor damages 14.5cm. square £100-200 207. A C.H.Brannam, Barum pottery bird jug, dated 1909, modelled as a grebe, glazed in shades of green, brown and blue incised marks, 19cm. high £150-200

211

208. A C.H. Brannam, Barum grotesque vase, dated 1907, each side modelled as a smiling face, his ears forming handles, glazed green blue and ochre incised marks, FT monogram, restored ears 11cm. high £250-300 208A. A Ewenny Pottery model of a seated cat, glazed treacle colour with incised detailing, filled, damages, 38cm. high £250-300 Literature Gwyneth Evans Ewenny Potteries, Potters and Pots Old Bakehouse Publications, figure 118 for comparable cat

212

209. An Upchurch Pottery vase, shouldered form, covered in a streaked blue-green glaze incised Upchurch 18cm. high £80-120 210. A Bullers porcelain vase by Agnette Hoy, painted with simple brush border, in brown on a sand ground, and a stoneware drinking verse tankard incised marks, monogram £50-150 211. A pair of Carter, Stabler & Adams, Poole Pottery vases, the design attributed to Harold Stabler, octagonal section, with stepped neck, covered in a pink and green lustre glaze impressed CSA Poole 865 mark 13.5cm. high £200-300 212. A Coldrum Pottery vase by Reginald Wells, shouldered form covered in a streaked pink and white glaze, a Coldrum Pottery cylindrical vase, covered in a blue glaze and two other vases similar impressed marks, chip to top rim, 15cm. high £100-200 213. A stoneware model of a Siamese cat by Stella R Crofts, dated 1930, modelled seated, glazed in colours incised Stella Crofts 1930 12cm. high £300-500

213

43

216 215

214

217

219 220 214. Three Ruskin Pottery stoneware door plates, shaped rectangular form, painted with berried foliate design, in shades of blue and green a Ruskin Pottery plate and a vase impressed Taylor and painted marks 30cm. high £50-100

218

Provenance The Albert E Wade Collection 215. A Ruskin Pottery stoneware medallion necklace, set in simple Art Nouveau wirework frame, forming a bell flower, the stone glazed pale blue and lavender stamped Ruskin 9cm. high £250-300 216. A Ruskin Pottery white metal mounted brooch, the stone a pale blue-lavender glaze, the metal mount with hammered finish and cast flowerhead motif, and a collection of sixteen mounted stones, various marks largest 6.5cm. diam. £150-200 221

222

217. A Ruskin Pottery stoneware brooch in yellow metal mount, the ovoid stone glazed green and blue, another Ruskin stone brooch in a white metal mount, a copper mounted belt buckle and a Dragsted, Danish tie clip set with flambe panel stamped marks, 5.5cm. wide £100-200 218. A Ruskin Pottery brooch in white metal wirework mount, the circular stone glazed pink, another Ruskin brooch in a yellow metal mount and thirteen other mounted stones various marks, largest 6cm wide £150-200 219. A Ruskin Pottery silver mounted brooch, the circular stone glazed mottled lavender and pale blue, four other mounted Ruskin Pottery brooches, and a collection of twenty four mounted brooches and stones various marks, main brooch stamped Ruskin and Sterling Silver 4.5cm. diam. £150-200

223

224

220. A Ruskin Pottery bar brooch, slender elliptical form in white metal mount, blue and purple souffle glaze, another similar covered in a mottled pink glaze, a pair of Ruskin Pottery cuff links and a collection of thirty buttons and mounted stones various marks, bar brooch 7cm wide £150-200 221. A Ruskin Pottery stoneware vase, dated 1926, shouldered form with cylindrical neck and everted rim, covered in a mottled orange glaze with lavender streaks impressed marks, 22cm. high £100-200 222. A Ruskin Pottery stoneware slender baluster vase, covered in a lemon lustre glaze impressed marks, 28cm. high £150-200 223. A large Ruskin Pottery stoneware vase, dated 1923, shouldered cylindrical vase covered in a blue lustre glaze impressed marks, 31cm. high £200-400 224. A Ruskin Pottery stoneware carafe vase, dated 1923, covered in a lavender lustre glaze impressed marks, 23cm. high £100-200 225. A Ruskin Pottery stoneware vase, dated 1925, cylindrical form with everted rim, covered in a petrol lustre glaze impressed marks, 24.5cm. high £300-500

225

44

226. A Ruskin Pottery stoneware lustre vase, dated 1922, shouldered, swollen cylindrical form, covered in a pale blue lustre glaze over orange, impressed marks, 29cm. high £100-200 226

227 228

229

230

227. A Ruskin Pottery high-fired stoneware bowl, dated 1927, circular with moulded tripod feet, cast to the rim, cast with a Tudor rose design, glazed flambe on a mottled silver-grey ground impressed marks, 25cm. diam. £100-200

228. A rare Ruskin Pottery high-fired stoneware lamp base, shouldered cylindrical body with slightly flaring foot with ventilation holes, the top with loose pierced cover, pale silver-grey graduating to flambe with mint green and lavender spots impressed Ruskin England mark, applied Ruskin Paper labels, 24cm. high £600-900 Provenance Private Collection

231

229. A Ruskin Pottery high-fired stoneware vase, dated 1926, shouldered squat body with flaring cylindrical neck, flambe covered in a lavender glaze with mint green spots impressed marks, hairline to neck 22cm. high £250-350

230. A large Ruskin Pottery high-fired stoneware vase, dated 1922, compressed form with tapering neck, covered in a sang de boeuf and speckled lavender glaze on a silver-grey ground impressed marks, museum restored crack to body 28cm. high £800-1,200

231. A large Ruskin Pottery high-fired stoneware jardiniere, dated 1927, shouldered form, covered in a running sang de boeuf glaze over silver-grey, with lavender splash highlights impressed marks, Albert Wade paper label 30cm. high £1,500-2,000 Provenance Albert E Wade Collection, part II, Sotheby’s Olympia 8th November 2002, lot number 396.

232

232. A Ruskin Pottery high-fired stoneware Elephant’s Foot vase, dated 1903, sang de bouef graduating to purple under speckled mint green glaze on silvergrey ground impressed marks, kiln kiss 21cm. high £700-900

233. A Ruskin Pottery high-fired stoneware vase, baluster form, the purple glazed covered in a speckled and veined mint and white glaze repaired chip to foot 17.5cm. high £300-500 233

45

235

236

PilkinGton’s lAnCAstriAn Pottery 234

234. A Pilkington’s Royal Lancastrian flambe vase, shape no.

3271, shouldered form covered in a smoked lavender and blue glaze on flambe impressed marks, 17cm. high £80-120

235. A Pilkington’s Lancastrian Scarab advertising paperweight, modelled in relief and covered in a matt blue glaze, and another covered in a matt silver-grey glaze impressed marks, small chip to blue Scarab 9cm. wide £300-500

236. A Pilkington’s Royal Lancastrian vase, shouldered form, covered in a mottled matt turquoise glaze, another vase, a plate and two other items various marks, 23cm. high £50-100

237

237. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1912, compressed shouldered form, painted with flowers amongst scrolling foliage in blue on a sand yellow ground impressed marks, painted cipher and date code 25cm. high £200-400

238. A Pilkington’s Lancastrian vase, dated 1909, compressed form with flaring cylindrical neck, the body cast in low relief with heart shaped panels, glazed a rich red lustre highlighted in gilt, the neck glazed gold to the interior impressed marks, 12cm. high £400-600

46

238

239

240

239. A Pilkington’s Lancastrian vase by William S Mycock, dated 1927, compressed form, painted with scrolling flowers and foliage in ruby lustre on a mottled blue and gold ground impressed mark, painted cipher and date 11.5cm. high £300-500 241

240. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1928, compressed form with collar neck, painted with stylised flower frieze in ruby and golden lustre on a blue ground impressed factory marks, painted monogram and date cipher 12.5cm. high £700-1,000

241. A tall Pilkington’s Lancastrian vase by Richard Joyce, dated 1919, shouldered form with waisted neck, painted with a frieze of scaly fish amongst waterweed in golden lustre on a deep blue and green lustre ground impressed mark, painted monogram and date cipher 25cm. high £1,800-2,200

242. A Pilkington’s Lancastrian bottle vase by Charles Cundall, dated 1907, painted with sprays of stylised carnation flowers between clipped tree border, glazed ruby and copper lustre on a cream ground impressed mark, painted cipher and date mark 17.5cm. high £300-500

242

243. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1919, shouldered form, painted with a hare chased by a hound, running past stylised foliage, in ruby and copper on a pale green ground impressed mark, painted cipher and date mark 14.5cm. high £300-500

243 front and back

47

244. A Pilkington’s Lancastrian vase by Charles Cundall, shouldered form, painted with spiralling trained foliage in gold on a blue ground, between geometric borders impressed mark, painted cipher to base 20cm. high £300-500

245 244

245. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1906, shouldered form, painted with birds perched on carnation stems between cypress trees, in gold and ruby lustre on a blue ground impressed marks and date mark, painted artist cipher 11cm. high £500-800 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 35 colour plate XXIV this vase illustrated Provenance Pilkington’s Royal Lancastrian Pottery Exhibition, Richard Dennis Gallery 1980 catalogue number 204 Harriman-Judd Collection Private collection.

246. A Pilkington’s Royal Lancastrian vase by Richard Joyce, shouldered form with collar rim, painted with birds perched amongst prunus boughs in gold and ruby lustre on a flame orange ground impressed marks, painted monogram 17cm. high £1,000-1,500 246 247

247. A Pilkington’s Royal Lancastrian vase by Richard Joyce, dated 1917, slender baluster form, painted with fish swimming amongst waterweed, in copper lustre on a deep blue ground, impressed and painted marks, 21cm. high £700-1,000

248. A large Pilkington’s Lancastrian vase by William S Mycock, dated 1913, shouldered form, painted with flowers and foliage in shades of gold and ruby lustre, between geometric bands impressed mark and date mark painted monogram 26cm. high £1,500-2,000

48

248

MoorCroft Pottery

249. ‘Pansy’ a large James Macintyre & Co baluster vase by William Moorcroft, dated 1914, painted in shades of pink, purple, yellow and green on a white ground impressed Burslem mark, painted green signature and date 33.5cm. high £3,000-4,000 Provenance Moorcroft Pottery Christies South Kensington, 11th October 2001 lot 29.

Ken Manley collection 249

250. ‘Moonlit Blue’ a tall Moorcroft Pottery candlestick designed by William Moorcroft, painted in shades of blue and green impressed marks, painted green signature 26cm. high £500-1,000 250

251. ‘Spanish’ A Moorcroft Pottery ginger jar and cover designed by William Moorcroft, painted in shades of pink, purple, ochre and green on a mottled green and sand ground impressed Burslem mark, painted green signature, small nick to glaze on rim of cover 15cm. high £800-1,200 251

49

252 253

254

255

257 258 252. ‘Bougaiunvillea’ Moorcroft Pottery vase designed by Walter Moorcroft, painted in colours on a blue ground, a Doulton Lambeth wall pocket and a Clarice Cliff ‘Ravel’ pattern toast rack various marks, 8cm. high £80-120

256

253. ‘Columbine’ a Moorcroft Pottery flambe bowl designed by Walter Moorcroft, painted in colours on a flambe ground painted blue signature 24cm. diam. £350-400 254. ‘Hibiscus’ a Moorcroft Pottery dish designed by Walter Moorcroft, painted in colours on a blue ground painted signature 25cm. diam. £50-100 255. A James Macintyre & Co Pottery teapot and stand, pattern M.2749, the design attributed to William Moorcroft, printed in green and blue with floral bands, on a white ground printed marks, restored spout 12.5cm. high £150-200 259

260

256. ‘Pomegranate’ a Moorcroft Pottery coaster dish designed by William Moorcroft, painted in colours on a mottled ochre and blue ground impressed marks, 11cm. diam. £150-200 257. ‘Pomegranate’ a Moorcroft Pottery bowl designed by William Moorcroft, painted in colours on a mottled blue and ochre ground painted blue signature, professionally restored back 16cm. diam. £120-180 258. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid form with waisted neck, painted in colours on a blue ground painted green signature 7.5cm. high £250-300 259. ‘Pomegranate’ a Moorcroft Pottery baluster vase designed by William Moorcroft, painted in colours on a blue ground painted blue monogram, professionally restored top rim 18cm. high £300-500

261

262

260. ‘Pomegranate’ a large Moorcroft Pottery vase designed by William Moorcroft, dated 1919, shouldered form, painted in colours on a deep blue ground painted green signature and date, small chips and firing crack to base 39cm. high £500-800 261. ‘Wisteria’ a Moorcroft Pottery solifleur vase designed by William Moorcroft, painted in colours on a blue ground painted blue signature 20cm. high £250-300 262. ‘Wisteria’ A Moorcroft Pottery vase designed by William Moorcroft, baluster form, painted in colours on a graduated green to blue ground painted green signature, professionally restored 16cm. high £300-500 263. ‘Lilac’ a James Macintyre & Co vase designed by William Moorcroft, painted with a band of flowers in blue, yellow and green, highlighted in gilt on a white ground printed factory mark, painted green signature 15cm. high £200-300

50

263

264

264. ‘Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, painted in colours on a blue ground impressed marks, painted blue signature and paper label, wooden bung to top 32cm. high £300-500

265 266

268

267

270 269

271 265. A Mintons Secessionist plate designed by Leon Solon and John Wadsworth, cast in low relief with flowers and foliage to the rim, the well with a band of blue forget-me-nots, and another plate similar impressed marks, small chip to back rim of one 23cm. diam. £80-120

272

266. A Minton Secessionist vase designed by Leon Solon and John Wadsworth, waisted cylindrical form, printed and painted with honesty seedheads in pink on a blue and purple ground printed factory mark 25cm. high £150-250 267. A Minton Secessionist solifleur vase model no.32, slip decorated with flowers in green on a mottled purple ground printed marks, restored neck 18cm. high £80-120 268. A Minton’s Secessionist vase designed by Leon Solon and John Wadsworth, the ovoid vase with collar rim, slip decorated with stylised flower stems in green and blue printed mark, restored rim, 13cm. high £100-200 269. ‘Mikado’ a Wood & Son charger designed by Frederick Rhead, painted in shades of blue on a white ground printed mark 36cm. diam. £300-400 270. An unusual Bursley Ware wall plate, the border probably designed by Charlotte Rhead, the well

by Horace Wain, probably pattern no.1325, printed and painted in colours and gilt to the well with a chinoiserie design the rim with panels of tubelined foliage, and a Bursley Ware ewer painted with blue foliate design stamped Bursley mark, crack to plate 31cm. diam. £100-200

272A

271. A Foley Intarsio jug designed by Frederick Rhead, model no.3052, printed and painted with a frieze of mythical beasts, below foliage bands, in colours impressed marks, repaired spout 18cm. high £100-200 272. ‘Mikado’ a large Woods & Son wall charger designed by Frederick Rhead, printed in blue with cranes flying past giant water lily flowers and pads, the rim with stylised flower border printed factory mark 41cm. diam. £300-500

273

272A. A rare Foley Faience charger designed by Frederick Rhead, printed to the well with Pre Raphaelite musicians, the rim with Art Nouveau scrolling foliage design in blue and pale yellow printed factory mark, hairline cracks 37cm. diam. £300-500

274

273. An unusual Copeland model of a Rabbit, in the manner of Bernard Moore, the rotund creature with slender long ears, covered in a black glaze, and a Copeland mosaic pattern tile stand, impressed marks, to stand,rabbit 8cm. high £150-200 274. A Bernard Moore baluster vase, with collar neck, painted with sprays of flowers and foliage in a golden lustre on a deep ruby ground incised Bernard Moore and artist monogram 24cm. high £300-500 Literature Aileen Dawson, Bernard Moore Master Potter 1850-1935, Richard Dennis Publications, page 65 figure 40 for a comparable vase shape.

275. A Bernard Moore pottery bowl, painted to the well with scaly fish swimming amongst swirling water around a bubble roundel, in flambe red painted mark and artist monogram, scratches to well 26cm. diam. £80-120 275

51

A PrivAte ColleCtion of royAl WorCester sABrinA WAre

276. A near pair of Royal Worcester Sabrina Ware vases, designed

by Walter Sedgley and Albert Shuck, model no. 2177, faceted, shouldered body with everted rim, covered in a smoked blue glaze printed factory marks, one professionally restored on the foot 29cm. high £100-200

277. A pair of Royal Worcester Sabrina Ware vases, designed by Walter Sedgley and Albert Shuck, shape no.2360, each hexagonal section, painted with simple heart-shaped decoration in white on a blue ground printed marks 17.5cm. high £100-200

276

277

278. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, shape no.2266, bottle form, covered in an experimental green and flambe glaze printed marks, paper label to base 22cm. high £80-120

279. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, shape no.2266, bottle form, painted with a pair of swans swimming amongst waterlily flowers, in white and blue on a green ground printed marks, 23cm. high £150-250

278

279 280. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, shape no.2195, shouldered baluster form with everted rim, painted with a peacock perched on a tree bough in a moonlit landscape printed marks, 20cm. high £250-300

280

52

281. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, shape no.2360, painted with two cranes wading in a marshland, painted in blue on a pine green ground printed marks, 18cm. high £200-300 281

282

283

284

282. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, shape no.F123, ovoid with knopped neck and everted rim, painted with two cranes wading in a river, in blues on a green ground printed factory marks 15.5cm. high £150-200

285

283. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, shape no.1527, baluster form, painted with flowers before a silhouetted moon, in white and blue between brown foot and everted top rim, printed marks 18cm. high £200-300

284. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, painted with Art Nouveau tulip flower stems, in blue under a partial flambe glaze printed marks, professional restoration to base 15.5cm. high £100-200

286 285. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, shape no.2227, painted with two cranes wading in a river, in shades of green and blue printed marks 18.5cm. high £150-250

286. A Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, dated 1900, shouldered form, painted with cranes wading in a river, in shades of blue and green printed marks 15cm. high £150-200

287. A large Royal Worcester Sabrina Ware vase, designed by Walter Sedgley and Albert Shuck, shape no.2472, painted with two cranes wading by the river bank, in blue and white printed factory mark 25cm. high £300-500 287

53

288

289

290

the CrAft trAdition 288. Bernard Leach (1887-1979) Self Scrutiny an etching on paper, dated 1916, signed in the print BL, titled and dated, numbered in pencil 22/25, image 15 x 8.5cm. £100-200 Literature Simon Olding The Etchings of Bernard Leach Crafts Study Centre/Leach Pottery page 106 catalogue number 77 for a comparable print 289. Bernard Leach (1887-1979) Portrait of Saneatsu Mushanokoji a soft ground etching on paper, 1916, signed in the print Leach numbered in pencil 18/25 11 x 8.5cm.£100-200

291

292

Literature Simon Olding The Etchings of Bernard Leach Crafts Study Centre/Leach Pottery page 102 catalogue number 74 for a comparable print 290. Bernard Leach (1887-1979) David Leach a soft ground etching on paper, dated 1920, signed in the print BL numbered in pencil 12/25 image 16 x 15cm. £100-200 Literature Simon Olding The Etchings of Bernard Leach Crafts Study Centre/Leach Pottery page 104 catalogue number 76 for a comparable print 291. David Leach (1911-2005) a Lowerdown Pottery pot and cover, painted to the cover with a willow tree in tenmoku, blue and iron red impressed seal marks, 11cm. diam. £150-250

293

292. David Leach (1911-2005) a Lowerdown Pottery fluted coffee set for four, comprising pot and cover, milk-jug and sugar basin, four cups and saucers, covered in a oatmeal tin glaze impressed Lowerdown seal, one cup repaired pot 21cm. high £150-200 294

293. A rare Charles Vyse pierced vase and cover, produced for Francis Berry to commemorate the passing of a Pyracantha tree in 1929, the vase with pierced bird frieze, the cover with a flame finial, covered in a celadon green glaze, made from the ashes of the Pyracantha tree, inside the vase a small silver phial containing some of the ashes of the tree and a commemorative scroll, and two Charles Vyse stoneware bowls painted inscription to vase 21cm high £150-250 294. An Oyster charger by Dennis Townsend, Rye Pottery, painted in resist with stylised oyster shells in colours painted monogram dated 1971 35cm. diam. £50-100

296

295

54

295. David Frith (born 1943) a Brookhouse Pottery stoneware charger, decorated to the well with simple brush stroke flower stem, teh rim with bands in tenmoku, two Colin Kellum plates and seven other items paper label and seal mark to frith, chip to back rim 34cm. diam. £80-120 296. A Winchcombe Pottery slip ware pie dish, rectangular with pie crust rim, the well decorated with a simple flower stem impressed seal mark 33cm. wide £100-200

297

298

301

299

302

300

303 304

297. Richard Batterham (born 1936) A stoneware ewer and cover, covered to the foot in an ash glaze, another similar and a jug 14cm. high £80-120 298. Richard Batterham (born 1936) a salt-glaze stoneware teapot, covered to the foot, and another Richard Batterham teapot glazed pale green 13cm. high £100-200 299. Richard Batterham (born 1936) two small salt-glaze covered jars, and three cut-sided stoneware pots 8cm. high £80-120 300. Richard Batterham (born 1936) a tall stoneware jug, covered to the foot in an ash glaze, and another smaller 27cm. high £100-200

305

301. Janice Tchalenko (born 1942) a stoneware jug, covered to the foot with a speckled silver glaze, another smaller, a covered storage jar, and five other items some impressed marks, minor damages jug 20.5cm. high £100-200 302. Richard Batterham (born 1936) a stoneware covered jug, covered in an ash glaze, and two graduated jugs similar unsigned 21.5cm. high £100-200

306

303. Leach Pottery a stoneware preserve and cover, the cover incised with a leaf motif, covered to the foot in an ash glaze, two Leach pottery jugs and two bowls impressed seal marks, damages 9cm. high £150-250 304. Richard Batterham (born 1936) a cut-sided salt-glaze stoneware jardiniere 14cm. high

£80-120

305. Seth Cardew (born 1934) a large Wenford Bridge stoneware teapot and cover, covered to the foot in a tenmoku glaze impressed seal marks, 21cm. high £150-200 306. Richard Batterham (born 1936) a stoneware jar and cover, with incised decoration, covered to the foot in an ash glaze, and a footed bowl similar 14cm. high £80-120 307. Richard Batterham (born 1936) a cut-sided porcelain bottle vase, with everted rim, covered in a pale celadon glaze 21cm. high £80-120

307

55

310

309

308

311

315

314 313

ContinentAl CerAMiCs 312 308. A Sevres Pottery double gourd vase, covered in a streaked blue and yellow glaze printed mark MP monogram, repair to top rim, 34cm. high £80-120 309. A large pair of Gouda Pottery Ivora vases, shouldered form with everted rims, painted in shades of blue, ochre and green with stylised flowers painted marks, 49cm. high £200-250 310. A pair of Boch Freres Keramis vases, shouldered form with cylindrical rim, painted with berried foliage in lustre on a deep rustbrown ground painted BFK mark 22cm. high £100-200 316

317

311. A Fischer, Budapest pottery vase with loop handle, the ovoid body decorated with Japoniste fan designs in colours, highlighted in gilt printed marks,24cm. high £150-250 312. A large Terracotta bust of a maiden, in the manner of Goldscheider, model no.869, modelled with downward gaze, covered in a matt sand colour glaze impressed marks 56cm. high £300-500 313. A pair of Ernst Wahliss, Turn Pottery eastern figures, modelled the young man holding a basket and a fruit in his hand, the semi-clad woman with a basket, her hand resting on her hip, glazed in pinks and ochre highlighted in gilt impressed marks, printed Turn mark, 34cm. high £500-800

318

319

314. A pair of Rambervilles Pottery book ends, modelled as a fox stalking two rabbits, under a rich green lustre glaze, a vase and a Caen pottery vase decorated with Bayeux Tapestry designs impressed marks, minor damages 15cm. high £50-100 315. ‘L’innocence’ an Art Nouveau pottery figural bust, modelled as a Pre-Raphaelite figure holding a white lily spray, glazed in colours, the stepped square section base titled, losses and minor damages 69cm. high £450-500 316. A L & M Cie, Montereau Service Rousseau earthenware part dinner service, designed by Eugene Rousseau, painted in the Aesthetic manner with birds and butterflies flying past flowers and foliage, in colours on a white ground, inside a blue border, comprising; small tureen and cover, three tazza, one pedestal bowl, three soup bowls and a serving platter painted and impressed marks, minor damages serving platter 31cm. diam. £200-400

56

320

321

317. A set of four Lahoche & Pannier plates retailed by L’Escalier de Cristal, two printed and painted with lobster motif, the other two with a hare motif, in colours inside a blue border printed factory mark 24cm. diam. £100-200 318. An Aesthetic Movement pottery vase by Toul, dated 1869, cylindrical form painted with a cranes fishing, one with an insect caught in its beak, in red and blue on a pale blue ground signed, monogrammed and dated to side 31cm. high £100-200 319. A large Longchamp earthenware vase, model no.1381, compressed body with long, tapering cylindrical neck, decorated in low relief with thistle flower design in purple, green and red on a mustard yellow ground impressed marks, 59cm. high £400-500

321A

320. A Della Robbia style pottery roundel, cast in relief with a putti, glazed white on a sky blue ground unsigned 41cm. diam. £200-400 321. A Cantagalli architectural panel of The Annunciation, glazed in blue, green and white painted cockerel mark to reverse, minor glaze chips 42 x 40cm. £400-600 322 321A. A Pirkenhammer, Karlsbad porcelain figure designed by Professor W Gerstner, modelled holding a bouquet of flowers, glazed in black and blue, highlighted in gilt impressed marks and artists signature 27cm. high £250-350 322. A pair of Cantagalli candlesticks, each modelled as a anthropomorphic dragon grotesque modelled wearing a crown and clutching a shield, seated on a ball balanced on flaring base set on claw feet, glazed in colours painted bird mark, glaze chips, 34cm. high £800-1,200 Literature Brian Coleman The Best of British Arts and Crafts, Schiffer, page 160 for a comparable candlestick

323

323. A Cantagalli Pottery teapot and cover, the ovoid body with over-slung handle, the spout modelled as a grotesque gaping creature, painted with flowers and foliage in colours painted cockerel, minor glaze chips 21cm. high £60-100

324

325

324. A Cantagalli Persian charger, deep welled, painted with flowers and foliage in shades of blue, green and aubergine on a white ground painted cockerel mark, old restoration and glaze chips, 39cm. diam. £400-600 325. A large Boch Freres Keramis Persian jardiniere, ovoid with collar rim, painted with foliage in shades of blue, turquoise, red and black, painted BFK mark small hairlines to top rim, 26cm. high £600-800 326. A Cantagalli pottery Fleur de Lys spill vase, glazed in ruby lustre painted cockerel mark, minor glaze chips 22.5cm. high £150-200 327. A Jerome Massier Pierre Perret Vallauris vase, flaring, shouldered form, painted in impasto with daisy flowers impressed and painted marks, small chip to top rim, 16cm. high £100-200

326 327

327A. A Clement Massier, Vallauris vase, compressed form with cylindrical neck, covered in a flambe glaze impressed CM Vallauris AM mark 21cm. high £100-200 328. A Clement Massier Golfe Juan lustre vase, compressed body with tapering neck, decorated with flower stems in gold, blue and red lustre impressed and painted marks, minor nicks to top rim 18cm. high £400-600 329. A Clement Massier Golfe Juan vase, tapering, triangular section, printed and painted in with flowers, under gilt decoration on a mottled pink ground impressed marks, glaze frits to top rim, 9.5cm. high £200-300 327A

328

329

57

330

331

332

textiles & CArPets

330. A massive pair of Sanderson Chrysanthemum pattern curtains originally designed by William Morris, screen printed, annotated selvedge, each 275cm high x 404cm wide. £300-500

333

333A

331. A square chenille textile, the blue ground with green foliate repeat 150cm square £80-120

332. A pair of woven textile curtains possibly by the Silver Studio, decorated with a floral repeat in green, blue, red and ochre 225 x 147cm. £300-500

334

334 label 333. A silk embroidered panel of Classical figures in a landscape, the rectangular panel with a two maiden listening to a female piping musician, framed BD monogram, image 75 x 54cm. £80-120

333A. A silk embroidered panel by Caroline Ethel Piggott, designed and wrought at the Royal Irish School of Art Needlework, Dublin, dated 20th May 1911, square form decorated with panels of flower, foliage, highlighted with gold, inscribed and dated to the border 33cm. square £100-200

334. ‘Concert Champetre’ an Aubusson tapestry, decorated with a medieval shepherdess playing her lute, applied label 183 x 144cm. £100-200

335. ‘St George and the Dragon’ an embroidery panel on silk by Clara Nelson Smith, framed paper label to reverse, image 26cm. square £200-300

58

335

336

337

336. A carpet attributed to Gavin Morton, decorated with panels of flowers in green on a red ground 212 x 164cm. £500-1,000 Literature Malcolm Haslam Arts and Crafts Carpets, David Black, page 104 figure 66 for a comparable design by Gavin Morton

337. A modern Donegal Donnemara carpet after a design by Charles Francis Annesley Voysey, decorated with slipper orchids in yellow and green on a red ground 277 x 182cm £400-600 Literature Malcolm Haslam Arts and Crafts Carpets, David Black, page 122 and 123 figures 77 and 78 for this design.

338

338. A Templeton’s chenille seamless carpet designed by Frank Brangwyn, model no.1275, decorated with a geometric field in colours, on a mushroom ground FB monogram, original Templeton’s label to reverse 370 x 273cm. £500-1,000 338 label

59

339

339A 339. A large collection of Japanese silk Obi, mainly 20th century

£100-200

339A. A large collection of Japanese silk Obi, mainly 20th century

£100-200

340. ‘Galleon’ a pen and ink, pencil and watercolour design for a Morris & Co embroidered fire screen, on paper, the reverse with a pencil drawing of Christ Morris & Co annotation to corner 69.5 x 56cm £150-200 340A. A Morris & Co pencil and watercolour design on rice paper, laid on card, probably for a wallpaper or embroidery panel, annotated bottom margin image 61 x 33.5cm £150-200 340 341. ‘A View of the New Morris Showrooms’ a Morris & Co pencil on rice paper architectural drawing, mounted on card, and a conte pencil drawing of a woman titled in pencil image 52 x 39cm £150-200 Literature Linda Parry William Morris, Victoria & Albert Museum exhibition catalogue, 1996, a photograph of the exterior view illustrated page 367 figure 125, on the Morris & Co catalogue cover for the re-decoration of the shop in the 1920s.

60

340A

341

341A

345

342

343

344

347

346

341A. ‘The Book of The Home’ volumes 1-8, with cover designs by Talwin Morris, published by The Gresham Publishing Co. 26 x 18cm £80-120 342. Thirty-eight volumes of The Red Letter Shakespeare, with covers designed by Talwin Morris, published by The Gresham Publishing Co.16 x 9.5cm. £100-200 343. ‘Science in Modern Life’ 1-6 volumes , six books with covers designed by Talwin Morris, published by The Gresham Publishing Company, 1910, printed monogram to cover 25.5 x 18cm. £80-120 344. ‘William Ewart Gladstone and His Contemporaries’ volumes 1-4, four books with covers designed by Talwin Morris, published

by The Gresham Publishing Company, 1898, printed monogram to cover, 26 x 18cm. £80-120 345. ‘The Modern Carpenter Joiner and Cabinet-Maker’ volumes 1-8, with cover design by Talwin Morris, published by The Gresham Publishing Co. 34 x 26cm £100-200 346. ‘Le Morte Darthur’ by Sir Thomas Mallory, with illustrations

by Aubrey Beardsley, published in New York by E P Dutton & Company, this edition limited to 1600 copies, 30 x 23.5cm £300-350

348

347. ‘Friendship is a Flower’ a pen and ink on paper by Miss Jeanne A Labrousse, highlighted with gilt, framed signed J A Labrousse, original paper label with title ‘Decorative Figure’ to the reverse image 30 x 17.5cm. £100-200 348. ‘Seven Happy Days’ a set of seven colour prints, published by The Studio as a Christmas supplement, 1913, sheet size 30 x 21.5cm £100-200 Provenance Decorative Arts, Christie’s 27th April 1979 lot 178.

349. ‘The Return of the Native’ by Thomas Hardy, a limited edition book with illustrations from woodcuts by Clare Leighton, published

by Macmillan & Co, 1929, signed by Clare Leighton £100-200

349

61

350

351 352

353

354

354A 350. ‘Glass Art Nouveau to Art Deco’ by Victor Arwas, ‘Art Nouveau Jewellery’ by Vivienne Becker, ‘Art Nouveau’ by Lara Vinca Masini, ‘Louis Majorelle’ by Alastair Duncan, ‘G.Argy Rousseau’ by J BlochDermant, and ‘Art Nouveau by G Fahr-Becker, six reference books £80-120

351. A collection of auction catalogues on design, including Dr Thomas Howarth collection of Charles Rennie Mackintosh Christie’s King Street 1994 £50-100

352. A colour lithograph of a medieval mounted procession by Walter Crane, published by Franz Hanfstaengl, 1908, framed, and another by Gerald Moira signed in the print image 66 x 48cm. £100-200

355

353. ‘Art et Decoration’ edited by Emile Levy, thirty-one volumes with various bindings £50-100 Provenance The Albert E Wade Collection

354. Five volumes of The Studio, comprising, 1900, 1901,1902, 1903 and 1901-2, with later bindings £80-120

354A. ‘The Pipe of Pan’ a silver point reproduction print after a design by Charles Stanton, framed, and ‘The Echo’, ‘A Sylph’ and ‘A Family All Forlorn’ three other prints after Charles Stanton signed in the print image 33 x 21cm. £80-120

355. Two prints on paper by William S. Coleman, one depicting a young girl on a swing, the other a girl playing pipes, framed signed with monogram to one, 34 x 17cm. £500-800

356. George James Cox (1884-1946) Study of a woman dancing, pencil on buff paper, framed signed with a monogram in pencil, 42 x 27cm £80-120

62

356

357

357. A rare painted miniature pendant by Joseph Edward Southall (1861-1944), painted with a roundel portrait, the reverse with stylised pineapple, signed with monogram 2.5cm. square £3,000-4,000 Joseph Southall exhibited thirteen jewellery objects at the Royal Society of Artist's, Birmingham Arts and Crafts Exhibition in 1909.

Literature George Breeze, Peyton Skipworth and Abbie N. Sprague, Joseph Southall, 1861-1944, Fine Art Society, page 52 catalogue number D.2 for a comparable miniature titled 'Flora'.

358. A pastel on Whatman board design for an enamel panel by Alexander Fisher, dated 1911, depicting a weeping woman at the base of a cross, in a sunset landscape, framed signed and dated lower right corner panel 33 x 24.5cm. £1,000-2,000

358

359. Edward Coley Burne-Jones (1833-1898) Four pencil on paper drawings of a male nude largest 25 x 13cm. £800-1,000 359

63

360

361 362

364A

364 363

360. A Morris & Co ebonised wood settle, rush seat and turned bobbin back 137cm wide £1,000-1,500 Literature Linda Parry William Morris Victoria & Albert Museum Exhibition, 1996, page 177 figure J.27 for a comparable settle 361. A set of three ebonised wood Sussex chairs, each with turned bobbin backs and rush seats, 86cm. high £50-100 362. An armchair covered in Morris & Co Bird woven woollen double cloth textile, probably retailed by Morris & Co, the textile designed by William Morris in 1878 108cm. high £400-600 Literature Linda Parry William Morris Textiles, Crescent page 134 for a contemporary Morris & Co advert featuring similar chairs Provenance Sir James Graham BT, Norton Conyers 365A part 365

Mary Anne Graham (nee Schiffner) whose husband Sir Reginald Graham purchased Norton Conyers in 1882. Mary Anne Graham commissioned Morris & Co to refurbish the house.

Private Collection.

363. A Hampton Court wood settee with rush seat, probably Morris & Co, 133cm wide, 93cm high £200-300 364. A walnut Queen Anne revival arm chair, possibly Morris & Co, the back with inlaid chequer and carved flower motif, strung seat, 91cm. high, £300-500 364A. A Morris & Co occasional table, the shaped, square top with gallery rim, on turned legs with flaring feet 63cm. high £1,000-1,500 365. A Morris & Co mahogany firescreen, the frame with fret panel and inset with embroidered silk Briar Rose panel, and a mahogany embroidery box, the cover with embroidered pomegranate panel stamped Morris marks, 115cm. high £150-200 365A. Three ash Sussex chairs, possibly retailed by Morris & Co, turned legs, with bobbin backs, strung rush seats, two painted greenblue, the other pained black, 87cm. high £100-200

366

64

366. A mahogany occasional table in the manner of Morris & Co, the shaped top on six thin legs, 69cm. high £400-600

369 367

368 370

367. An Aesthetic Movement ebonised wood side table, in the manner of E W Godwin, square top with turned wood legs, 66cm. high £100-200 368. A pokerwork chair dated 1904, probably Irish, the octagonal seat with harp amongst scrolling foliage, the pierced back with celtic knot motif 97cm. high £80-120

372

369. An Aesthetic Movement ebonised wood occasional table, the circular top with three turned wood flaring legs 61cm. high £60-100 370. A painted wood Zodiac panel of Cancer by Lewis F Day, later framed 14.5cm. square £100-200

371

Literature Joan Maria Hansen Lewis Foreman Day (1845-1910) Unity in Design and Industry ACC page 225 plate 7.34 for a comparable tile panel included the doors of an embroidery cabinet, circa 1888.

371. A large carved oak wall sconce by J.E. Knox, dated 1912, carved with a figure of pan playing his pipes, flanked by two other musicians carved J Knox 1912 to reverse 51cm. high £500-1,000

373 label 373

A smaller wall hanging of the face of a Green Man carved by J E Knox in 1910 is held in the Victoria & Albert Museum collection, number W.5-2000.

372. A mahogany settle, the back carved with foliate panel, scrolling arms with bent strut supports, 109cm. wide £300-500 373. A walnut marquetry document casket exhibited at The Franco-British Exhibition 1908, lent by Countess Brownlow, with hinged cover, the sides carved and applied with fishermen returning with their catch, their reflections visible in the river, by the light of a mother of pearl crescent moon applied paper exhibition label to base, 41.5cm. wide £300-400 374. An Aesthetic Movement oak dressing table, the design previously attributed to Owen Jones, swing-plate mirror with elaborately carved brackets, pedestal surfaces, the drawers with ebony beading and handles, on castors 169 x 62cm. £200-400 Provenance Harry Lyons Private collection A comparable example by Owen Jones from Eynsham Hall, Oxford is in the Victoria & Albert Museum collection.

374

65

376 375

377

378

375. An Aesthetic Movement ebonised wood occasional table, originally designed by E.W.Godwin, square top on turned legs 66cm. high £150-250

376. An Aesthetic Movement ebonised wood armchair, with carved decoration, padded seat, arms and back panels 99cm. high £50-100

377. A continental Secessionist tray-topped table, a glass mounted rectangular twin-handled tray with brass decoration, above glazed shelf with hinged door/shelves, with brass decoration, tray 69 x 47cm. £250-300 379

378. A carved wood mirror frame possibly Irish, rectangular, carved with entrelac design, 69 x 56cm. £200-300

379. An Aesthetic Movement ebonised wood sideboard, with mirrored back and carved foliate panels, brass door furniture 206cm. high, 172cm wide £300-500 Provenance Decorative Arts, Phillips, sale 620 lot 177 The Albert E Wade Collection

380. A large Aesthetic Movement ebonised wood sideboard, in the manner of Bruce Talbert, with mirrored glass and painted panels, 193cm high, 192cm wide £600-1,000

380

66

381 381A 382

381. A light oak Spanish suite of furniture, applied with embroidered leather panels and painted decoration, comprising, cupboard on stand, dining table and six chairs, cupboard on stand 144cm. high, dining table 151 x 83cm. £100-200 381A. An Edwardian mahogany armchair, with slat arms and back, velvet seat and back pads, 115cm., high £100-200 382. A Dimoline mahogany piano, after a design by Mackay Hugh Baillie Scott, patinated brass fittings, the back inset with marquetry daffodil stems, below mother of pearl roundels, with electric light fittings 147cm. wide £50-100

383

383. An oak plank topped table, the X frame with simple carved detailing to foot, 120 x 79cm £300-500 384. An oak table by Arthur Romney Green, with arched Gothic supports in H section stretcher with pegged joints, carved geometric decoration to legs and edge of top, 178 x 82cm. £3,000-5,000 Literature Herbert Grimwood and Frederick Goodyear An Introduction to Decorative Woodwork page 70 figure 43 for a comparable example.

384

67

385

387 386

388 part

385. A Hilary & James mahogany glazed shop display cabinet, applied label, 116 45cm. £250-300 386. A large pokerwork hall mirror, rectangular with overhanging mantle, decorated with panels of foliage, applied with brass panels and ceramic roundels 120 x 89cm. £200-400 387. A pine table on H frame stretcher, the shaped top with simple carved decorative border 127 x 60cm. £200-300 388. A set of four oak chairs, probably retailed by Liberty & Co, 95cm. high £50-100

389

Provenance The Albert E Wade Collection 389. A bentwood rocking chair probably Thonet, with cane seat and back panels, and a R.A. Lister oak stickstand, rocking chair 94cm. high £50-100 390. A pair of oak hall tables, each with single drawer, and angled tapering legs 90 x 60cm. £500-800 391. An oak wing-backed chair, possibly retailed by Liberty, with arched plank under tier, remains of padded leather seat and back pad, with studded decoration, stamped JHH, remains of paper label, 91cm. high £80-120

391 390

392

68

392. A Waring & Gillow limed oak dining suite, comprising sideboard, extending table and eight chairs applied label to table chairs 85cm. high, sideboard 138cm wide, table 183 x 84cm. £400-600

396

393

394

395

393. An oak wall clock probably retailed by Heal’s, circular, slightly domed form, applied with painted gilt metal numerals and Engstrom plaque, Zenith movement 33cm. diam. £300-500 397 394. A set of six Heal’s mahogany Windsor chairs, the backs with inlaid ebony band, applied ivorine label 95cm. high £200-400

395. A Heal’s ebonised wood display stand, the arched, carved back inset with ivory roundels, unsigned 64cm wide, 42cm . high £200-300

396. A Heal’s oak table, rectangular plank top, with flaring square section legs and carved runner feet and gently curved under-tier, 130cm long x 77cm wide £500-800 Literature Heal’s Catalogue 1918, this table design illustrated as no.7 and priced at £9/0/0

397. A Heal’s oak hall table probably designed by Ambrose Heal, the rectangular plank top on flaring square section legs and sleigh feet 183 x 68cm. £800-1,200 Literature Heal’s Catalogue 1918, this table design illustrated as no.7 and priced at £9/0/0

398. A Heal’s oak hallstand made by Christopher Pratt & Son, the umbrella stand with curved supports and drop-in metal tray, with hinged covered compartment to back, the chamfered, panel back with carved finials, set with mirror and six brass coat hooks, paper label for Christopher Pratt & Son, Bradford,203cm. high, 75cm. wide £600-1,000 Literature Pictorial Dictionary of British 19th Century Furniture Design, Antique Collector’s Club, page 363 this design illustrated (lower left corner illustration) and attributed to Heal’s dated to 1884.

398

69

402 401

399

400

399. An oak corner cupboard, with patinated copper hinges and lock, 61cm. high, 50cm. wide £100-200 400. An Art Nouveau marquetry mantle clock, the ornate shaped body with bell flower sprays and whiplash foliage, enamelled circular dial, 38cm. high £80-120 403

401. An oak hall table in the manner of Shapland & Petter, with pierced arrowhead decoration, patinated copper drawer handles, 92cm. wide, 94cm. high £200-300 402. A pair of William Birch oak chairs, with rush seats, turned front legs and back splats 99cm. high £100-200 403. An Arthur Simpson The Handicrafts Kendal oak letter rack with inkwell, desk mounted, the drop front with marquetry inlay initials TA, above two hinged compartments with ebony handles, and a pen tray 43.5cm wide, 24cm. high £350-450 Provenance Taggie Archer (Wright), by repute

404

404. ‘Fruit Seller’ a Rowley Gallery marquetry panel, rectangular panel with original worked frame, original paper label with title, impressed Rowley mark 64 x 54cm. £80-120 405 405. ‘Burton Bradstock’ and ‘Pink Cottage’ two Rowley Gallery marquetry panels, impressed and paper labels, largest 51 x 41cm. £150-250 406. ‘The Blue Lagoon’ a Rowley Gallery marquetry panel picture, decorated with trees by a lakeside applied paper label, impressed Rowley 48 x 43cm. £100-150 407. A Rowley Gallery panel, circular, decorated in gesso low relief with water-lily flowers, in gold and silver, modelled frame applied label to reverse 61cm. diam. £150-200

70

406

407

410 409 408

408. ‘Modern English Furniture’ a reference book by J C Rogers, published by Country Life, 1930 £80-120

409. A pair of Gothic Revival oak fonts, possibly Scottish, on cruciform foot, with patinated copper bowls, 92cm. high £600-900

411

410. A Stanley Webb Davies walnut record cabinet, dated 1959, by Sidney Allan Johnston and Fred Ellison, with applied label to interior, carved monogram and date, 79cm. high, 41cm wide £1,500-2,000

411. An Arthur W Simpson The Handicrafts oak chest on stand, three drawer form, with patinated brass handles and heart-shaped lock escutcheon in the manner of C.F.A. Voysey 107 x 58cm. £700-1,000 412

412. An Arthur W Simpson The Handicrafts oak Easy stool, with leather webbing, applied label, impressed marks 41 x 31cm. £250-350 Literature Hugh Wright The Beautiful Furniture of the Simpson's of Kendal, Bookcase, page 113 figure 46 for a comparable stool.

71

415 416 413

414

413. An oak over mantle mirror, in the manner of Shapland & Petter, with pierced decorative panels, 120cm wide x 86cm. high £200-400

414. An oak hall mirror, rectangular with overhanging mantle, carved groove decoration, 91 x 86cm. £80-120

417

418

415. A Robert ‘Mouseman’ Thompson oak stand, octagonal form with carved mouse motif, and an oak bowl 19cm. wide £80-120

416. A Liberty & Co ash armchair, with slat back, stained green, with strung rush seat 116cm. high £80-120

417. A Shaker style cherry wood rocking chair and two arm chairs, with turned bobbin finials, green and red webbed seat, chairs 104cm. high £250-350

420

419

418. A Gimson ash rocking chair by Neville Neal, stamped to back leg 108cm. high £500-800 Literature Ernest Gimson & The Cotswold Group of Craftsmen, page 89 C14 for a comparable chair.

419. A patinated copper, wrought iron framed firescreen, the panel stamped in relief with a phoenix rising 77cm. high £150-200

420. An oak and patinated copper fire screen, the rectangular panel, stamped in relief with a galleon at full sail, 68cm wide, 78cm high £250-300

421. A wrought iron fire place possibly Keswick School, the flaring and irons set with copper Tudor rose panels and stylised flower bud terminals 105cm. wide £500-600

421

72

Provenance By repute from an Arts and Crafts country house in Bowness on Windermere in the Lake District.

422. An Oak sideboard, possibly retailed by Liberty & Co, architectural form, with brass furniture 183cm. wide, 175cm. high ÂŁ300-500 Provenance The Albert E Wade Collection

422

423. A Sweet Chestnut chest of drawers designed by Ernest Gimson, on arched feet, two short drawers above three full length drawers, with brass loop handles probably by Alfred Bucknell, with dovetail joints 91cm. high, 92cm wide ÂŁ4,000-6,000 Literature Cheltenham Museum & Art Gallery Gimson & Barnsley catalogue number 1941-222-491 for the original design of this chest Arts and Crafts, Woolley and Wallis auctioneers, 22nd June 2011, lot 519 for a variation of this chest with sleigh feet.

423

73

424 425 detail 425

426

424. An Art Nouveau inlaid desk, with pierced flowerhead decoration to stretcher, inlaid with marquetry and metal tulip panels 91 x 53cm. £400-600 425. A Galle marquetry table, the square top inlaid with narcissi flower stems, on curved legs marquetry Galle signature 63cm. high £500-1,000 Literature Alastair Duncan Galle Furniture, ACC, page 218 this design illustrated plate 211.

426. A Jacob and Joseph Kohn bentwood hall stand, tapering square section, with metal clips for umbrellas, drop in drip tray remains of paper label 182cm. high £300-400 427. A good Shapland & Petter Art Nouveau bedroom suite, comprising dressing table, triple wardrobe with silk lining and retailers label for Hampton’s Pall Mall, and a double bed, each inlaid with marquetry and mother of pearl heart and floral design, the bed also inset with enamelled copper roundels stamped marks to locks dressing table 122cm wide, wardrobe 189cm wide, 198cm high, bed 159cm wide £2,500-3,500

427 part

427 part

74

427 part 427 detail

429

428 428. An Aesthetic Movement cast iron hall stand, simple, scrolling foliage frame with inset mirror, 196cmm. high £400-600

429. A rush seated oak and mahogany chair, possibly retailed by Liberty & Co, the back with simple Glasgow School pierced heart motif 91cm. high £100-200

430. A pair of Argyle Street Tea Rooms chairs originally designed by Charles Rennie Mackintosh, the plank back with pierced, shaped hole and wavy top, drop in seat 100cm. high £1,800-2,200 Literature Roger Billcliffe Charles Rennie Mackintosh - The Complete Furniture, Furniture Drawings and Interior Designs, John Murray, page 48 plate 1897.26 for an original example illustrated.

430

Mackintosh originally designed this chair for a section of the Luncheon Room at the Argyle street Tea Rooms in 1897, These examples date from the 1920s when - due to the wear and tear of their commercial use the chairs needed replacing. At this time slight adjustments were made to the design to improve its longevity - including reducing the back splats length and strengthening the lower stretchers.

431. A pair of oak Speisezimmer chairs designed by Richard Riemerschmid, designed 1902, with leather seats and shaped, pierced back panel on tapering square section legs with in-turned feet, 81cm. high £1,000-2,000 Literature Richard Riemerschmid Vom Jugendstil Zum Werkbund Munchner Stadtmuseum exhibition catalogue, 1982, colour plate 23 page 121 for a comparable example.

Page 162 plate 90 for this design illustrated in a contemporary photograph

431

75

434

432

433

435

437

436

438

439

MetAl WAre 432. An Aesthetic Movement cast brass wall mirror, rectangular on wooden back, the frame cast with panels of flowers and stylised flowerheads, with detachable twin-branch candle sconce unsigned 35cm. high £100-200 433. A pair of patinated bronze finials, each modelled as an exotic bird perched on a ball, cast in low relief with geometric flowers and foliage unsigned 21.5cm. high £100-200 434. A floor standing brass oil lamp, with telescopic body and flaring tripod foot 174cm. high £100-200 440

435. An enamelled metal crucifix and candlesticks, in the manner of the Artificers Guild, each on tapering hexagonal base, with chased bands to rim, crucifix 64cm. high £300-500 436. Three pewter lamp bases in the manner of A E Jones, tapering square section with strap decoration, hammered finish, and a modernist pewter lamp base unsigned 34cm. high £150-250 437. A pair of Aesthetic Movement brass candlesticks, tripod feet supporting knopped stem and tapering column, a Japanned tin jug in the manner of Dr Christopher Dresser and a brass chamberstick 25cm. high £100-200 438. An electroplated metal jug in the manner of Dr Christopher Dresser, angular from with hinged cover, with ebonised wood handle unsigned 23cm. high £200-300 439. A Coalbrookdale cast iron dish, pierced, circular form decorated with Classical figures inside scrolling foliage panels and border cast Coalbrookdale mark 20.5cm. diam. £50-80 440. An Aesthetic Movement wrought iron stickstand, model no.7, cast with floral panels cast regd diamond 86cm. high £250-350 441. A Gothic Revival brass chandelier in the manner of Augustus Welby Northmore Pugin, two bands of scrolling foliage, the larger with eight light sconces the smaller with four 144cm. high £800-1,200

441

76

Provenance Stanbrook Abbey, Yorkshire

443 442

444

445

446 447

442. A patinated copper grille panel, rectangular, stamped in low relief and pierced with a flower motif, 65 x 53cm. £80-120 443. A pair of patinated copper roundels, possibly by the Bromsgrove Guild, cast in low relief with St Mark and St John the Evangelist, in wooden frames, panels 16cm diam. £200-300 444. A bronze plaque cast from a model by OvideYencesse, cast to one side with a child gathering rose buds, the reverse with rose spray, ‘Fecondite Puissance’ a bronze medallion

by Ovide Yencesse, a plaque by H K Putsch and a white metal medal cast marks, white metal stamped Argent, roses plaque 5cm. high £80-120 445. ‘Chrysanthemums’ an Art Nouveau patinated spelter figure of a maiden, holding a large single flower bloom in one hand, the other arm raised up applied title plaque 48cm. high £40-60 448 446. A patinated metal plaque, rectangular, cast in low relief with two classical winged female figures, inside a border of fruiting grape vine 51 x 35cm. £150-200 Provenance Ernest Yarrow-Jones, (1872-1951) artist, thence by descent 447. ‘St George and the Dragon’ a painted plaster roundel, in white painted plaster frame unsigned 49cm. diam. £300-400 This design of St George slaying the Dragon was used on the reverse of the gold medal, presented to members of the organising committee at the Great Exhibition, Crystal Palace, 1851 448. A pottery figure of a kneeling woman, dated 1925, modelled with her hair flowing down over her face to the ground, on ebonised wood base, indistinct signature and date to base 34cm. high £100-200 449. ‘Adam & Eve’ a bronze coated plaster figure cast from a model by Charles Sykes, signed in the cast, repaired through legs 31cm. high £200-300 Provenance The Albert Dawson Trust 449

77

450 451

452

453

457

454 455

456

450. A pair of brass and andirons, Medieval revival with simple cast circle design, and a patinated metal candlestick, and irons 17.5cm wide £80-120 451. A Benham & Froud copper jardiniere, shouldered ovoid form with everted fluted rim, with stamped stylised flowerhead design all over stamped B&F Made in London mark 29cm. high £80-120 452. A LEF small patinated brass lantern, the domed top supporting vaseline glass shade stamped LEF 21cm. high £100-200 453. An Aesthetic Movement brass wall mirror and candle sconce, shaped rectangular form cast in low relief with stylised flower stems, with three scrolling candle sconce, bevelled mirror, 41cm. high £150-200 454. A Scottish copper coal box, rectangular, with hinged cover, stamped in low relief with looped entrelac motif, 51.5 x 36cm. £200-400 455. A Benham & Froud copper and brass coal scuttle, in the style of Dr Christopher Dresser, flaring square section on shallow foot, with articulated handle, and brass strap decoration, stamped mark to base maximum height 58cm. high £100-200 458

456. A Benham & Froud Aesthetic Movement brass coal scuttle, hammered in relief with stylised flowers, the cast handle stems with ebonised wood handle stamped mark, 48cm. high £200-400 457. An Aesthetic Movement brass kettle on a stand, angular form with overslung ebonised wood handle, the body stamped in low relief with a bird amongst flowers and foliage, and two other copper pouring vessels stamped 3, 35cm. high £80-120 458. A pair of wrought iron and brass fire dogs, in the manner of the Artificers Guild, the flattened, curved arms set with pierced brass foliate terminals 53cm. high £200-300 459. A Medieval Revival cast iron fire grate, modelled with mask terminals, 58cm. wide £300-400 460. A Cotswold School patinated iron fender, with scroll terminals and shield shape decoration 92cm wide £150-200

459 460

78

462 461

464

463

465

466 467

461. An Artificers Guild brass tray, model no.2042, twin-handled form, stamped with simple bands of punch decoration stamped marks 41cm. wide £80-120 462. A pair of Artificer’s Guild silvered metal twin-branch candlesticks, the central tapering, square section stem flaring with entrelac knot, the sconces and foot rim with stamped decoration, stamped Artificers Guild marks 25.5cm. high £700-1,000 463. An Artificers Guild electroplated pedestal bowl designed by Edward Spencer, the fluted bowl with cast floral and rope-twist borders stamped 507 , 24cm. diam. £150-200 464. A Dryad Lester copper vase, number 272, shouldered form with cylindrical neck applied with rope twist border, hammered finish stamped marks 24cm. high £80-120 465. A Dryad, Lester copper canister and cover probably designed by William A Pick, swollen cylindrical form, the domed cover with brass finial, unsigned 27cm. high £60-100 Literature Peter & Charlotte Fiell 1900-1910s The Studio Taschen, page 368 for a comparable hotwater can illustrated from the 1915 edition.

468

466. A Dryad Lester patinated copper vase, model no.272, shouldered form the hammered body with ropetwist border to neck, and a patinated copper bowl stamped marks, 23.5cm. high £80-120 467. A Hinks patinated copper oil lamp, in the manner of the Birmingham Guild of Handicrafts, model no.3088, tripod supports with rolled terminals, flanking central swollen stem and flaring reservoir stamped Hinks 45cm. high £100-200 468. A large Birmingham Guild of Handicrafts copper jardiniere designed by Arthur Stansfield Dixon, with riveted strap handles, 40cm. wide £200-300 469. A Birmingham Guild of Handicraft patinated copper kettle designed by Arthur Stansfield Dixon, hammered finish with domed cover with brass finial, and over-slung handle, stamped BGH mark 20cm. high £100-200 Literature Arts and Crafts Metalwork Blackwell House exhibition catalogue, page 43 cat no. 28 for a comparable pot Alan Crawford By Hammer and Hand The Arts and Crafts Movement in Birmingham page 99 plate 77 for a comparable pot

469

79

dr ChristoPher dresser (1834-1904)

470. A Hukin & Heath articulated letter rack designed by Dr Christopher Dresser, model no.2555, rod and ball construction on arched base, stamped marks, 12.5cm. high ÂŁ400-600 Literature Michael Whiteway Dr Christopher Dresser, Skira page 84 plate 58 for a comparable rack registered for 1881.

80

471. A rare and possibly unique Elkington & Co electroplated kettle designed by Dr Christopher Dresser circa 1867, model no.10272, registration number 22867, the domed body on four bar feet, with angled slender spout and handle over, the flat cover with knob stamped marks, 24cm. high ÂŁ15,000-20,000 This kettle represents the earliest provable Dresser design for electroplated silver. The Kettle's pattern number 10272 places the design to 18661867. In 1865 The Building News, page 916, stated that Elkington were producing Dresser's electroplated silver designs, and Widar Halen, in his Christopher Dresser, Phaidon 1990, confirms that these appear in the company records from about 1866-1867.

As this example was not manufactured until 1884 (year letter Y) and its design not registered until 1885 (no.22876), the design initially appears to be later and of less importance than the iconic undecorated Hukin & Heath and Dixon & Sons designs by Dresser of 1878-1879. These have previously been regarded as evidence of a fundamental shift in Dresser's design philosophy after his visit to Japan in 1876-1877. The 1867 date of the design of this Elkington kettle contradicts this notion and advances Dresser's electroplated silver designs by a decade.

Although metalwork designs annotated 'Dresser' are recorded in the Elkington pattern books from 1885, there are earlier examples (including this kettle) which retained their old pattern numbers when old pattern books were updated; these earlier original numbers were then carried forward to new pattern books and included amongst the later designs.

Literature Harry Lyons Christopher Dresser, The People's Designer 1834-1904, ACC page 193 plate 368 the original drawing annotated 'Dresser' reproduced.

Aspects of British Design 1870-1930 The Journal of The Decorative Arts Society, number 9 (1985), Christopher Dresser: Designs for Elkington & Co by Adrian Tilbrook, page 26 plate 7a the original design reproduced.

Widar Halen Christopher Dresser, Phaidon, page 145 for a discussion on Dresser's early designs for Elkington.

Provenance Private collection

81

474

472 473

475

476

477

478

λ 472. A Mappin & Webb electroplated three piece tea set, in the manner of Dr Christopher Dresser, model no.7001, drum form on three spike feet, with engine turned band decoration, comprising teapot and hinged cover, milk-jug and sugar basin stamped marks, 13cm. high £100-200 473. A James Dixon & Son electroplated cruet designed by Dr Christopher Dresser, central T-bar handle, the four round compartments containing cut glass cruet set stamped marks, 14.5cm. high £400-600 474. A pair of Benham & Froud brass and wrought iron coal-tongs, the design attributed to Dr Christopher Dresser, the twisted arms with flowerhead terminals, turned ebonised wood handle stamped mark to spring 46cm. long £150-200 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 174 figure 235 for comparable fire irons.

475. A large brass ewer in the manner of Dr Christopher Dresser, footed form with angled cylindrical body, neck and spout with angled stem unsigned 33cm. high £150-200 479

476. A massive Benham & Froud Japoniste brass tray, decorated with sunflower stems, inside a geometric border stamped mark 59cm. diam. £500-800 477. A Benham & Froud copper and brass kettle designed by Dr Christopher Dresser, ovoid copper body on three brass spike feet, over-slung handle stamped mark, 24cm. high £80-120 Provenance The Albert Dawson Trust Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A publishing, page 179 plate 241 for a variation on this design.

478. A Benham & Froud brass ewer in the manner of Dr Christopher Dresser, shouldered, flaring form with tall spout and scroll handle stamped mark to base 26cm. high £150-200 479. A Benham & Froud copper kettle on a patinated metal stand, in the manner of Dr Christopher Dresser, the tripod stand with applied twisted wire decoration and set with a copper oil burner and hanging counter balance, stamped mark 76cm. high £50-100 480. A tall Benham & Froud brass jug designed by Dr Christopher Dresser, with overslung handle with scroll terminals and hinged cover stamped marks, 35cm. high £500-800 Literature Harry Lyons Christopher Dresser The People's Designer ACC page 213 plate 420 for an identical jug

82

480

483 481 482 484

485

486

488

487

481. An Aesthetic Movement gilded copper inkwell and stand, the square section tray with central square inkwell mounted with ladybirds and a grasshopper, the hinged cover with flower finial unsigned 10cm. high £200-300 482. A Doulton Lambeth stoneware oil lamp by Edith Lupton, the ovoid stoneware body incised with intertwined stylised foliage in shaded of blue and brown on a buff ground, set in brass mount with glass flume and opaque glass shade impressed and incised marks, Doulton oil lamp 14cm. high £300-500 483. A pair of Birmingham Guild Ltd copper plates, each stamped to the rim with geometric panels, stamped marks to reverse 22.5cm. diam. £60-100 484. A patinated metal hall lantern, with pierced conical top, frosted glass shade 29cm. high £100-200 485. A brass charger, decorated to the well with a stylised flowerhead motif,, the rim a border of scrolling foliage unsigned 48cm. diam. £50-100 486. A large Keswick School of Industrial Arts copper wall charger, hammered in low relief with peony flowers inside foliage, stamped to rim KSIA 67cm. diam. £150-200

489

487. Five brass panels the design attributed to Lewis F Day, stamped in low relief with fruiting apple, floral design and a sunset landscape design stamped regd diamond to two 15cm. square £200-300 488. A patinated brass mirror, square form, hammered in low relief with entrelac motif, bevelled glass mirror 60cm. square £250-350 489. A Gothic Revival brass four branch candlestick, the four flaring arms and central light all with crenellated sconces, on twist stem and flaring conical foot unsigned 44cm. high 500-600 490. A pair of brass candlesticks, attributed to Owen Jones, domed tripod foot with knopped cylindrical stem and flaring drip pan, the foot and stem enamelled in black with stylised foliate panels unsigned 24cm. high £200-300 490

83

494

493 491

492

495

496

497

498

491. A large door handle with latch designed by C F A Voysey, with simple, heart shaped terminals 45cm. long £80-120 492. A rectangular copper tray, probably Scottish, stamped in low relief with a frieze of stylised rose flowers unsigned 58.5 x 42.5cm. £80-120 493. A patinated copper ceiling light, with five radiating branches with floriform terminals, opaque glass shades 58cm high £600-800 494. A pair of copper bowls, each stamped with simple beadwork flowerhead design to the well, 28cm. diam. £80-120 495. A long patinated copper and cedar wood box, rectangular with hinged cover, stamped in low relief with dragons 59cm. wide £200-300 499 496. A patinated copper charger, possibly Irish, circular form, the rim hammered in relief with a frieze of flowers and foliage, set with green ceramic roundels, unmarked, one ceramic roundel missing 32cm. diam. £100-200 497. A Hugh Wallis patinated copper bowl, on three domed feet, the well inlaid with silver foliate roundel, a Hugh Wallis tray and four Hugh Wallis hexagonal dishes, all stamped HW bowl 21.5cm. diam. £80-120 498. A John Pearson copper round tray, repousse hammered with stylised flower stems , and another John Pearson rectangular tray stamped JP mark to both 38cm. diam. £100-200

500

499. A John Pearson copper wall mirror, oval, repousse hammered with dragon creatures, unsigned 58cm. wide £800-1,200 500. A large John Pearson document casket, dated 1906, the hinged cover repousse hammered with two lizards flanking a vase of flowers, the body with repousse hammered raised sunflower roundels stamped JP 1906 to back 37 x 27cm. £600-800

84

500 detail

501 503

502

504

506 505 507 501. A Keswick School of Industrial Arts copper trivet, circular form hammered in low relief with a fish amongst flowing water, on tripod feet stamped KSIA mark 15.5cm. diam. £100-200 502. A Keswick School of Industrial Arts brass tray, rectangular form, repousse hammered with a foliate ground, another brass tray and a copper tray stamped marks to KSIA tray 51cm. wide £100-200 503. A Keswick School of Industrial Arts copper tray, designed by W H Mawson, rectangular form, hammered in low relief with a man fighting a dragon, a Keswick vase and a repousse hammered bowl designed by W H Mawson stamped marks, tray 21 x 6.5cm wide £100-200 508 504. A brass wall mirror, shaped rectangular section, stamped in relief with two facing dragons, below fruiting grape vine unsigned 58cm. high £100-200 505. A Large Newlyn Industrial Class patinated copper tray by J P Mackenzie and P Hodder, rectangular form, repousse hammered with a frieze of fruiting foliage, the well with chased design, engraved marks to reverse 59.5 x 42.5cm. £400-500 506. An Aesthetic Movement brass planter, in the style of Thomas Jeckyll, stamped with a band of stylised sunflower and fruit sprays, inter-spaced with regd diamonds, on four ball feet stamped regd diamonds and 13 to base 17.5cm. high £100-200 509 507. A patinated copper mirror, rectangular panelled form with stamped decoration, 62 x 54cm. £350-450 508. A patinated metal wall mirror, probably Scottish, oval form stamped in low relief with a Celtic knot design, with bevelled glass, 62cm. high £350-450 509. A Glasgow School brass wall clock, the square section faced stamped with entrelac design, the slightly domed dial with Arabic numerals, face 28cm. square £300-400 510. An E A Taylor copper wall mirror, rectangular, decorated with broken heart shaped flower panels unsigned 55 x 44cm. £500-700 510

85

513 512 511

514

511. A copper charger, the well stamped in relief with a heraldic Griffon rampant, the rim with simple impressed roundel border, and a Gawthorn brass charger painted marks to reverse, possible date of 1898 45cm. diam. £150-200

512. A Newlyn School of Industrial Classes copper charger, dated 1904, repousse hammered with a frieze of fish, waterweed and scallop shells, stamped Newlyn, incised date October 1904 51cm. diam. £300-400

515 513. An A E Jones silver and copper casket, the cedar-lined rectangular box with hinged cover, the cover set with a figural panel unsigned 16cm. wide £400-600

514. A pair of A E Jones silver and oak candlesticks, the twisted oak stem on hammered, flaring silver base stamped marks, Birminghma 1919 15cm. high £500-600

516

515. A William Arthur Smith Benson patinated copper candlestick, floriform on tripod foot stamped WAS Benson 18cm. high £160-200

516. A William Arthur Smith Benson copper hot-plate, rounded, rectangular section on insulated feet, the front set with hinged door stamped mark 51cm. wide £200-300

517. A William Arthur Smith Benson brass inkwell and pen tray, elliptical twin-handled tray with central urn-shaped well and hinged cover stamped Benson 25.5cm. wide £200-300 517

86

Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design ACC page 255 plate 30 catalogue number 553A for a comparable well

519

518

520 521

522

523

518. A William Arthur Smith Benson brass candlestick, scrolling stem with foliate feet, the circular sconce balanced with a seedpod counterweight unsigned 31cm. wide £400-600

522. A William Arthur Smith Benson copper flower pot, shape no.626, simple floriform with six flaring petals with brass screws and brass base plate unsigned 18cm. high £150-200

Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 121 plate 98 for a comparable example

Provenance The Albert Dawson Trust

519. A William Arthur Smith Benson brass candlestick, model no.9, the mantle candlestick with ball counterweight, scrolling stem and cast arched feet, unsigned 31cm. wide £150-200 Provenance The Albert Dawson Trust Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 253 plate 23 this design illustrated in the Benson catalogue.

Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 89 plate 62 this example illustrated.

523. A William Arthur Smith Benson copper flower pot, shape no.2012, the flaring petal panels with brass screws and base plate stamped WAS Benson mark, 18cm. high £150-200 Provenance The Albert Dawson Trust Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 89 plate 62 this example illustrated.

520. A William Arthur Smith Benson electroplate Turkish coffee pot, stand and burner, the wirework tripod stand holding burner, supporting coffee pot with wirework handle stamped WASB & Co mark to coffee pot 20.5cm. high £200-300

524. A rare William Arthur Smith Benson flowerpot holder, four flaring feet supporting tripartite floriform stem and six petal jardiniere, unsigned 77cm. high £700-1,000

Provenance The Albert Dawson Trust

Provenance The Albert Dawson Trust

Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 78 plate 50 this example illustrated.

Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 90 plate 63 this example illustrated.

521. A William Arthur Smith Benson electroplated copper Windguard kettle on stand, with spirit burner, the cover set with ebonised wood finial and wicker covered handle stamped mark £250-300

525. A William Arthur Smith Benson copper and brass egg holder and spirit burner, on brass foliate tripod foot, with ebonised wood final to cover stamped Benson mark, 20cm. high £100-200

Provenance The Albert Dawson Trust

Provenance The Albert Dawson Trust

Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, frontice piece and page 84 plate 56, this example illustrated.

Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 79 plate 51 this example illustrated.

524

525

525 open

87

526

527

528

529

530 531 533 532 526. A Kayser electroplated double inkwell, the shaped base set with two inkwell with hinged covers, and a central figure of an old man contemplating a skull, stamped mark to base 34.5cm. wide £100-200 527. A pair of W.M.F pewter candlesticks, each cast with a semi-naked figure, the sconce a large Art Nouveau flower bud stamped marks, 19cm. high £200-300 528. A Franz Heiss & Sohne gilt embossed leather frame, the front decorated with an Art Nouveau maiden playing a lyre stamped gilt makers mark 50cm. high £180-200 529. An Art Nouveau patinated metal table lamp, the arched stem with cast scroll design , supporting articulated shade with glass amber stones and silk shade, 34cm. high £100-200 534

530. A Kayser electroplated metal centrepiece, triangular section, set with three cast eagles forming the feet and handles, stamped mark 32cm. wide £100-200 531. An Art Nouveau Orivit pewter four piece tea set on a tray, model no.2175, each decorated with Secessionist flowers on sinuous stems, comprising tea pot and cover, hot-water pot and cover, milk-jug and covered sugar basin on a twin-handled tray stamped marks, tray 44cm. wide £200-400 532. A W.M.F Secessionist electroplated egg tray and six cups, with pierced and stamped geometric decoration stamped marks, 21cm. high £100-200 533. A German Art Nouveau leather photo frame, retailed by C Metzel asymmetric form applied with silvered metal flower stems, on easel back applied paper retail mark to reverse 24cm. high £200-250 534. A Tiffany & Co Zodiac bronze picture frame, model no.942, rectangular, cast in low relief with Zodiac signs, with easel back, stamped marks, 21 x 18cm. £400-600 535. A pair of bronze candlesticks, cast from a design by Georges De Feure, floriform base with slender, knopped stem with cast flowerhead design, flaring foliate drip-pan unsigned 28cm. high £600-800 Literature Alastair Duncan Paris Salons 1895-1914, Volume V Object’s d’Art and Metalware, Antiques Collector’s Club, page 210 for a comparable model

535

88

Paris Style et Elegance, Bonhams, lot 6 for a comparable pair of candlesticks

538 536 537 541

539

540 536. An enamelled copper panel, rectangular, decorated with a large butterfly amongst flowers and foliage, mounted on board, panel 29 x 13cm. £80-120

537. A German silver chalice, the cylindrical stem cast with heart-shaped flower panels, the flaring bowl with similar stamped and chased panels, stamped marks, 12cm. high £200-400 Literature Charlotte & Peter Fiell, 1900s 1910s Decorative Arts Taschen republishing of The Studio magazine, page 344 comparable goblets designed by Gustav Kalhhammer and Hausler.

538. An American silver sauce ladle, in the style of Gorham, cast with carnation flowers to the bowl and stem, cast mark and pat sterling 17cm. long £100-150

539. A Scottish tyg by James Dunn of Brechin, modelled with three bird-head handles with remains of applied mother of pearl eyes, with metal liner, applied paper label to base 22cm. wide £150-250

542

540. A patinated metal solifleur vase, floriform with twin looped foliate handles, signed in the cast 32cm. high £150-250

541. A continental Art Nouveau brass ceiling light, three radiating branches cast with Secessionist pine cone and knot designs, with glass shades 95cm. high £300-400

542. An enamel plaque of the Mother and Child, the rectangular plaque with patinated bronze mounts on a wooden base, the patinated metal hanging chain with laurel wreath roundel with enamel star panel, moonstone panel and cast crown hanging loop, unsigned panel 20.5cm. high £400-600 543 543. An Art Nouveau silver hair slide, the pierced body set with green stone roundel, unsigned 9.5cm. wide £80-120 Provenance Ernest Yarrow-Jones, (1872-1951) artist, thence by descent

89

544

545

548

549

546

550

547

551

544. A James Fenton silver and enamel bracelet, alternating link panels of green and blue enamel, in later fitted box stamped marks Birmingham 1909. 14cm. long £200-300 545. A William Hutton & Sons ltd silver and enamel spoon, the hammered, heart-shaped bowl supporting cast Art Nouveau flower stem, enamelled green and blue stamped marks, London 1902, 18cm. wide £100-150 546. A set of eight silver furniture handles, each with pierced square back plate of floral panels, with plated wirework drop handles, 6.5cm. wide £400-500 547. An electroplated panel in the manner of John Hardman & Co, the circular panel engraved with the Lamb of God, inside latin inscription, on wirework stand stamped P H & Co, 13cm. high £80-120

552

548. A Charles Horner silver brooch and earring set, each circular, cast in low relief with a viking boat at sail, stamped marks, brooch Birmingham marks, 2.5cm. diam. £150-200 549. A Charles Horner silver and enamel brooch, pierced entrelac design with blue and purple enamel panels, stamped marks, CH Chester 1910, minor enamel loss 2.8cm. wide £80-120 Literature Tom J Lawson Charles Horner of Halifax, GML Publishing, page 88 plate 3-111 for a comparable design manufactured as a pendant.

λ 550.

A silver and ivory cloak clasp, the two round ivory panels carved with pre-raphaelite angels, panels3.5cm. diam. £100-200

553

551. A set of six Aesthetic Movement silver teaspoons, each with leaf shape bowl and berry/seed terminal, in fitted case unmarked 9.5cm. long £80-120 552. A Theodor Fahrner silver and enamel Secessionist brooch designed by Patriz Huber, pierced and cast design with purple enamel, set with two amethyst stones and an amethyst drop stamped marks, 3cm wide £300-500 Fritz Falk Jugendstil-Schmuck/Art Nouveau Jewellery Arnoldsche, page 160 plates F21-F26 for comparable designs.

553. An Art Nouveau silver ring, cast with scrolling foliage supporting a mother of pearl stone, unsigned size L½ £300-500 554. An Art Nouveau gold ring, cast with Art Nouveau maiden panel stamped 14K, size N

90

554

£150-200

555

556

559

557

560

561

558

562

555. An A E Jones silver vase, the flaring cylindrical body with Tudor rose and inscription ‘Gather Ye Roses, While Ye May, Old Time is still A flying’, hammered finish, the foot with rope-twist border stamped marks, Birmingham 1913 17.5cm. high £300-500 556. A William Hair Haseler silver mirror, probably retailed by Liberty & Co, the circular frame cast in low relief with knotted ivy leaves to front and back, with wirework feet and easel/hanging wirework support stamped marks, Birmingham 1906 £300-500 557. A pair of Duchess of Sutherland Cripples Guild electroplated egg servers, chased decoration radiating into the well with Tudor rose medallion, stamped DSCG mark 19cm. diam. £200-300 558. A Duchess of Sutherland Cripples Guild electroplated copper twin-handled cup and cover, chased and embossed with bands of fruit stamped mark 28cm. high £200-300 559. A Birmingham Guild of Handicraft silver teapot and cover, designed by Arthur Stansfield Dixon, set with malachite finial and ebonised wood handle stamped marks, Birimingham 1899 15cm. high £600-1,000

563

560. A Duchess of Sutherland Cripples Guild silvered brass and copper hand bell, the waisted, square section bell with floral decoration, twisted copper, knopped handle stamped crown DSCG mark 19cm. high £80-120 561. A Keswick School of Industrial Arts electroplated beaker vase, flaring hammered form with chased inscription, a Charles Horner silver kilt pin modelled as a dagger, another modelled as a sword, a pair of Laurence Emanuel silver menu holders and a set of silver tea spoons and sugar tongs cased stamped marks beaker vase 9.5cm. high £50-100 562. A Hukin & Heath electroplated tureen with articulated cover, model no.2292, on four crows feet stamped marks, 27cm. wide £100-200 563. A pair of William Hutton & Sons silver tazza, the pierced bowl with radiating flower stem design, the rim with a raised band of Art Nouveau interlinked foliage stamped marks, London 1902 15.5cm. diam. £300-500

λ 564.

A silver trowel with ivory handle, the shield shaped blade with cast commemorative foliate panels and scrolling border, the handle set with four turquoise stones, with scrolling terminal unsigned 22.5cm. long £300-500 564

91

566

565. A Charles Boyton silver cup, the tapering cylindrical stem supporting flaring bowl, flanked with two cast winged, female figures, probably representing speed, stamped marks, CB London 1934 22.5cm. high £700-900

566. An Elkington & Co silver cruet, cast in low relief with flag iris stems, comprising; two salts, a pepper pot and a mustard pot and cover, with remains of blue glass liners stamped marks, Birmingham 1905 pepper 8cm. high £300-500

565 567. An Aesthetic silver and parcel gilt bowl by Lias & Wakely, dated 1880, decorated with fan motif before bamboo stems and heraldic emblems stamped marks, London 1880, 12cm. diam. 6.1oz £100-200 Henry Lias II formed a firm with James Wakely, Lias and Wakely, in 1879. the firm would eventually become Wakely and Wheeler in 1909.

567

568

568. A Roberts & Belk silver preserve jar holder, model no.6589, pierced, cylindrical form, decorated with stylised flower stems, retailed by Barraclough & Sons retailers mark, stamped R & B London 1927 and marks to base, 11.5cm. high £50-150

569. An Art Nouveau Reinemann & Lichtinger pewter card tray, model no.827, stamped in low relief with flowers to the well, on long whiplash stems and foliage cast marks, 24cm. diam. £100-200

570. A George Lawrence Connell silver and enamel alms dish, repousse hammered with lily and Tudor rose panels, with shaped enamel panels depicting angels, stamped marks, London 1906 23cm. diam. £500-1,000 569

570

571

92

572

571. A Glasgow School repousse hammered tray, in the manner of Marion Henderson Wilson, oval section, with pierced gallery, hammered in relief with flower roundels unmarked 55.5cm. wide £100-200

572. A William Hutton & Sons silver mounted twin-handled glass bowl designed by Kate Harris, retailed by William Connell, circular section on bun feet, the body pierced with panels of Art Nouveau berried foliage stamped marks, London 1900, the glass later replacement 21cm. wide £350-450

573. A Guild of Handicraft Limited silver mounted decanter designed by Charles Robert Ashbee, dated 1903, with James Powell & Sons Whitefriars green glass body, the silver neck chased with Art Nouveau entrelac design, set with five green chrysoprase stones, the domed cover with ball finial, stamped marks, London 1903 21cm. high £6,000-8,000 Literature British Decorative Arts Christie’s King Street, 20th February 1991 lot 27 page 18 for an identical decanter

93

574

575

574. A pair of Guild of Handicrafts Ltd salts, each with hammered domed base, three Ionic pillar supporting James Powell & Sons, Whitefriars green glass bowls, stamped marks, London 1903, 6.5cm. diam. £500-800 Literature Annette Carruthers and Mary Greensted Simplicity or Splendour Cheltenham Art Gallery & Museums, page figure 51 this design illustrated, catalogue number 44.

575. A Guild of Handicrafts silver porringer designed by Charles Robert Ashbee, the hammered bowl with pulled wirework handle, set with green chrysoprase, inscribed E H C H Xmas 1904, stamped hallmarks, London 1904, 18.5cm. wide £1,500-2,500 Literature Annette Carruthers & Mary Greensted Simplicity or Splendour Cheltenham Museum & Art Gallery, figure 51 catalogue number 52 for a comparable dish 576. A large Irish silver cup by Neill, Dublin, the hammered ovoid bowl on flaring foot, applied with three looped handles with foliate terminals, stamped marks, Dublin 1907 26cm. high, 61oz £1,500-2,000

576

577. A Ramsden & Carr silver box and cover, by Omar Ramsden & Alwyn Carr, hexagonal section, the hinged cover repousse hammered with a coat of arms inside panels, stamped marks, London 1910, Omar Ramsden et Alwyn Carr Me Fecerunt MCMXL 15cm. wide, 12.5cm. high, 1lb 9oz £800-1,200

577

94

578. A fine pair of Elkington & Co cloisonne enamel vases, each painted with herons amongst bamboo, waterweed and flag iris flowers, with wasps, butterflies and bugs signed E & Co in the wire cloisonnes, stamped Elkington & Co 307 to the base 17cm. high ÂŁ1,000-1,500

95

580

579

581

582

liBerty & Co. 579. A Compton Pottery model of a praying angel, modelled kneeling on a bible, glazed in colours unsigned, chips 20cm. high £100-200

580. A pair of Compton Pottery book ends, each modelled with a galleon at full sail, in shaded of green and brown on a blue ground impressed marks, chips 15cm. high £80-120 583 581. A Compton Pottery model of a frog, modelled seated, on drum plinth, partially glazed silver and ochre impressed mark, hairline crack to base 12cm. high £150-200

582. A Compton Pottery model of a pelican, modelled preening its feathers, partially glazed silver and ochre unmarked 16cm. high £150-200

583. A Compton Potters’ Arts’ Guild terracotta jardiniere the design attributed to Mary Seton Watts, cast in relief with scrolling foliage border unsigned 47cm. diam. £600-700 584 584. A Compton Pottery terracotta Square Italian Box plant pot, cast in relief with rose swags below rose flowerhead designs, impressed Compton wheel mark, damages 40cm. high, 38cm wide. £150-250 Literature Veronica Franklin Gould, Archibald Knox & Mart Seton Watts Modern Celtic Art Garden Pottery Arrow Press, page 38 the original catalogue reproduced, price £0 8 0.

585

96

585. A pair of Compton Pottery garden urns, flaring cylindrical form decorated with simple foliate panel design, unmarked, damages 39cm. high £300-400

587 588

586

590

589

588A

586. A Liberty & Co brass hall mirror, elliptical form with strapwork panels set with Ruskin stoneware roundels, applied ivorine label to reverse 63cm. wide £400-600 587. Three Anglo-Moorish tables probably retailed by Liberty & Co, each hexagonal form inlaid with mother of pearl and marquetry decoration, losses 48cm. high£250-350 588. A marquetry and mother of pearl inlaid Anglo-Moorish side table, probably retailed by Liberty & Co. hexagonal section with arched plank legs 46.5cm. high £150-250 588A. A Liberty & Co oak mantle clock, rectangular with fret-work panels, the ebonised wood face with brass arabic numerals, with applied brass presentation panel dated 1909, stamped Liberty & Co 48.5cm. high £500-800 589. A Liberty & Co oak occasional table, with ball and trellis side panels, on casters unsigned 70cm. wide £200-300 590. A LIberty & Co mahogany stool, rectangular, hinged seat, on flaring square section legs, with bent wood decorative rail handles applied Liberty label 67cm. high £100-200

591

591. A pair of oak high-back chairs, probably retailed by Liberty & Co, the tapering square section legs supporting tall, arched back with five square spindles, with leather seat, 121cm. high £150-250 Literature Daryl Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 260 plate 7.34 for a comparable chair.

592. A mahogany Thebes stool probably retailed by Liberty & Co, the rectangular, shaped slat seat, above square section dowel supports, 35 x 31cm. £300-500 Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, Antique Collector’s Club, page 97 plate 4.16 for an identical stool.

592

97

593

594

595

593. A copper hall mirror, rectangular frame with ‘hammered’ finish, set to each corner with a brass Tudor rose design with Ruskin Pottery ceramic plaques unmarked 76.5 x 51cm. £600-800

594. A copper hall lantern, tapering cylindrical form, stamped in low relief with a frieze of bats above Latin inscription, with horn panes unsigned 30cm. high £200-300 597 596 595. A patinated copper hall mirror probably retailed by Liberty & Co, rectangular form, stamped to the top border with stylised tree motif 65 x 46cm. £400-600

596. An oak high-backed armchair retailed by Liberty & Co, with rush seat and back panel, on turned legs 125cm. high £300-500

597. A Liberty & Co Anglo-Moorish walnut corner cabinet, with elaborate carved and pierced decoration set with small panels of mashrabiya panels unsigned 81cm. high, 73cm. wide £200-300 Literature Daryll Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club page 17 figure 1.9 for a comparable example illustrated.

598

98

598. An oak long-case clock case, possibly retailed by Liberty & Co, the tapering rectangular body with flaring top and foot, glazed cover, the hinged door inset with ebonised wood diamond, 192cm. high £300-400

位 599.

A fine Liberty & Co Cymric silver tea set designed by Archibald Knox, model no. 5237, comprising; teapot with hinged cover and applied ivory handle, twin-handled sugar basin, milk-jug and tongs, each cast with stylised honesty, set with green agate stones stamped marks, Birmingham 1903 teapot 18cm. high 拢5,000-7,000 Provenance Ernest Yarrow-Jones, (1872-1951) artist, thence by descent

99

600

601

602 600. A Liberty & Co silver christening cup and saucer, model no.225, the hammered, slightly waisted body inscribed Yvonne, stamped marks, Liberty 1907 cup 8cm. high £300-500 Provenance Ernest Yarrow-Jones, (1872-1951) artist, thence by descent

603

603 top

601. A small Liberty Cymric silver and enamel box and cover, the rectangular box with pierced foliate sides panels, the overhanging cover with gently domed blue and green enamel panel stamped marks, Birmingham 1903 8cm. wide £200-400

602. A Liberty & Co silver bowl and spoon, model no.2309, the hammered bowl inscribed Mireile, the spoon with cast foliate terminal stamped marks to bowl Birmingham 1907, the spoon 1906, bowl 14cm. diam. £300-500 Provenance Ernest Yarrow-Jones, (1872-1951) artist, thence by descent

603. A Liberty & Co silver and enamel topped jar designed

by Jessie M King, model no.5420, the cover cast in low relief with floral panels, enamelled green and blue, with clear glass jar stamped marks, Birmingham 1906 9.5cm. high £300-400 604 604. A Liberty & Co Cymric silver sugar basin and milk jug, compressed form with hammered finish, both with forked handles with extended terminals, stamped marks, Birmingham 1903 sugar basin 15cm. wide £700-900

605. A rare Liberty & Co Cymric silver fork designed by Archibald Knox, the slender stem cast in relief with a Celtic knot. the handle set with a turquoise stone stamped L & Co mark, Cymric, Birmingham 1903 18.5cm. long £800-1,200 Literature The Pursuit of Style - John Jesse at Kensington Church Street, Sotheby’s London, 22nd February 2006 lot 50 for an identical fork illustrated.

Stephen A Martin Archibald Knox, Academy Editions, page 115 for a comparable fork

100

605

606. A William H Haseler silver vase designed by Archibald Knox, probably retailed by Liberty & Co, flaring trumpet form, cast in low relief with stylised foliage stems stamped marks, WHH, Birmingham 1910 23.5cm. high £1,500-2,000

606

607. A Liberty & Co Cymric silver vase waisted cylindrical form, applied with three handles, each enamelled with celtic entrelac panels in green and blue stamped marks, Birmingham 1901 17cm. high £1,500-2,500 Literature Liberty’s 1875-1975 centenary exhibition catalogue, page 62 figure D.100 for a related vase attributed to Rex Silver.

607

608. A Liberty & Co Cymric silver and enamel bowl designed by Archibald Knox, model no.9631, twin-handled form on four radiating feet, each cast with Celtic knot design, the body with larger cast Knot motif enamelled with green and blue heart-shaped panel stamped marks, Birmingham 1903, etched model mark to base 18cm. wide £2,000-4,000 Literature Victor Arwas, Art Nouveau in Britain From Mackintosh to Liberty The Birth of a Style, Andreas Papadakis Publisher, page 117 for an identical bowl.

608

101

609. A Liberty & Co silver and enamel pendant, model no.8704, cast with fleur de lys design over flanking leaves, enamelled green and blue unsigned 3.5cm. high £200-300 The original line drawing for this design is held in the Liberty Jewellery Sketches at the Westminster Library

610 610. A silver and enamel waist clasp, pierced and cast in low relief with Art Nouveau mistletoe design, enamelled green and blue 12.5cm. wide £100-200

609

611. A pierced silver brooch possibly Liberty & Co, cast in low relief with berried foliage panels, set with green agate stone unmarked 3cm. wide £60-100

612. A silver and enamel buckle, pierced rectangular form, enamelled with four green panels, stamped JW marks, Birmingham 1911, 5.5cm. high £80-120

611 612

613. An Anglo-Moorish pierced metal vase and cover retailed by Liberty & Co, shouldered form with pierced foliate panels, and two Art Nouveau picture frames stamped marks to vase Liberty & Co London & Paris vase 7cm. high £80-120

614. A Liberty & Co English Pewter vase designed by Archibald Knox, model no.0277, tapering body on three looped feet, cast in low relief with berried foliage stamped marks, 11cm. high £80-120

614

615. A Liberty Tudric Pewter dish designed by Archibald Knox, model no.0316, cast in low relief with berried foliage on whiplash stems stamped marks, 17.5cm. wide £80-120

613

616. A Liberty & Co pewter tray designed by Archibald Knox, twin-handled, rounded rectangular form cast in low relief with heart shaped foliage on inter-twining stems, a Tudric Pewter card tray decorated with entrelac, a small pewter dish with enamel roundel and another pewter dish various marks, 49cm. wide £300-500 616 615

102

Provenance Ernest Yarrow-Jones, (1872-1951) artist, thence by descent

617. A Liberty & Co pewter, silver and enamel mantle clock designed by Archibald Knox, model no. 0761, architectural form with overhanging, slightly domed mantle, pilaster columns on swollen rectangular body, the silver dial enamelled mottled green and blue with Festina Lente numerals 20cm. high ÂŁ1,500-2,000 Literature Stephen Martin Archibald Knox, ARTMEDIA, page 232 for a comparable design

103

619

620

618

618. A Liberty & Co Tudric Pewter card tray designed by Archibald Knox, model no.0163, circular, the well cast with scrolling honesty panel stamped marks, 25.5cm. diam. £200-300 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 203 an enamelled version illustrated.

622

621

619. A Liberty & Co Tudric Pewter jam dish, glass liner and spoon, model no.070, rectangular section, with cast Art Nouveau foliate handles, stamped marks, 19cm. wide £250-350 620. A Liberty & Co English Pewter butter dish and knife designed

by Archibald Knox, model no. 0162, circular section with three shaped handles, cast in low relief with Art Nouveau honesty stems, the knife cast with heart-shaped foliage design, with green glass liner stamped marks, 14.5cm. diam. £300-500 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 208 for an example of this design illustrated.

621. A Liberty & Co English Pewter tea pot designed by Archibald Knox, model no.0375, with hinged cover, the neck cast in low relief with scrolling honesty, ebonised wood handle, stamped marks, 16cm. high £200-300

623

624

Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 199 for a comparable version illustrated.

622. A Liberty & Co Tudric Pewter footed rose bowl probably designed by Oliver Baker, model no.01129the shouldered bowl cast in relief with simple strapwork panels, on hammered finish stamped marks, 24cm. diam. £250-350 623. A large Liberty & Co English Pewter vase designed by Archibald Knox, model no.0927, tapering cylindrical form on swollen tripod foot, the body cast in low relief with whiplash foliage stamped marks, 29cm. high £400-600 624. A Liberty & Co English Pewter vase designed by Archibald Knox, model no.0226, bombe shaped with tripod foot, cast in low relief with stylised scrolling foliate design, stamped marks, 18.5cm. high £150-250

625

104

625. A Liberty & Co English Pewter mantle clock, model no.395, domed rectangular body on bun feet, hammered finish, stamped marks, 16.5cm. high £80-120

626

627

626. A Liberty & Co English Pewter and enamel tray designed by Archibald Knox, model no.0357, rounded rectangular section, with over-slung handle, cast to the tray and handle with Art Nouveau Ivy, the well enamelled blue and green stamped marks 30.5cm. wide £300-500

627. A Liberty & Co Tudric Pewter pedestal vase designed by Archibald Knox, model no. 0276, pierced and cast to the body with foliate panels, on tripod foot and slightly domed circular base, with later green glass liner stamped marks, 16cm. high £300-500 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 205 for a version with Clutha glass liner illustrated.

628 628. A Liberty & Co English Pewter vase designed by Archibald Knox, model no.0226, the pierced bombe shape body cast with scrolling honesty, on tripod foot, with green glass liner stamped marks, 17.5cm. high £300-500 Literature Stephen A Martin, Archibald Knox, ARTMEDIA, page 187 for an example of this vase illustrated.

629. A Liberty & Co English Pewter ‘Bollellin tray designed by Archibald Knox, model no.044, circular, with upturned crenulated rim, cast with a frieze of scrolling honesty stamped marks, 26.5cm. diam. £300-500 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 203 an enamelled version illustrated.

629

105

630. A fine Liberty & Co Tudric Pewter mantle clock designed by Archibald Knox, model no. 0255, tall, slightly swollen rectangular form with flange panels to the front, cast in low relief with Art Nouveau foliage panel, cast Arabic numerals and patinated metal hands stamped marks, 22.5cm. high ÂŁ7,000-9,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 241 for an example illustrated.

106

631. A Liberty & Co Cymric silver picture frame, designed by Archibald Knox, tapering rectangular form with pierced Celtic knot motif, with simple stud decoration, on wooden frame stamped marks, Cymric Birmingham 1902 19cm. high ÂŁ6,000-10,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA page 229 for a comparable example. This frame is also illustrated in the original LibertyYuletide Gifts catalogue, circa 1903-1905, illustrate page 69, priced ÂŁ1.17.6.

107

20th Century Design (including Art Nouveau and Art Deco) Wednesday 9th October 2013 Closing date for entries 28th August

An original watercolour beach scene by Dodo Burgner.

Estimate: ÂŁ500 - ÂŁ1,000

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

Valuation Day at the Castle Street office Friday 7th June between 10am and 1pm

Furniture, Works of Art & Tribal Art Tuesday 2nd July 2013

ENQUIRIES

A Mambile mask, 14½in (37cm) high.

Will Hobbs Tel: +44 (0)1722 339752 willhobbs@woolleyandwallis.co.uk

Estimate: £100-200

Silver Tuesday 16th & Wednesday 17th July 2013

A modern 9ct gold chess set, by Robert May, London 1969.

Estimate: £6,000 - £8,000

ENQUIRIES Rupert Slingsby Tel: +44 (0)1722 424501 rupertslingsby@woolleyandwallis.co.uk

Lucy Chalmers Tel: +44 (0)1722 424594 lucychalmers@woolleyandwallis.co.uk

Jewellery Thursday 25th July 2013 Closing date for entries 31st May

An Arts and Crafts gold necklace depicting a mermaid and highlighted with cabochon moonstones.

Provenance: Ernest Yarrow- Jones (1872-1951) thence by descent.

Estimate: ÂŁ800 - ÂŁ1,200

ENQUIRIES Jonathan Edwards FGAA Tel: 01722 424504 jonathanedwards@woolleyandwallis.co.uk Marielle Whiting FGA Tel: +44 (0)1722 424595 mariellewhiting@woolleyandwallis.co.uk

English and European Ceramics and Glass Tuesday 8th October 2013 We are currently accepting entries for this sale

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

A fine Barr, Flight and Barr cabaret set.

Estimate: £1,500 – £2,000 From the collection at Crichel House, Dorset.

Modern British Tuesday 26th November 2013 Closing date for entries 26th September

A large bronze head by Dame Elisabeth Frink D.B.E., R.A. Estimate: ÂŁ100,000 - ÂŁ150,000

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@woolleyandwallis.co.uk Victor Fauvelle Tel: +44(0)1722 424503 victorfauvelle@woolleyandwallis.co.uk

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

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

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

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

To register, you will need to provide two forms of identification:

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

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.

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

114

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.

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.

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 €15,000. 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 TSB, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction.

Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office.

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.

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500.

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 €12,500 Lots marked with a ‡ symbol are potentially subject to the levy.

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

APS

0800 118 5868 sales@apservices.info 07736 544 362 www.apservices.info

Mailboxes

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

Pack & Send

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

The CITES Regulations may be found at www.ukcites..gov.uk

115

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 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate.

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 double 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.

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. 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).

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. 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. 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.

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).

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.

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 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 four 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 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. 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 take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (c) No purchase can be claimed or removed 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.

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 €12,500.

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 €12,500

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

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

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

Accuracy, speed and above all confidentiality are paramount.

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

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

Contact Christine Johnson 01722 424509

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

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

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

D OA

LW AY W ES T IL

D SR SE VI DE HU

RC

H

AY

T) C

36

WILTON & WARMINSTER

CENTRAL CAR PARK

N SCOTS L SALISBURY S OUT H

OA

W

A 3 6(

MR HA ND WY

ST WE

MI

RD

F IS

HER TO N

CHIPPER

ST

A36(T) CH URC HIL L

WILTO NR DA

EET STR TLE CAS

A3 60

A36 C HUR CH ILL WA YN OR TH D

ST

RD

R EY

AMESBURY & MARLBOROUGH

EA

E LS

HL AS

CASTLE RD A345

HU

LONDON, ANDOVER & WINCHESTER

T WIN S BED L SALT

LN

N

WINCH ESTER ST

N EW

LL R O AD

L C ANA

NEW STR EET

ST ANN S

T

SOUTHAMPTON CATHEDRAL

UT SO

Y A36

( T)

CH

UR

C

L HI

L

W

A

AD

A3 09 4 NEW H

ARNH AM

OM

BE

R O AD

A354 DORCHESTER WEYMOUTH & BLANDFORD O

RO

C

HAR NH AM

H

W OOLLEY & W ALLIS S ALEROOMS

A338 BOURNMOUTH & RINGWOOD D

OW

NT O

N

RO

AD

A33 8

A36(T) SO UTHA MPT ON R

OA D

Woolley & Wallis Salisbury Salerooms Ltd. Registered in England No. 2998482 VAT No: 9832 29 in association with Woolley & Wallis, Chartered Surveyors Design & Production by Jamm Design Tel. 020 8901 7522

Woo l le y & WA l li s Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Arts & Crafts

Brief Decription

Wednesday 19th June 2013 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 Debit/Credit Card details: VISA OTHER

MASTERCARD

SWITCH

(please specify)

We do not accept American Express cards

Cardholder Card No. Valid from Expiry date Issue No.

(Switch only)

If you have not settled your account within 21 days of the auction Woolley & Wallis Salisbury Salerooms Ltd reserves the right to debit all charges due. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. By signing below you are authorising this payment to be taken by us. 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

Price Excluding buyer’s premium & VAT

AuCtion CAlendAr FURNITURE, WORKS OF ART & TRIBAL ART 2nd July 24th September Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 16th & 17th July 22nd & 23rd October Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 24th July 30th October Richard Price +44 (0) 7741 242421 • richardprice@woolleyandwallis.co.uk Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk JEWELLERY 25th July 24th October Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk PAINTINGS 11th September 4th December Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMCIS & GLASS 8th October Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 9th October – 20th Century Design 11th December – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk ASIAN ART 13th & 14th November John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk MODERN BRITISH ART 26th November Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk • Entries can usually be accepted up to six weeks prior to auction • Illustrated catalogues are available about ten days before the sale • Viewing is normally two days prior to the auction and on Saturday mornings • Catalogue subscriptions are available for all sales • Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk

www.woolleyandwallis.co.uk