Woolley & Wallis

DESIGN Wednesday 16th October 2019

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

20TH CENTURY DESIGN

VALUATIONS FOR INSURANCE & PROBATE

Michael Jeffery Zoe Smith

424505 446955

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

424509 424598 424509

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

424506 +44 (0)7812 601098 424571 424591

MARKETING Sally Trench Megan Corbett

446959 446960

ACCOUNTS CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

Janice Clift (Office Manager) 424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

424507 446964

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

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

411854 339161 446974

SALEROOM MANAGER Matt Hill

CASTLE GATE MANAGER JAPANESE ART Alexandra Aguilar Sarah Lopez-Ferreiro

David Jordan 424583 424591

CASTLE GATE RECEPTION Sally Litherland

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

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

446961 446962 446970

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

ASSOCIATE DIRECTORS SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

339752 446980

424500

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

424500

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DESIGN Wednesday 16th October 2019 at 10.00am at our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 12th October Monday 14th October Tuesday 15th October Wednesday 16th October

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

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

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 15th October BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 15th October CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults COLLECTION OF LOTS Please note that all lots will be cleared from the saleroom back to Castle Gate on Friday 18th October If you are collecting items on or after this date please contact the department to arrange in advance Thereafter, collection will be from our new Castle Gate Office Unit 1B Castle Gate Business Park Old Sarum, Salisbury SP4 6QX Our Castle Gate address details and map are at the back of this catalogue All accounts to be settled prior to collection Payment is still made at Castle Street ARTIST’S RESALE RIGHT / DROIT DE SUITE

ILLUSTRATIONS Front cover: Lots 1416 & 1417 detail Back cover: Lot 1479 detail Inside front cover: Lot 1054 detail Catalogue £12.00 (£15.00 by post)

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

Lots marked with a ‡ symbol which sell for more than €1000 are subject to the levy, payable by the bidder. Please refer to page 217 for full details.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

GLASS 1001. A small James Powell & Sons Whitefrairs glass vase in wrought iron mount designed by Harry Powell, the faceted vaseline glass body set in wrought iron tripod stand unsigned, 18cm. high £200-300 Literature Wendy Evans, Catherine Ross and Alex Werner Whitefriars Glass James Powell & Sons of London, Museum of London, page 51 colour plate 44 for an identical example.

This design was shown at the first Arts and Crafts Exhibition in 1888.

1002. A James Powell & Sons Whitefriars glass vase in wrought iron mount designed

by Harry Powell, straw opal glass, in wrought iron mount, unsigned, 41cm. high £400-600 Literature Wendy Evans, Catherine Ross and Alex Werner Whitefriars Glass James Powell & Sons of London, Museum of London, page 51 colour plate 44 for an identical, smaller example. This design was shown at the first Arts and Crafts Exhibition in 1888.

1001

1002

1003

1004

1005

1006

1003. A James Powell & Sons Whitefriars glass tazza probably designed by Harry Powell, shallow foot supporting twisted stem and fluted, shallow bowl, unsigned, 15.5cm. high £200-300 Literature Wendy Evans, Catherine Ross and Alex Werner Whitefriars Glass James Powell & Sons of London, Museum of London, page 80, this shape illustrated plate 80 (bottom row far right).

1004. A pair of James Powell & Sons Whitefriars glass decanters designed by T G Jackson, the tapering square section dimpled body and fluted cylindrical neck, applied with trail columns, with flattened stopper, unsigned, 31cm. high, (4) £300-500 Literature Wendy Evans, Catherine Ross and Alex Werner, Whitefriars Glass James Powell & Sons of London, Museum of London, page 74 plate 72 for comparable decanters.

1005. A James Powell & Sons Whitefriars opal glass goblet vase probably designed

by Harry Powell, on slender knopped stem, with flaring fluted bowl, unsigned, 22cm. high £300-400 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 101 plate 19 for this shape illustrated.

1006. A John Walsh Walsh vaseline glass vase, flaring cylindrical form with fluted rim, the glass internally decorated with iris flower stems, on applied glass foot, unsigned, 26cm. high £120-180

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1008

1007 1007. A James Powell & Sons Whitefriars Cloudy White Lattice glass vase, shouldered form, white lattice cased in clear, unsigned, 24.5cm. high £150-200 1008. A Whitefriars Cloudy glass bowl, footed flaring bowl, pink glass with white inclusions, cased in clear, and a Whitefriars Streaky bowl, unsigned 30cm. diam., (2) £150-200

1009

1010

1009. A Whitefriars glass Comet vase designed by William Wilson and Albert Tubby, amber, flaring cylindrical form with cut geometric decoration, unsigned, 21.5cm. high £150-200 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 128, plate 123 for a comparable vase illustrated.

1010. An unusual Gray-Stan glass vase

by Elizabeth Graydon-Stannus, flattened pear shaped rust red and white mottled glass cased in clear, with applied black lug handles, etched Gray-Stan mark to base, 36cm. high £300-500 1011. A Stevens and Williams Royal Brierley footed glass vase designed by Keith Murray, tall flaring conical amethyst glass body with large air bubbles, on clear glass foot and another smaller Stevens and Williams Royal Brierley footed glass vase designed by Keith Murray, unsigned, 37.5cm. high (2) £150-200 1012. A Stevens and Williams Royal Brierley footed glass vase designed by Keith Murray, the flaring bucket form blue glass body with small air bubble inclusions, unsigned, 32cm. high £150-200

1011

6

1012

Literature Charles R Hajdamach 20th Century British Glass, Antique Collector’s Club, page 148 this shape illustrated in a green colourway,

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1013

1014

1013. A Stevens & Williams Royal Brierley Cactus vase designed by Keith Murray, flaring beaker from, cut and etched with a cactus acid etched signature and factory marks, 17.5cm. high £400-500

1014. A Royal Brierley glass bowl designed by Keith Murray, the flaring clear glass body cut with concentric bands and the rim with a band of panels, on applied black glass foot, acid etched signature and Royal Brierley mark, 25.5cm. diam. £300-500

1015. A Richardson’s Cameo glass vase, hammered clear glass covered in amber glass, acid etched with lily flower sprays acid etched Richardson to base, 25.5cm. diam. £120-180

1015

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MONART 1016. A Moncrieff’s Monart Ware glass vase, shape VA, shouldered form, clear glass with red and orange mottled inclusions, with aventurine inclusions, original paper label, 23cm. high £250-350 Provenance Originally retailed by Watson China Hall, Perth.

The Morgan collection of Monart glass.

1016

1017

1017. A Moncrieff’s Monart Ware glass vase, shape VI, waisted form, clear glass with vivid green spot decoration, with white whorls towards the base of the body, paper collection label, 20cm. high £200-300 Provenance Ian Turner The Ian Turner Collection of Monart Glass, Christie’s South Kensington, 24th September 2003 lot 6.

The Morgan collection of Monart glass.

1018. A Moncrieff’s Monart Ware glass vase, footed, flaring cylindrical form, pale blue cased in clear with air bubble inclusions, unsigned, 22cm. high £200-300

1019. A Moncrieff’s Monart Ware glass vase, shouldered, flaring cylindrical form with collar rim, pale blue graduating to darker blue top rim, with air bubble inclusions, unsigned, 30.5cm. high £200-300

1018

1019 1020. A Moncrieff’s Monart Ware glass vase, shouldered form, mottled green shoulder graduating to purple and blue with aubergine veins, cased in clear, unsigned 20cm. high £200-300 Provenance The Morgan collection of Monart glass.

Literature Ian Turner Ysart Glass, Volo Editions, page 61 plate 27 for a vase with this type of decoration reversed.

1021. A large Moncrieff’s Monart Ware glass vase, shouldered form, mottled pink glass with whorls to shoulder, aventurine inclusions, cased in clear unsigned, 25cm. high £150-250

1020

8

1021

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1022 1022. A Moncrieff’s Monart Ware Cloisonne vase, shape L, scarlet red liner, surface decorated with lustre, white crackled design, collection label to base, 24.5cm. high £400-500 Provenance Cyril Manley collection.

The Ian Turner Collection of Monart Glass, Christie’s South Kensington, 24th September 2003, lot 127 The Morgan Collection of Monart Glass.

1023

Exhibited British Glass Between The Wars, Broadfield House Glass Museum, 13th June - 31st August 1987 catalogue number 68.

Literature Ian Turner Ysart Glass, Volo Editions, page 102-103 plates 100-101 for comparable examples.

Roger Dodsworth British Glass Between The Wars page 43 catalogue number 68 this example illustrated. Another example of this technique illustrated on the front cover of the Exhibition catalogue.

1023. A rare large Moncrieff’s Monart Ware surface decorated vase, model AVD31, tapering conical form with everted rim, clear glass body decorated with white splashes, highlighted with pink, blue, orange and yellow whorls towards the base, applied collection paper label, 25cm. high £900-1,100 Provenance The Ian Turner Collection of Monart Glass, Christie’s South Kensington, 24th September 2003, lot 136.

The Morgan Collection of Monart Glass.

1024. A rare Moncrieff’s Monart Ware vase, milky-off white liner cased in red with millefiori cane inclusions, unsigned, 18cm. high £600-900 Provenance The Morgan collection of Monart glass.

Literature Ian Turner Ysart Glass, Volo Editions, page 98 catalogue number 91 and 92 for two comparable vase.

1024

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1025

1026

1025. A Moncrieff’s Monart Ware bowl, flaring bowl with flat rim, green stripes cased in clear with silver aventurine inclusions, unsigned, 33.5cm. diam. £120-180 1026. A Moncrieff’s Monart Ware glass vase, shouldered ovoid form, clear glass with pale blue graduating to pink, the body with panels of green and yellow whorls, with aventurine inclusions, unsigned, 28.5cm. high £150-200

1027

Provenance The Morgan collection of Monart glass.

1027. A Moncrieff Monart Ware vase, shouldered form mottled orange glass graduating to brown, cased in clear, a Monart scent bottle and stopper, A Vasrt blue glass vase, two other vases and two dishes, unsigned, 23.5cm. high, (7) £150-200 1028. A Moncrieff’s Monart Ware glass vase, ovoid with flaring rim, whorled yellow glass graduating to with aventurine inclusions, cased in clear unsigned, 24.5cm. high £150-200 1029. A Moncrieff’s Monart Ware glass perfume bottle and stopper, shape VB, opaque glass decorated with purple graduating to pink, cased in clear unsigned, 21.5cm. high, (2) £200-300 Provenance The Morgan collection of Monart glass.

1028

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1029

Literature Ian Turner, Ysart Glass Volo Editions, page 173 this shape reproduced from the original catalogue.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1031

1030

1030. A Whitefriars Willow glass Drunken Bricklayer vase designed by Geoffrey Baxter, moulded glass, and a Troika Pottery Cube vase, unsigned, 21.5cm. high, (2) £150-200 1031. A Whitefriars Studio Range glass vase by Peter Wheeler, tall, square section, white glass with orange and aubergine stripes, cased in clear, another Whitefriars Glass Old Gold cylinder vase, another shorter and two ovoid vases in the same range, all designed by Peter Wheeler, original paper label, signed and dated 1969 to main, 29.5cm. high (5) £300-500 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis, page 142 plate 167 for this range illustrated.

1032

1032. A Whitefriars Willow glass Hoop vase designed by Geoffrey Baxter, cylindrical, textured form, unsigned 29.5cm. high £150-200 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 139 plate 159 for comparable vases. ‡ 1033. A Hula glass vase by Bob Crooks, flaring amber glass vase with blue and white murrine inclusions, etched signature to base, 45cm wide. £150-200

1033

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1034. A Whitefriars Fish faceted glass paperweight designed by Geoffrey Baxter, 1976, central fish design in coloured canes, a Whitefriars Lace Twist paperweight, 1977, a Whitefriars Jubilee paperweight, and a Whitefriars Clichy Rose paperweight, 1971 Whitefriars cane inclusion, 7.5cm. diam. (4) £200-300

1034

1035

1035. A Paul Ysart millefiori glass paperweight, central star and radiating cane bands, cased in clear, unsigned, 7cm wide. £200-300 1036. ‘London Olympics 1948’ a Dartington glass limited edition vase engraved by Nick Davey, flaring form on knopped ball stem and small circular foot, the body engraved with the Discobolus and Olympic rings, the reverse Big Ben, in original presentation box and with certificate, etched Dartington numbered 8 of 48, 38cm. high £400-600 1037. A Mdina glass Fish vase probably designed by Michael Harris, dated 1983, brown and yellow streaked glass cased in clear slab glass with pulled solifeur neck, etched Mdina 1983, paper label, 25cm. high £120-180

1036

1037

1038. A Mdina glass bottle vase designed

by Michael Harris, dated 1976, amethyst streaked glass with surface decoration, square section with tapering neck, and two other Mdina bottle vases, etched Mdina, signature and 1976, 45cm. high (3) £120-180 1039. A Mdina Ming glass bottle and stopper, blue and green swirling glass cased in clear, and another textured Mdina bottle and two Isle of Wight glass vases by Michael Harris etched Mdina 21cm. high, (5) £120-180

1038

12

1039

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

CONTINENTAL GLASS 1040. A Moser enamelled amethyst glass ewer, on three foliate feet, with applied reptile handle, enamelled in colours and gilt with insects amongst fern foliage unsigned, 25cm. high £150-200 1041. A Galle fire polished cameo glass box and cover by Emile Galle, circular section, opaque glass cased in purple, cameo decorated with clematis flowers and foliage, cameo signature Galle, 10.5cm. diam. (2) £250-350

1041

1042. A WMF Ikora glass vase, cylindrical form with flaring fluted rim, covered in a bronzed finish, a footed Ikora glass vase with golden iridescence and an Ikora bowl similar unsigned, 29.5cm. high, (3) £150-200 1043. An Austrian iridescent glass vase probably Palme Koenig, compressed ovoid form with tall, swollen solifleur neck, green glass with iridescent finish, a green glass bowl probably Webb with a glass stand, a Mont Joye enamelled glass vase decorated with pansies and a Venetian glass vase, unsigned, 21cm. high (Austrian vase), (5) £150-200

1040

1042

1044. A Baccarat chartreuse glass liqueur set, green glass decorated in gilt with wild flowers, comprising two ewers with faceted clear glass stoppers, and ten tot cups, on a rectangular tray, unsigned, 17cm. high (ewer's), 29cm. wide (tray), (15) £200-300 1045. A Loetz Marmoriertes Carneol Islamic glass dish, triangular section with inverted rim, white opal ground with pink/red threading, highlighted in gilt and white enamel, unsigned, 23.5cm. diam. £200-300

1043

1044

1045

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1046. A Daum glass vase with Majorelle metal mount, cylindrical blown form with everted rim, pale blue and red splashed glass cased in clear, unsigned, 15cm. diam. £150-200 1047. A Val St Lambert overlaid and cut glass bowl, cylindrical form clear glass with amethyst overlay, cut with vertical columns and lens, incised signature to base, 26cm. diam. £200-300

1046

1048. A Daum Nancy glass lamp base, slender shouldered form with flaring base, pale green glass with darker patches to neck and base, incised Daum Nancy mark to base, 36cm. high £300-400 1049. A De Latte Nancy glass vase, swollen cylindrical form, mottled yellow glaze, enamelled with a band of flowers and foliage in blue and white on a black ground, and another De Latte glass vase enamelled with stylised rose motif, etched De Latte Nancy 25cm. high (2) £120-180

1047

1049

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1048

1050. A Daum glass shade with patinated metal wall light fitting, flaring, square section orange glass shade with colour inclusions, etched Daum & Nancy France to shade, 24cm. long (fitting), 10.5cm. high (shade), (2) £200-300

1050

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1051

1051. An Art Deco Daum Nancy enamelled glass vase, ovoid, cast in low relief with a wavy geometric band, between acid-etched geometric panels, highlights enamelled in brown, with solifleur neck, wheel cut Daum Nancy to base 13.5cm. high £800-1,200

1052

1052. An Art Deco Schneider Le Verre Francais cameo glass tazza, shallow footed opaque glass with red cameo foot, rising to form scrolling grasses, etched Le Verre Francais to the top of foot, 22cm. diam. £300-500

1053. A Schneider glass vase, thick clear glass, elliptical section with pulled handles and decoration to base, with air bubble inclusions, signed Schneider to foot rim, 29cm. high £500-800

1053

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LALIQUE GLASS

1054. ‘Formose’ no.934 a Lalique cased opalescent glass vase designed by Rene Lalique, with blue staining, moulded R Lalique, 17cm. high £1,000-1,500

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1055. ‘Sauterelle’ no.888 a Lalique clear and frosted glass vase designed by Rene Lalique, with blue staining, the crickets picked out with pale green staining etched R Lalique 28cm. high £3,000-5,000

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1056

1057 1056. A set of four modern Lalique glass cherubs, three playing instruments, etched Lalique France 8.5cm. high, (4) £150-200 1057. Thirteen glass cats, including Lalique Baccarat and Daum, and a Daum glass puppy various marks, 16cm. high (tallest) (14) £250-350 1058. A modern Lalique clear and frosted glass vase, flaring bucket form, modelled with bathers, a modern Lalique bowl, a vase and four dishes modelled with leaves, etched marks, 24cm. high (7) £250-300 1059. A modern Lalique clear glass figure of a naked woman, modelled seated her head resting on her knees, another Lalique black glass female figure, and a taller Baccarat female figure incised marks, 11cm. high (tallest), (3) £150-200 1060. A modern Lalique glass model of a bear, seated, frosted glass, a Lalique dish with a frieze of portraits and a Lalique glass sculpture of two cats and three Lalique glass cats etched Lalique France 6.5cm. high, (6) £200-300

1058

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1059

1060

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1061. ‘Chicoree’ no.3213 a Lalique clear, frosted and opalescent glass bowl designed by Rene Lalique, moulded Lalique mark to the well, 24cm. diam. £150-250

1061

1062. Bacchantes a large modern Lalique clear and frosted glass charger, decorated to the well with three naked women amongst fruiting vine, and two modern Lalique Bacchantes wine coolers, etched Lalique France, 40cm. diam. 23cm. high (coolers), (3) £250-350

1062

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1063

1064

‡ 1063. Damien Hirst (born 1965) Eternal Momento limited edition Lalique black glass panel, platinum plated, in polished chrome frame, signed lower right, numbered 12/50 37 x 41cm. £800-1,200

Provenance Property of a lady. ‡ 1064. Damien Hirst (born 1965) Eternal Prayer limited edition Lalique black glass panel, platinum plated, in polished chrome frame, signed lower right, numbered 13/50 37 x 41cm. £2,000-3,000

Provenance Property of a lady. ‡ 1065. Damien Hirst (born 1965) Eternal Prayer limited edition Lalique black glass panel, platinum plated, in polished chrome frame, signed lower right, numbered 15/50 37 x 41cm. £2,000-3,000

Provenance Property of a lady.

1065

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

‡ 1066. Damien Hirst (born 1965) Eternal Prayer a limited edition Lalique red glass panel, platinum plated in polished chrome frame, signed lower right, numbered 9/20 37 x 41cm. £2,000-3,000

Provenance Property of a lady.

1066

‡ 1067. Damien Hirst (born 1965) Eternal Prayer limited edition Lalique clear glass panel, platinum plated, in polished chrome frame, signed lower right, numbered 14/50 37 x 41cm. £2,000-3,000

Provenance Property of a lady.

1067

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1068

1069

A PRIVATE COLLECTION OF MODERN GLASS SCULPTURE

1068. A Daum glass limited edition figure designed by Paella Chimicos, pale pink glass with white highlights, on a black glass base, etched signature, Daum France and 022/500, 30cm. high £150-250

1070

1069. A Daum glass sculpture by Etienne, modelled as a mask face resting on hands, amber glass graduating to pink incised Etienne Daum France 110/375, 32.5cm. high £150-200

1070. A Daum limited edition pate de verre model of a woman, modelled seated and leaning forward, on a rectangular base, yellow glass graduating to blue, etched indistinct signature, Daum France, 58/425, 30cm. wide £150-250

1071. Dreamo a Daum limited edition glass figure sculpture by Areano, purple glass figure holding a white glass child, on clear base incised Dreamo, Daum France, 154/375, 26.5cm. high £150-250

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1071

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1072

1073

1072. Tango a Paris a large Daum glass sculpture by Myriam Franck, modelled as a standing couple embracing, amber glass with frosted finish, signed Myriam Franck Daum France 036/375 (limited edition), 48cm. high £400-500

1073. A tall Daum glass sculpture of a woman, modelled in long, floor-length dress amber glass with frosted finish, indistinct signature, Daum France, 53/250 (limited edition), 55cm. high £120-180

1074. A Daum glass model of a Geisha, purple glass graduating to yellow, her hair set with a gold rose flower, etched signature Sina Daum France, 107/225 (limited edition), 44cm. high £150-250

1074

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1075. Embracing Couple a modern Daum glass figure group designed by Myriam Franck, pale pink glass etched signature, Daum France 42/375, 33cm. high £150-200

1076. A modern glass model of a woman resting, graduated green glass, etched signature 13.5cm. wide £150-200

1077. A modern Daum glass model of a seated girl, modelled kneeling, hair in a plait, pale pink and frosted glass, a Daum sculpture on chrome stand and a Kosta Boda glass dish and Downpour an amber glass volcanic vase by James Machlachlan, etched signature, Daum France 324/375 (limited number) and various marks, (4) £200-300

1075

1076

1077

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1078. A modern Daum glass model of a lady resting by Sylvie Mangaud-Lasseigne, amethyst glass etched SML Daum France 201/500 16cm. long £150-200

1078

1079. A modern Daum glass sculpture of a lying nude woman, with long flowing hair, red glass graduating to amber, etched JC monogram, Daum France 189/500, 22cm. wide £150-200

1080. A Daum glass figure of a naked woman lying asleep designed by Sylvie Mangaud-Lasseigne, amethyst glass etched SML Daum France 046/375, 67cm. wide £150-200

1079

1080

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1081

1082

1081. A Daum mask sculpture designed by Tamara Kvesitadze, green glass with bubble inclusions, etched Tamara Daum France 37/375 (limited edition), 22cm. high £200-300 1082. Mother and Child a modern Daum glass figure designed by C Loiaim, pale blue glass with frosted finish, etched Daum France 123/175, moulded signature 44cm. high £150-200 1083. A tall modern Daum glass figure of a woman in a dress, graduated amber glass on a clear glass base, etched signature, Daum France, 057/175, 51cm. high £200-300 1084. A modern Daum sculpture of two reclining figures, amber glass with frosted finish, etched N monogram, Daum France, 023/500, 29cm. wide. £150-200

1083

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1084

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1085 1085. A modern Daum glass figure of a woman seated on a rock, pale blue glass with frosted finish, etched signature, Daum France 161/475, 30cm. high £150-200

1086

1086. A Daum glass model of a seated woman, pale blue glass, modelled seated with arms crossed, etched Lautringnat Daum France 194/225, 37cm. high £200-300 1087. La Tendresse a modern Daum glass twin mask sculpture designed by Etienne, amber glass with frosted finish on clear glass plinth, etched Etienne Daum France 205/225, 27cm. high £150-200 1088. A Daum glass model of a woman in long dress designed by Jean Phillipe Richard, frosted surface etched Richard Daum France 82/425, 35cm. high £300-500

1087

1088

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1089. A Daum glass model of an angel, blue glass with frosted finish, another pink angel figure, a Daum glass bust and a Daum glass neck on a plinth, and a tall amethyst glass figural sculpture of a couple, etched marks, 74/500 (limited edition), 13cm. high (5) £200-300 1090. Horse Celeste a Daum sculpture by Bou Golzer, green glass with frosted surface, on clear glass base etched signature Daum France 7/388, 32cm. high £150-200 1091. Reflet a Daum plaque designed by Dominique Vial, peach frosted glass, and a Daum amber glass model of a ballerina seated on a clear glass plinth designed by Sylvie Mangaud-Lasseigne, etched Vial Daum France 30/388, 37cm. wide (2) £150-200

1089

1092. Dove and Cross a Daum glass sculpture by Etienne, green glass graduating to amber on clear glass base, and a Daum blue glass reclining figure, etched Etienne Daum France 289/500,(limited edition), 21cm. high (2) £150-200 1092A. A Daum glass sculpture of an embracing couple, yellow glass graduating to green with frosted finish, etched EP monogram Daum France 285/500, 24cm. high £150-200

1090

1091

1092

28

1092A

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1094

1093

1093. A Daum glass figure of an angel, yellow glass with frosted surface on gilt bronze base, etched N monogram Daum France 200/375, 33cm. high £150-200

1094. A modern Daum glass torso, stylised form, amber glass graduating to pale blue, on square plinth, and a modern Daum pate de verre bust by SK, incised marks, 24cm. high (2) £150-200

1095. A Daum glass figural sculpture in two pieces, the purple glass with frosted finish etched AJ monogram, Daum France, 204/350, 58cm. wide. (2) £150-200

1096. A tall frosted glass and metal sculpture of a woman by Matsigevski in the manner of Salvador Dali, the surrealist torso on metal mount and marble base, etched mark 61cm. high £150-200

1095

1096

29

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1097 1097. Petite Muse a Daum glass sculpture of a crouching woman designed by Sylvie Mangaud-Lasseigne, frosted clear glass etched SML Daum France 248/500, 13cm high £200-300 1098. A Daum pate de verre glass totem figure designed by Santini, green frosted glass signed in the cast Santini, Daum 1/150, 29.5cm. high £120-180 1099. A Daum glass goblet vase, footed form, cast with a band of berried foliage to the top rim, yellow glass with frosted finish, and a Daum clear glass vase with amethyst figural base etched Daum France, 29cm. high, (2) £150-200

1098

1099

30

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1100. Reves a Daum glass bust designed by Jean Faucheur, pierced and cast pale green glass form on clear glass base etched Faucheur 347/375, 27cm. high, (2) ÂŁ500-800

1100

1101. Masque de Verre a Daum glass sculpture designed by Jean Faucheur, blue glass with frosted finish, etched Faucheur Daum France 122/275, 42cm. high ÂŁ300-400

1101

31

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1102

1102. A modern Daum glass figure of a reclining couple designed

by C Di Feltre, green glass with frosted finish, etched Daum France C Di Feltre 345/375 (limited edition), 20.5cm. wide £150-200

1103

1103. A tall Daum glass model of a seated cat, pale blue and clear glass with air bubble inclusions, etched Daum France 56, 26.5cm. high £120-180

1104. Double Je a Daum glass sculpture designed by Tamara Kvesitadze, amber glass with frosted finish, on clear glass plinth etched Tamara Daum France 262/500, 32cm. high £150-200

1104

32

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1105 1105. A Daum glass constructivist sculpture designed by Marim Karsorski, bottle green glass with frosted finish, etched Marim Karsorski Daum France 41/275, 32.5cm. high £150-200

1106

1106. Depart a Daum glass figural sculpture designed by Laurence Bonnel, slender, elongated figures in embrace, pale blue glass with frosted finish, etched L Bonnel Daum France 24/175 (limited edition), 57.5cm. high £200-300 1107. Le Retour a large Daum sculpture designed by Laurence Bonnel, modelled as an embracing couple, dark blue glass, frosted finish on rectangular plinth, etched L Bonnel Daum France 16/75, 87cm. high £400-600 1108. A Daum glass sculpture of a head by SK, angular, stylised form, angular amber glass with blue streaks and textured surface, on black glass plinth, etched SK Daum France 366/500, 25cm. high £150-200

1108

1107

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1109

1110

1109. An Archimede Seguso glass vase, cylindrical emerald green glass body with flaring rim and vertical ribs, on applied foot, with surface iridescence, applied Archimede Seguso Murano made in Italy retail label, 30cm. high £200-300

1110. A Murano glass sculpture of a fish in the manner of Cenedese, streamlined form, pink and blue glass cased in clear on a clear glass base, and a Mstisov glass vase by Frantisek Zemek with pulled rims, blue red, amber and green pulls cased in clear, unsigned 45cm. high. (2) £150-200

1111

1111. A glass Ray dish possibly Murano, with long tail, green glass with blue radiating, lines, cased in clear, indistinct signature, 66.5cm. wide £120-180

1112. A glass Occhio wall charger possibly by Vistosi, yellow and white circles inside a broad terracotta red band, cased in clear unsigned, 50cm. diam. £300-400

1113. A large Murano glass shallow dish, pale turquoise glass internally decorated with canes, cased in clear with a clear glass rim, indistinct signature Toso M.... to well of bowl, 58cm. diam. £250-300

34

1112

1113

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1114

1114. A S.A.L.I.R enamelled glass vase designed by Vitorio Zecchin, the twin-handled, footed cup form of pale green glass enamelled with hunting white hounds running through scrolling foliage unsigned, 24cm. high £150-250 Catalogues notes This vase was given to the Vendor’s mother as a wedding present in 1937.

1115

1115. A Murano glass Break jug designed by Tony Zuccheri probably manufactured by Veart, cruciform base rising to circular rim, green glass graduating to orange, with red rim, unsigned, 16.5cm. high £300-500

1116. A Gino Cenedese Somerso glass fish sculpture designed by Antonio Da Ros, amber glass with white latticino body and blue glass head, cased in clear, on black enamelled metal stand unsigned 44cm. long £800-1,200

1116

35

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1117

1118 1117. A glass vase designed by Tapio Wirkkala, elliptical clear glass with pulled join to interior, the exterior with moulded flower roundel to each side, etched Tapio Wirkkala 3308, 15cm. high £150-200 1118. A Kosta Boda glass bottle by Bertil Vallien, dated 1992, tall, shouldered form blue glass with coloured inclusions, tapering clear glass neck with applied blue band, and a Hadeland green glass vase with applied prunts, etched marks, Vallien and 87254, 41cm. high (2) £150-200 1119. A Holmegaard Gul vase designed by Otto Brauer, white glass cased in red, and another smaller blue vase, applied paper label, 51cm. high, (2) £150-200 1120. Maria Van Kesteren (1933-2019) a Royal Leerdam opaque glass vase on wood stand, the vase tapering cylindrical form with swollen base, cased in clear, cut MK monogram to base, paper exhibition/stock label, 15.5cm. high (vase), (2) £120-180

1119

36

1120

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1122

CERAMICS

1121

1121. ‘Alert’ a Sherwin & Cotton advertising plaque probably designed by George Cartlidge, decorated in shades of sepia, impressed marks to reverse 11 x 7.5cm £50-100 1122. A pair of large Minton’s encaustic tiles, each printed with children working, one pushing a wheelbarrow, the other working with a pickaxe in a mine, in shades of green, white and brown on a cream ground, impressed marks, rim chips, 20.5cm. square, (2) £150-200 1123. Eleven various Art Nouveau tiles, each tubelined in colours with stylised flowers and foliage, two similar spacer tiles probably Minton’s and a small encaustic tile, impressed marks, 15.5cm. square, (14) £120-180

1123

1124

1124. A set of six Minton’s Medieval Revival encaustic tiles the design attributed to A.W.N Pugin, each decorated with medieval figures or heraldic lions, framed 15cm. square (each tile) £200-300 Literature Paul Atterbury and Clive Wainwright Pugin V&A/Yale page 144 plate 261 for four tiles from this Old English Series made by Minton from 1842.

Provenance British Art Pottery Woolley and Wallis Auctioneers 30th November 2011 lot 51.

Private collection.

1125. A Martin Brothers stoneware tobacco jar and cover by Robert Wallace Martin, dated 1884, shouldered form, incised with a bird flying past bamboo foliage, in colours on a buff ground, incised 15.4.84 R W Martin & Bros London & Southall, repair to cover, 15cm. high £200-300 1126. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1892, slender shouldered form with cylindrical neck, incised with two small lizards amidst scrolling, flowering foliage, glazed in ochre incised 6-1892 Martin Bros London, 12cm. high £400-600

38

1125

1126

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1127

1127. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, compressed ovoid form, incised and painted with vertical ribs in white on a dark green ground incised 12-1901, Martin Bros London & Southall, 10.5cm. diam. £300-400 1128. A Martin Brothers stoneware face mug by Captain L G Butterfield, cast and carved on one side a smiling face, the reverse inscribed no.3562, Honor Deo 1911-1932, glazed grey with black and white highlights incised to base L G B Martin Bros London & Southall, 12cm. high £300-500 1129. A Martin Brothers stoneware Imp Musician drummer by Robert Wallace Martin, dated 1893, glazed white, on ebonised wood base, incised R W Martin Sc & Bros, London & Southall, 1893, missing drum sticks, 10cm. high £1,500-2,500

1128

1130. A Martin Brothers stoneware Imp Musician castanet player by Robert Wallace Martin, glazed white, on ebonised wood base, incised Martin Bros and Martin London, losses to castanets, 12.5cm. high £1,500-2,500

1129

1130

39

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1131. Miranda Minton’s Parian figure by John Bell, modelled seated, resting beside a large conch shell, impressed title, signature and factory marks to base, 39cm. high £120-180

1132. ‘The Cobbler’ a rare Royal Doulton blanc de chine figure designed by Charles Noke, signed and titled in the cast 18.5cm. high £150-200

1133. ‘Folly’ H.N.1335 an Art Deco Royal Doulton figure, modelled as a woman in short dress, holding balloons, glazed in colours, a Royal Doulton figure of Autumn Breezes H.N.1934 and a Royal Worcester July figure designed by Freda Doughty, printed and painted marks, 22cm. high (3) £150-250

1132

1134. A Minton coaster and tankard designed by Henry Stacy Marks, the coaster printed in colours with a portrait of John Barleycorn, the tankard with a drinking scene, set with pewter cover, impressed marks, 17.5cm. high, (2) £120-180

1131

1135. A large twin-handled floorstanding vase and base in the manner of Doulton Burslem, possibly continental, printed and painted in colours and gilt with birds amongst wild flowers, on a cream ground, the handles with mask terminals to the base, unsigned, 103.5cm. high, (2) £200-300

1133

1136. A Sunflower Pottery ewer designed

by Sir Edmund Elton, modelled in low relief with flower sprays in blue and green on a streaked green ground, another Sunflower Pottery vase, a Susie Cooper carved ware bowl and a collection of ceramics including Iden, Beswick, Hornsea and Burleigh, and a small collection of metal ware painted signature, 23cm. high, (a lot) £120-180

1134

40

1135

1136 part

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1137. A Ruskin Pottery stoneware vase

by William Howson Taylor, dated 1906, unusual footed, shouldered form resist decorated to the shoulder with a band of flowers and foliage, in blue souffle over purple impressed marks, 17.5cm. high £400-600 Provenance Private collection of Ruskin Pottery.

1138. A Ruskin Pottery stoneware vase

by William Howson Taylor, dated 1925, shouldered form with cylindrical neck and everted rim, covered in a lilac lustre glaze, and a Ruskin Pottery lustre plate impressed marks, 15cm. high (2) £120-180 Provenance Private collection of Ruskin Pottery.

1138

1137

1139. A rare Bernard Moore Pottery highfired vase, swollen form with everted top rim, covered in a mottled flambe glaze over white, with some fissuring, signed Bernard Moore to base, 14.5cm. high £200-300

1140. A Pilkington’s Royal Lancastrian Pottery pedestal bowl by Richard Joyce, dated 1918, painted with a band of scrolling foliage to the rim and foot, in rust red on a mottled blue lustre ground, the well with a radiating floral design, impressed marks, painted artist cipher, hairline to top rim, 22cm. diam. £120-180

1139

1140

Provenance Decorative Arts, Bonham’s Auctioneers, 24th March 1999 lot 640.

A private collection of Pilkington’s Lancastrian Pottery.

1141. The Time O Day a Foley Intarsio mantel clock designed by Frederick Rhead, model no.3330, printed and painted with medieval figures in a formal garden setting, in colours printed factory mark, repair to one foot, 28cm. wide £200-300

1141

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1142. A Minton Secessionist wash basin and ewer designed by John Wadsworth and Leon Solon, model no.2, tubeline decorated with Art Nouveau foliage in shades of mint-green, pale blue and silver-grey, and an Art Nouveau jug with printed flower design, printed and impressed marks, stress hairlines, small glaze chip to ewer, 37.5cm. high (3) £150-200

1143 1142

1143. A pair of large Minton Pottery stands, model no.1665, circular on four feet, printed in blue with bands and a frieze of stylised foliage in blue on a turquoise ground impressed marks, one riveted, 31cm. high, (2) £120-180 1144. A set of six Wedgwood Pottery cabinet plates made for retail by James Powell & Sons Whitefriars, painted by Mabel Tatton, model X8675, each plate with an ornithological scene, enamelled in colours inside a powder blue band, highlighted in gilt, printed Wedgwood and James Powell mark, painted number X8675 and MT monogram, 22.5cm. diam. (6) £150-250 Literature Maureen Batkin, Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 118 plate XLV for comparable pieces of Powder Blue China decorated

by Mabel Tatton for James Powell & Sons.

1145. An Old Hall Indiana wash set designed

by Dr Christopher Dresser, printed in colours on a cream ground with scrolling geometric flowers and foliage, comprising wash basin and ewer, chamber pot, brush pot and cover, soap dish, drainer and cover, an electroplated toast rack in the manner of Dr Christopher Dresser and a Hukin & Heath lily-pad inkwell, printed marks, minor damages, 41cm diam. (wash basin), 34cm. high (ewer) (10) £120-180

1144

1146. A large Bernard Moore flambe bowl by R R Tomlinson, internally painted with a ferocious dragon looking directly out, in red flambe on a smoked ground, the exterior glazed flambe red, painted Bernard Moore and artist monogram, impressed marks, 36cm. diam. £500-700

1145

1147. A pair of Watcombe Pottery terracotta carafe vases and saucers in the manner of Dr Christopher Dresser, ovoid with cylindrical necks, printed and enamelled with winged classical creatures and stylised foliage, in colours, inside Greek Key borders, impressed and painted marks, 27cm. high, (4) £120-180

1146

42

1147

1148

1148. Sister’s a pottery figure group by Mary Mitchell-Smith, dated 1951, modelled seated, one holding a rose and whispering to her sister, who is holding a resting dogs lead, in shades of pale blue and green, another figure of a young girl in medieval dress probably a princess, and a young medieval boy holding his hat both by Mary Mitchell-Smith, and a model of a calf in the corn, incised signatures and title, 20.5cm. high (4) £350-400 The main figure group is incised To Joan Ralle my friend and patron, from Mary Mitchell-Smith 1951.

The artist is listed as showing at the Arts and Crafts Exhibition Society held at the Royal Academy in 1946.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1149

MOORCROFT POTTERY 1150 1149. ‘Christmas Greetings’ a rare James Macintyre & Co miniature twin-handled cup designed by William Moorcroft, footed, flaring conical form, tubeline decorated with a frieze of violet stems in shades of blue and green on a white ground, inscribed Christmas Greetings to the top rim, printed factory mark, painted green signature, small chip to top rim, 4.3cm. high £150-250 1150. ‘Poppy’ a James Macintyre & Co Florian Ware coffee cup and saucer designed by William Moorcroft, painted in shades of blue on a pale blue ground with Art Nouveau flower stems, printed and painted marks, 11.5cm. diam. (2) £300-400 1151. ‘Green and Gold Florian’ a James Macintyre & Co ewer designed

by William Moorcroft, tapering cylindrical form, painted in with Art Nouveau flower panels, in shades of blue and green, highlighted in gilt, printed factory mark, painted green signature, 27.5cm. high £800-1,200 1152. ‘Cornflower’ a Moorcroft Pottery jardiniere designed by William Moorcroft, painted in shades of purple, blue and green on a white ground painted green signature, 9cm. high £800-1,200

1151

1152

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1153. ‘Persian’ a Moorcroft Pottery twin-handled tazza designed by William Moorcroft, painted in shades of blue, purple, red and green on a white ground impressed marks, painted green signature, minor professional restoration to bowl, 28.5cm. wide £600-800

1153

1154. ‘Late Florian’ a Moorcroft Pottery sugar basin and cover designed by William Moorcroft, twin-handled form, painted in shades of blue, yellow and green on a celadon ground impressed marks, painted green signature, minor professional restoration to base of one handle, 17cm. wide. £500-600 1155. ‘Pansy’ a Moorcroft Pottery vase designed

by William Moorcroft, ovoid, painted in shades of purple, yellow and green on a white ground impressed marks, painted green signature, 20.5cm. high £1,500-2,000 1156. ‘Pansy’ a unique Moorcroft Pottery bowl designed by William Moorcroft, twin handled form, painted to inside and out with pale pink pansy flowers, green foliage on pale blue ground impressed marks, painted blue signature, professional restoration to foot rim, 28cm. wide £800-1,200

1154

1155

44

1156

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1157

1157. ‘Claremont’ a rare Moorcroft Pottery plate with Shreve silver mount designed by William Moorcroft, painted in shades of red, purple and blue on a graduated ochre and green ground, mounted with silver rim, painted W Moorcroft Shreve & Company San Francisco, fine hairline to rim, 21.5cm. diam. £600-800

1158

1158. ‘Claremont’ a Moorcroft Pottery vase designed

by William Moorcroft, probably retailed by Liberty & Co, flaring cylindrical form on shallow foot, painted in shades of yellow, red, blue and green on a celadon ground, printed regd mark and painted green signature, 24.5cm. high £2,000-3,000

1159. ‘Claremont’ a rare Moorcroft Pottery wall charger retailed by Liberty & Co designed by William Moorcroft, painted with a radial band in shades of red, blue and green on a mottled celadon ground printed Liberty mark, painted green signature, 30cm. diam. £2,000-3,000

1159

45

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1160. ‘Flambe Claremont’ a Moorcroft Pottery twin-handled vase designed by William Moorcroft, painted in colours under a rich flambe glaze impressed marks, painted blue signature, 20cm. high £2,000-3,000

46

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1161. ‘Hazledene’ a Moorcroft Pottery coffee trio designed by William Moorcroft, comprising coffee pot and cover, milk jug, sugar basin and cover, painted in shades of green and blue on a green celadon ground impressed marks, painted green signature, small chip to cover of sugar, 27cm. high (5) £3,000-4,000 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 112 for a set illustrated.

47

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1162

1163

1162. ‘Claremont’ a Moorcroft Pottery dish designed by William Moorcroft, painted in shades of red, purple and yellow on a celadon green ground impressed marks, painted green signature, fine hairline to top rim, 11cm. wide £120-180

1163. ‘Claremont’ a Moorcroft Pottery coffee cup and saucer designed by William Moorcroft, painted in shades of red, blue and green printed and painted marks, 11.5cm. diam. (2) £500-800

1164. ‘Claremont’ a Moorcroft Pottery vase made for Liberty & Co designed by William Moorcroft, slender form with swollen neck, painted in shades of blue, red and green on a celadon ground printed Liberty mark, painted green signature, 19.5cm. high £1,500-2,000

1164

48

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1165. ‘Hazledene’ a Moorcroft Pottery twin-handled jardiniere designed by William Moorcroft, with four lugs to the top section, painted with a band of trees with a winding path in the foreground, in shades of blue and green on a celadon green ground painted green signature, impressed marks, professional restoration to a hairline, 21cm. high £2,000-3,000

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1166

1167 1166. ‘Flambe Chevrons’ an unusual Moorcroft Pottery vase, shouldered form, painted with bands of chevrons bordering columns, in blue and ochre under a red flambe glaze impressed marks, painted blue signature, 21cm. high £800-1,200

1167. ‘Autumn Leaves’ a Moorcroft Pottery flambe bottle vase designed by William Moorcroft, ovoid with cylindrical neck, painted in colours under a light flambe glaze impressed marks, painted blue signature, 23.5cm. high £800-1,200

1168. ‘Flambe Fuchsia’ a Moorcroft Pottery vase designed by Walter Moorcroft, shouldered form, painted in blue with flower stems under a rich flambe glaze impressed marks, painted blue signature, original paper label, factory hole to base for light fitting, 29cm. high £600-800

1168

50

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1169 1169. ‘Pansy’ a large Moorcroft Pottery baluster vase designed

by William Moorcroft, painted in shades of blue, purple, yellow and green on a white ground impressed marks, painted green signature 34cm. high £2,000-3,000

1170

1170. Carp a Moorcroft Pottery vase designed by Sally Tuffin, baluster form, painted in colours on a celadon green ground, printed factory mark, painted monogram, 31cm. high £150-200

1171. ‘Cactus’ a modern Moorcroft vase, shouldered form, painted in colours printed and impressed marks, 22cm. high £120-180

1171

51

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1172. An Ashtead Pottery Genozo lion designed by Percy Metcalf, modelled in relief advertising Genozo Toothpaste, glazed mottled blue, printed factory marks, 18cm. high £300-400 1173. A Carter Stabler & Adams Poole Pottery vase, pattern ZV, shouldered ovoid form with collar neck, painted with a stylised bird, flowers and foliage frieze in colours on an off-white ground impressed and painted factory marks, 26cm. high £120-180

1172

1173

1174. A Wedgwood Pottery model of monkeys designed by John Skeaping, modelled as a mother and young monkey cuddled together, covered in a Moonstone white glaze, and a Wedgwood Pottery model of a sealion by John Skeaping covered in a Straw yellow glaze Sealion impressed Wedgwood J Skeaping, Monkeys unmarked, 18cm. high (monkey group), (2) £150-200 Literature Maureen Batkin Wedgwood Ceramics 18461959, Richard Dennis Publications, page 188 colour plate XLVIII comparable examples of these figures illustrated.

1175. A rare Wedgwood earthenware model of a buffalo designed by John Skeaping, modelled standing, covered in a celadon glaze, on ebonised wood base, impressed Wedgwood J Skeaping to side, 22cm. high, 23cm wide (base) £150-200

1174

Literature Maureen Batkin, Wedgwood Ceramics 18461959 Richard Dennis Publications, page 188 colour plate XLVIII for a comparable Buffalo covered in a tan and grey Norman Wilson glaze.

1176. A Wedgwood Pottery vase by Norman Wilson, shouldered cylindrical form, silver grey glaze covered in a translucent sang de boeuf glaze impressed Wedgwood and NW marks, 20.5cm. high £400-600

1175

Literature Maureen Batkin Wedgwood Ceramics 18461959, Richard Dennis Publications page 224 colour plate LI for a selection of Norman Wilson designs including a comparable barrel vase.

1177. A Wedgwood Pottery vase by Norman Wilson, shouldered cylindrical form, covered in a streaked peach and pink experimental glaze, impressed marks and NW monogram, printed Wedgwood NW mark, 12.5cm. high £200-300

52

1176

1177

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1178. A Susie Cooper Productions plate, painted to the well with a clipper boat, in black inside a bright yellow band, the rim with a wavy mushroom colour band and fish printed factory mark, 28cm. diam. £400-600

1179. A Susie Cooper Productions plate, painted to the well with a bird perched on a branch, painted in colours inside grey and pink bands, printed factory mark 28.5cm. diam. £120-180

1180. ‘Green Block’ a rare Shelley Vogue shape porcelain tea set designed by Eric Slater, pattern no. 11785, printed and painted with geometric panel design in green, black and silver, the filled triangular handles painted green with black borders, comprising, milk-jug, six cups, saucers and side plates printed and painted marks, one cup 16cm. square (side plates), (19) £300-500

1178

1179

1181. A Shelley Pottery Rabbit jelly mould, modelled wearing a bow and eating grass, another Shelley Swan jelly mould, a Shelley Chicken jelly mould, an Armadillo jelly mould and a collection of twenty-nine jelly moulds, printed marks, 25cm. wide. (33) £150-250

1182. Manchu Dragon a Crown Devon vase, pattern no.2078, a candlestick in the same pattern, two Crown Devon bowls and ten other items, printed and painted marks, 15.5cm. high (14) £120-180

1180

1183. A Crown Devon Mattajade wall plate, enamelled in colours and gilt with a stylised tree in a landscape, on a turquoise ground, a Crown Devon dish and three other items printed and painted marks, 30cm. diam. (5) £120-180

1184. ‘Egyptian Fan’ a Carlton Ware vase, tapering, shouldered form on tripod foot, with three loop handles, printed and painted in colours and gilt on a blue lustre ground, a pair of Carlton Ware Fighting Cocks vases and a vase pattern 2456, printed marks, damages, 24.5cm. high (4) £120-180

1182

1181

1183

1184

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1186

CARLTON WARE 1185 part

1185. A large collection of Carlton Ware Moulded ware items, printed and painted marks, (a lot) £120-180 Provenance The Michael Burningham Collection 1186. A Carlton Ware jug, printed and painted with flowers in colours and gilt on a turquoise ground and two Carlton Ware Handcraft jugs printed factory marks, 19.5cm. high, (3) £120-180 Provenance The Michael Burningham Collection

1187

1187. ‘Swansea China’ a pair of Carlton Ware vases and covers, model no.624, printed and painted with panels of flowers on a foliate band, in colours and gilt on a blue ground, and four Crown Devon Blush Ware vases printed marks, repairs, 28cm. high (Swansea China vases), (8) £120-180 Provenance The Michael Burningham Collection 1188. ‘Chinaland’ a Carlton Ware vase and cover, pattern no. 2950, printed and painted in colours and gilt on a blue lustre ground, a Carlton Ware Handcraft vase and cover, a Carltonware ‘New Flies’ vase and another vase and cover, printed and painted marks, 30cm. high (7) £120-180 Provenance The Michael Burningham Collection 1189. ‘Peach Melba’ a Carlton Ware Handcraft single-handled vase, pattern no.3448, ovoid, painted in colours on a cream ground, highlighted in gilt, printed and painted marks, 17.5cm. high £120-180

1188

1190. A Carlton Ware Rouge Royale Tomb Jar and cover, shouldered form the cover set with lion finial, printed and painted in colours and gilt with a pagoda landscape on a red lustre ground, another similar and a jar and cover pattern 9277, printed and painted marks, damages, 49cm. high (6) £120-180 Provenance The Michael Burningham Collection

1189

54

1190

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1191 1191. ‘Orchard’ a Carlton Ware ginger jar and cover, pattern no. 2885, printed in colours on a blue lustre ground, and two other Carlton Ware ginger jars and covers printed and painted marks, 27cm. high (6) £120-180 Provenance The Michael Burningham Collection

1192. ‘Tree and Swallow’ a Carlton Ware vase, model no.3281, ovoid with collar rim, printed and painted in colours and gilt on a mottled white and orange ground and a Carlton Ware Handcraft ‘Papyrus’ vase similar, printed and painted marks, 20.5cm. high, (2) £120-180

1192

Provenance The Michael Burningham Collection

1193. ‘Devil’s Copse’ a rare Carlton Ware coffee set for six, pattern 3787, printed and painted in colours and gilt on a blue ground, comprising; coffee pot and cover, milkjug and sugar basin, six cups and saucers, printed and painted factory marks, 21cm. high (coffee pot), (16) £800-1,200

1193

55

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1195 1194

1197

1196

1194. ‘New Mikado’ a Carlton Ware Rita coffee set for six, pattern no,4320, enamelled in colours and highlighted in gilt on a pale yellow ground, comprising coffee pot and cover, milk-jug, sugar basin and cover, six cups and saucers printed factory marks, 19cm. high (coffee pot), (17) £250-300 1195. ‘New Storks’ a Carlton Ware Rita coffee set for six, pattern no.

4344, enamelled in colours and highlighted in gilt on a pink ground, comprising coffee pot and cover, milk-jug, sugar basin and cover, six cans and saucers printed factory marks, 19.5cm. high, (17) £250-300 1196. ‘Mikado’ a Carlton Ware Rouge Royale Rita coffee set for six, pattern no.2727, enamelled in colours and highlighted in gilt on a red lustre ground, comprising coffee pot and cover, milk-jug, sugar basin and cover, six cups and saucers printed factory marks, 19.5cm. high, (17) £250-300 1197. ‘Sketching Bird’ a Carlton Ware Rita shape coffee set for six, pattern 4354, enamelled in colours and highlighted in gilt on a red lustre ground, comprising coffee pot and cover, milk-jug, sugar basin and cover, six cups and saucers printed factory mark, original paper label, 19cm. high, (17) £300-400

1198

56

1198. ‘Tree and Swallow’ a Carlton Ware coffee trio, pattern no.3283, Melon shape, comprising coffee pot and cover, milk-jug and sugar basin, printed and painted in colours and gilt on a matt blue ground printed and painted in colours and gilt, 21cm high, (4) £150-200

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WEDGWOOD LUSTRE

1199. Torches/Tree Serpent a Wedgwood Fairyland Lustre vase designed by Daisy Makeig-Jones, pattern Z5340, shouldered cylindrical form with everted rim, printed and painted in colours, highlighted in gilt on a flame lustre ground, printed and painted marks to base, 31.5cm. high ÂŁ4,000-6,000 Literature Una des Fontaines Wedgwood Fairyland Lustre Sotheby Parke Bernet, page 196-197 this pattern illustrated.

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1200 1200. ‘Picnic by a River’ a Wedgwood Fairyland Lustre plaque designed by Daisy Makeig-Jones, rectangular form, printed and painted in colours and gilt on a blue ground, in original ebonised wood frame printed Wedgwood mark, 26.5 x 12cm plaque £1,000-1,500 Literature Una Des Fontaines, Wedgwood Fairyland Lustre, Sotheby Park Bernet, page 167 figure 69 for this design illustrated.

Provenance From the collection of Anne Makeig-Jones.

1201. ‘Elves in a Pine Tree’ a Wedgwood Fairyland Lustre plaque designed by Daisy Makeig-Jones, printed and painted in colours and gilt, inside orange lustre border, in original ebonised wood frame, printed factory mark, 26.5 x 19.5cm (plaque) £2,000-4,000 Literature Una Des Fontaines, Wedgwood Fairyland Lustre, Sotheby Park Bernet, page 164-165 plate 36 for a shop advertising plaque similar.

Provenance From the collection of Anne Makeig-Jones.

1201

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1202. ‘Rainbow’ a Wedgwood Fairyland Lustre Lincoln plate designed by Daisy Makeig-Jones, decorated with figures in a mystical landscape, the rim with dragon creatures amongst flower and foliage, in colours, highlighted in gilt printed Wedgwood mark, 27cm. diam. £1,000-1,500 Literature Una Des Fontaines, Wedgwood Fairyland Lustre, Sotheby Park Bernet, page 126 figure 45 for this design illustrated Provenance From the collection of Anne Makeig-Jones.

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1203. A Wedgwood Dragon Lustre vase designed by Daisy Makeig-Jones, flaring cylindrical form, printed in gilt on a mottled green, blue and white ground with a band of dragons, printed and painted marks, professional restoration to top rim, 20.5cm. high £120-180 Provenance From the collection of Anne Makeig-Jones.

1204. ‘Dragons’ an unusual Wedgwood Lustre bowl designed by Daisy MakeigJones, printed to the exterior with foliate design on a mottled pink and cream lustre ground, the interior pearl lustre decorated with a dragon mon to the well, printed and painted marks, 22.5cm. diam. £200-300 Provenance From the collection of Anne Makeig-Jones.

1203

1204

1205. ‘Firbolgs III’ a Wedgwood Fairyland Lustre bowl designed by Daisy MakeigJones, octagonal, printed in colours and gilt on a blue lustre ground, the interior pearl lustre printed and painted marks, 20.5cm. diam. £500-800 Provenance From the collection of Anne Makeig-Jones.

1205

1206

1206. ‘Willow’ Wedgwood Fairyland Lustre bowl designed by Daisy MakeigJones, octagonal, printed and painted in colours and gilt with a pagoda landscape, on a blue lustre ground, the interior orange lustre printed and painted marks, professional restoration, 21cm. diam. £400-600 Provenance From the collection of Anne Makeig-Jones.

1207. A Wedgwood Hummingbird Lustre bowl designed by Daisy Makeig-Jones, printed in gilt on a blue lustre ground, a stem bowl, a large butterfly lustre bowl, a blue octagonal bowl and two other bowls, printed factory marks, small chip to stem bowl, 16cm. diam. (6) £200-300 Provenance From the collection of Anne Makeig-Jones.

1207

1208. A rare Wedgwood bowl designed

by Daisy Makeig-Jones, the exterior painted with roundels of vine leaf and trellis, in colours on a mushroom ground, the interior with abstract geometric design, impressed marks, 23cm. diam. £150-200 Provenance From the collection of Anne Makeig-Jones.

1209. A Wedgwood Dragon Lustre bowl designed by Daisy Makeig-Jones, octagonal, printed in gilt on a mottled green lustre ground, the interior pearl lustre, and another decorated in blue lustre printed factory marks, 18cm. diam. (2) £150-200

1208

60

1209

Provenance From the collection of Anne Makeig-Jones.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1210

1210. ‘Firbolgs II’ a Wedgwood Fairyland Lustre bowl designed by Daisy Makeig-Jones, printed and painted in black and gilt on a red lustre ground, the interior Thumbelina roundel on a pearl ground printed factory mark, 16.5cm. diam. £300-500 Provenance From the collection of Anne Makeig-Jones.

1211

1211. ‘Firbolgs IV’ a large Wedgwood Fairyland Lustre bowl designed by Daisy Makeig-Jones, printed and painted in black and gilt on a red lustre ground, the interior with Thumbelina roundel on pearl lustre printed and painted marks, professional restoration, 28cm. diam. £300-500 Provenance From the collection of Anne Makeig-Jones.

1212. ‘Firbolgs III’ a Wedgwood Fairyland Lustre Antique Centre bowl designed by Daisy Makeig-Jones, printed in black and gilt on a red lustre ground, the interior pearl lustre printed factory mark, 22cm. diam, 14cm high. £1,000-1,500 Provenance From the collection of Anne Makeig-Jones.

1212

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1213

1213. An unusual Wedgwood ‘Egrets’ Lustre bowl designed by Daisy Makeig-Jones, printed and painted in colours on a golden lustre to the exterior with a frieze of egrets, the interior printed on a pearl lustre ground, printed factory mark, 20.5cm. diam. £200-300 Provenance From the collection of Anne Makeig-Jones.

1214. ‘Elfin Palace’ a Wedgwood Fairyland plaque designed by Daisy Makeig-Jones, printed rectangular form in wooden frame, and an Elfin Palace etching of this design, framed, unmarked, 27.5 x 20.5cm. (2) £600-1,000 Literature Una Des Fontaines, Wedgwood Fairyland Lustre, Sotheby Park Bernet, page 194 plate 42 for a comparable plaque in the black and gilt colourway.

62

1214

Provenance From the collection of Anne Makeig-Jones.

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1215. A rare Wedgwood Lustre Malfrey Pot and Cover designed by Daisy Makeig-Jones, possibly unique, printed and painted in colours with Japanese floral mon to the shoulder, on a mottled cream and ochre ground, highlighted in gilt, the interior glazed pink lustre, inside the cover and base of the vase a gilt spider’s web design, printed Wedgwood mark, 19cm. high, (2) £3,000-5,000 Provenance From the collection of Anne Makeig-Jones.

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CLARICE CLIFF 1216. ‘Honolulu’ a Clarice Cliff Bizarre single-handled Isis vase, painted in colours between black and green bands printed factory marks, 19cm. high £200-400

1216 both sides

1217. ‘Forest Glen’ a Clarice Cliff Bizarre plate, painted in colours, a Forest Glen footed vase and a Beehive preserve pot, printed factory marks, chips to foot of vase, 25cm. diam. (3) £150-280

1218. ‘Forest Glen’ a Clarice Cliff Bizarre Bon Jour biscuit barrel and cover, painted in colours, with cane handle, printed factory mark, painted S, 15cm. high, (2) £120-180 Catalogue notes The large hand-painted S mark is generally accepted as the mark for a sample.

1217

1218 1219. ‘Aurea’ a Clarice Cliff Bizarre Beehive Honey pot and cover, painted in colours, a Gay Day candlestick, two side plates, a Cylindrical preserve pot and two other plates, printed and painted marks, wear and chips to Gay Day plates, 9.5cm. high (8) £150-200

64

1219

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1220. ‘Sunray’ a Clarice Cliff Bizarre Athens jug, painted in colours above an orange band, printed factory marks, flat chip to foot rim, 18cm. high £300-500

1220 both sides

1221. ‘Sunray’ a Clarice Cliff Globe teapot and cover, painted in colours below orange band, the cover with orange band printed factory marks, 13cm. high, (2) £400-600

1222. ‘Sunray’ a Clarice Cliff Bizarre Hereford biscuit barrel and cover, painted in colours between orange bands, the cover with orange and blue bands, printed factory marks, chip to inner rim of pot, 15cm. high, (2) £200-400

1221 both sides

1222 both sides

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1223

1224

1223. ‘Blue Crocus’ a Clarice Cliff large Clog, painted in colours printed factory marks, 14cm. wide £150-250

1224. ‘Crocus’ a Clarice Cliff Bizarre Dover jardiniere, painted in colours between yellow and brown bands and a Clarice Cliff Gay Day Dover jardiniere, printed and painted marks, light star crack to base, 19cm. high, (2) £120-180

1225 part 1225. ‘Crocus’ a Clarice Cliff Bizarre Athens jug, shape no.24, painted in colours, another smaller, a Coronet jug, a Tankard coffee pot and cover, five various bowls, a Blue Crocus bowl and a collection of Crocus Ware, printed factory marks, damages, 20.5cm. high, (37) £200-400

1226

1226. ‘Delecia Pansies’ a Clarice Cliff Bizarre Daffodil bowl, painted in colours, a Coral Firs bowl, a Cowslip bowl and a Fragrence bowl, printed factory marks, repaired flange to Daffodil bowl, chip to Coral Firs bowl, 32.5cm. wide, (4) £150-200

1227. ‘Original Bizarre’ a Clarice Cliff sandwich plate, painted with an orange star to the well with green outline, band of blue diamond’s inside yellow, orange and green bands, a Woodland plate, a Yellow Rose platter and another plate printed red mark, chip to Woodland plate, 23cm. diam. (4) £150-200

66

1227

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1228

1228. ‘Secrets’ a large Clarice Cliff Bizarre Bon Jour tea set for six, painted in colours, comprising; large tea pot and cover, milk-jug and sugar basin, six cups, saucers, side plates and two sandwich plates, a Hereford biscuit barrel and cover and a cylindrical preserve pot and cover, printed factory marks, 16cm. high (28) £3,000-5,000 Catalogue notes This set has the impressed date mark for 1934.

1229. ‘Football’ a rare Clarice Cliff Bizarre 362 vase, painted in colours between orange, black and blue bands printed factory marks, hairline to top rim, 20.5cm. high £800-1,200

1229

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1230. ‘Berries’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside an orange band impressed marks, 25.5cm. diam. £200-400 Catalogue notes This plate has an impressed date mark for 1931.

1231. ‘House and Bridge’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside yellow, red and black bands printed factory marks, 25.5cm. diam. £300-400

1230 1232. ‘Melon’ a Clarice Cliff Fantasque Bizarre Beehive Honey pot and cover, painted in colours printed factory marks, 9cm. high £150-200

1231

68

1232

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1233. ‘Secrets’ a Clarice Cliff Fantasque Bizarre 452 vase, painted in colours printed factory marks, 21cm. high £200-400 1234. ‘Blue Chintz’ a Clarice Cliff Fantasque Bizarre 196 vase, painted in colours between green and blue bands printed factory marks, 16cm. high £120-180 1235. ‘Aurea’ a Clarice Cliff Bizarre biscuit barrel and cover, painted in colours printed factory marks, 15cm. high, (2) £120-180 1236. ‘Gayday’ a large Clarice Cliff Fantasque Bizarre Archaic vase, shape no.374, painted in colours printed factory marks, 31cm. high £150-200 1237. ‘Original Bizarre’ a Clarice Cliff 206 vase, painted with a band of purple and red triangles, outlined in green between yellow bands, and a Clarice Cliff bowl similar printed and painted marks, 15.5cm. high, (2) £120-180

1234 1233

1238. ‘Original Bizarre’ a Clarice Cliff wash basin and Lotus jug, painted with bands of red diamonds, outlined in green on a blue ground, between red bands, printed gilt mark, oxidised paint work, 29cm. high (Lotus jug), 40cm. diam (basin), (2) £200-300

1235

1236

1237

1238

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1239 part

1240

1239. A Clarice Cliff Bizarre jug, modelled in low relief with scaly fish, covered in a running Delecia glaze, a Bon Jour part tea for two painted with bands, a Water Lily bowl, and a collection of Clarice Cliff printed factory marks, damages 17cm. high (a lot) £150-250

1241

1240. ‘Capri’ a Clarice Cliff cruet set, painted in colours, comprising salt and pepper pots, mustard pot and cover, a Woodland Stamford milk-jug, a Windbells pepper pot and a geometric painted pin dish printed factory marks, 7.5cm. high (7) £120-180

1241. ‘Celtic Harvest’ a Clarice Cliff jug, moulded in relief and painted in colours, another smaller, a preserve pot and cover, two My Garden vases and three other Clarice Cliff moulded ware items printed and painted marks, 28cm. high (9) £150-200

70

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1242

1243

1242. ‘Alton’ a Clarice Cliff Fantasque Bizarre Conical cruet set, painted in colours printed factory marks, 8cm. high, (4) £120-180

1243. Umbrellas and Rain’ a Large Clarice Cliff Fantasque Bizarre octagonal bowl, painted in colours between orange and yellow bands, and a Melon pattern Hiawatha bowl, printed factory marks, 23cm. diam. (2) £150-200

1244

1244. ‘Orange Secrets’ a Clarice Cliff Fantasque Bizarre Cylindrical preserve pot and cover, painted in colours, the cover with orange band, an ‘Orange Secrets’ bowl and a ‘Seven Colour Trees and House’ bowl, printed marks, chip to Trees and House bowl, 8.5cm. high, (4) £150-200

1245. ‘Forest Glen’ a pair of Clarice Cliff 565 vases, painted in colours, printed factory marks to one vase, 11.5cm. high, (2) £200-300

1245

71

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1247

1246. ‘Viscaria’ a Clarice Cliff Bizarre Lynton coffee trio, comprising coffee pot and cover, milk-jug and sugar basin, painted in colours printed factory marks, restored milk-jug 19cm. high, (4) £250-300

1246

1247. ‘Pastel Melon’ a Clarice Cliff Bizarre Cube inkwell and cover, shape no.438, painted in colours printed factory mark, 7.5cm. high, (2) £250-350 1248. ‘Melons’ a Clarice Cliff Fantasque Bizarre Perth jug, painted in colours between orange bands, printed factory marks, hairline to handle, 11cm. high £120-180 1249. ‘Red Gardenia’ a Clarice Cliff Fantasque Bizarre Crown jug, painted in colours printed factory marks, professional restoration to top rim, 15cm. wide. £150-200

1248

1250. A Clarice Cliff Bon Jour tea for two, painted with radiating bands in green and mushroom, highlighted with spot motif, comprising teapot and cover, milk-jug and sugar basin, two cups and saucers and a honeypot and cover, printed factory marks, honeypot and cover over painted, 14cm. high (teapot), (10) £200-400

1249

Provenance Private collection.

Catalogue notes This set has the impressed 1937 date mark to one saucer.

1250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1251. ‘Rudyard’ a Clarice Cliff Fantasque Bizarre 615 vase, painted in colours between pink, green and blue bands printed factory marks, oxidisation to blue, 17.5cm. high £500-800

1251

1252

1252. ‘Garland’ a Clarice Cliff Fantasque Bizarre Isis vase, painted in colours between orange and blue bands, printed factory mark, professional restored hairline to top rim, 25cm. high £200-300

1253. ‘Tulips’ a Clarice Cliff Bizarre singlehandled Lotus jug, painted in colours between green bands, 28.5cm. high £800-1,200

1253 both sides

1254. ‘Inspiration Scraffito’ a Clarice Cliff vase, moulded in relief and painted in shades of blue, mushroom and turquoise, remains of printed label to base, 23cm. high £200-300

1255. ‘Inspiration Lily’ a Clarice Cliff Bizarre candlestick, painted in shades of yellow, pink, blue and black on a turquoise ground printed factory marks, 20.5cm. high £300-400

1254

1255

73

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1256

1257

1256. ‘Double V’ a Clarice Cliff Bizarre jug, painted in colours between yellow and orange bands, printed factory marks, minor restoration to top rim, 21cm. high £200-300

1257. ‘Nasturtium’ a Clarice Cliff Bizarre George jug, painted in colours, a Clarice Cliff Windbells jug, a Blue Japan preserve pot and a Crocus bowl, printed factory marks, professional restoration, 17.5cm. high, (4) £150-250

1258

1259

1258. ‘Red Trees and House’ a Clarice Cliff Fantasque Bizarre Athens jug, painted in colours between red and black bands, printed factory marks, restored foot, 16cm. high £200-250

1259. ‘Autumn’ a Clarice Cliff Fantasque Bizarre Athens jug, painted in colours printed factory marks, 16cm. high. £200-300

1260. ‘Farmhouse’ a Clarice Cliff Fantasque Bizarre Conical jug, painted in colours, printed factory marks, 14.5cm. high £400-600

1261. ‘Crocus’ a Clarice Cliff Bizarre Tolphin jug, painted in colours between yellow and brown bands, printed factory marks, 25cm. high £250-300

1260

74

1261

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1262

1262. ‘Floreat’ a pair of Clarice Cliff Fantasque Bizarre book ends, cast in relief and painted in colours printed and painted marks, fine hairline to one, 15cm. high (2) £200-300

1263 1263. ‘Applique Lugano’ a Clarice Cliff Bizarre bowl, octagonal, painted in colours, the interior banded red, black and yellow, printed factory marks, light wear, 20.5cm. diam. £500-700

1264. ‘Applique Garden’ a rare Clarice Cliff Bizarre cake plate, painted in colours inside yellow, black and red bands printed and painted factory marks, 22.5cm. diam. £800-1,200 Literature Leonard Griffin Clarice Cliff The Art of Bizarre, Pavilion Books, page 106 this actual plate illustrated.

Richard Green and Des Jones The Rich Designs of Clarice Cliff, page 87 for a comparable plate in this pattern.

Catalogue Notes The plate has the impressed 1930 date mark.

1264

75

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1265. ‘Red Gardenia’ a rare Clarice Cliff Fantasque Bizarre ribbed charger, painted radially with three repeat, in colours inside coral red band, printed factory marks, 45.5cm. diam. £2,500-3,000

76

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1266. ‘May Avenue’ a rare Clarice Cliff Bizarre vase, shape no.205, painted in colours between blue and black bands printed factory marks, minor restoration to chip on base rim, 15.5cm. high £2,500-3,500 Provenance Private collection.

1267. ‘May Avenue’ a rare Clarice Cliff single-handled Isis vase, painted in colours between blue and black bands, printed factory marks, 24.5cm. high £5,000-10,000

1266 both sides

1267 both sides

77

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1269

1268

1268. ‘Ferndale’ a Clarice Cliff Flower vase, painted in colours printed factory marks, 19cm. diam. £200-300

1269. ‘Patina Country’ a Clarice Cliff Bizarre bowl, retailed by Lawleys, painted in colours printed factory marks, 14cm. high £120-180

1270 1270. ‘Patina Country’ a Clarice Cliff Bizarre bowl, retailed by Lawleys, painted in colours, printed factory marks, hairline crack to top rim,21.5cm. high £150-200

1271. ‘Crocus’ a Clarice Cliff Bizarre Cauldron, painted in colours, and a Secrets bowl, printed factory marks, 7.5cm. high, (2) £120-180

1271 1272. ‘Original Bizarre’ a Clarice Cliff bowl, painted with a band of alternate blue and red triangles outlined in green on a cream, ground, above blue and green bands, printed factory marks, over-painted blue well, 21cm. diam. £150-200

1273. ‘Original Bizarre’ a Clarice Cliff biscuit barrel and cover, shape no.335, painted with a band of blue diamonds flanked by yellow, orange, brown and purple triangles, outlined in green, above an orange band printed factory mark, small chip to inside rim of barrel, 15cm. high, (2) £200-300

1272

78

1273

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1274

1275

1276

1274. ‘Melon’ a Clarice Cliff Fantasque Bizarre side plate, painted in colours inside orange and black bands printed factory marks, 17.5cm. diam. £200-250

1275. ‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside an orange band printed factory marks, 20cm. diam. £200-300

1276. ‘Windbells’ a Clarice Cliff Fantasque Bizarre plate, octagonal form, painted in colours inside green, yellow and orange bands, printed factory mark, light wear, 24cm. diam. £150-200

1277

1277. ‘Floreat’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside yellow band, and a Wilkinson’s plate printed and painted with flowers printed marks, 22cm. diam. (2) £120-180

1278. ‘Rudyard’ a Clarice Cliff Bizarre small ribbed charger, painted in colours inside green and blue bands, printed factory marks, professional restoration, 32.5cm. diam. £300-400

1279. A Clarice Cliff Bizarre floral wall plaque, circular, modelled in low relief and pierced with flowers and foliage, painted in colours printed factory mark, 20.5cm. diam. £150-200

1278

1279

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1280

1281

1280. ‘Fruitburst’ a Clarice Cliff Fantasque Bizarre candlestick. painted in colours, and a Keyhole coaster printed factory marks, 8cm. high, (2) £200-250

1281. ‘Nuage’ a Clarice Cliff Bizarre Conical coffee can and saucer, painted in colours printed factory marks, 6.5cm. high, (2) £150-200

1282. ‘Blue Firs’ a Clarice Cliff Biarritz soup bowl and saucer, painted in colours printed factory marks, 16.5cm. wide, (2) £250-350

1282

1283. ‘Cabbage Flower’ a Clarice Cliff Bizarre Chester fern pot, painted in colours, printed factory marks, 8.5cm. high £200-300

1284. ‘Diamonds’ a Clarice Cliff Bizarre Heath fern pot, painted in colours printed factory marks, 7.5cm. high £400-500

1283

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1285. ‘Circle Tree’ a Clarice Cliff Fantasque Bizarre Stamford teapot and cover, painted in colours printed factory marks, 12cm. high £1,000-1,500 Provenance Clarice Cliff, Art Deco and Design, Woolley and Wallis Auctioneer’s 29th March 2017 lot 2.

1286. ‘May Avenue’ a Clarice Cliff Bizarre Daffodil cup and saucer, painted in colours, the saucer with blue and black bands, printed factory marks, 6.5cm. high, (2) £1,000-1,500

1285

1287. ‘Whisper’ a Clarice Cliff Bizarre Conical sugar basin, painted in colours, and a Double V sugar basin, printed factory marks, Whisper basin restored, 7cm. wide. £150-200

1286 both sides 1288. ‘Secrets’ a Clarice Cliff Bizarre Bon Jour biscuit barrel and cover, painted in colours, the cover with green, yellow and brown bands, printed factory marks, minor frits, 16cm. high, (2) £150-200

1287

1288

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1289. ‘Rhodanthe’ a Clarice Cliff Bizarre cruet set, painted in colours, comprising mustard pot and cover, salt and pepper pots, full printed mark to mustard pot, 8.5cm. high, (4) £120-180

1290. ‘Original Bizarre’ a Clarice Cliff jug, painted with a band of orange diamonds, outlined in brown between blue and green triangles, printed gilt mark, 13cm. high £150-200

1289 1291. ‘Original Bizarre’ a Clarice Cliff 360 vase, painted with red, blue, purple and green triangles, outlined in green between red and blue bands, printed factory marks, restored top rim, 20cm. high. £250-300

1292. ‘Tralee’ a Clarice Cliff Daffodil bowl, shape no.475, painted in colours printed factory mark, 32cm. wide. £250-300

1293. ‘Gay Day’ a Clarice Cliff Bizarre 365 vase, painted in colours between yellow and brown bands, and a Gayday cake plate printed factory marks, plate restored, 20cm. high, (2) £200-300

1290

1291

1292

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1294. ‘Inspiration Caprice’ a rare Clarice Cliff Bizarre miniature vase, shouldered form with waisted cylindrical neck, painted in shades of purple, lavender and black on an Inspiration turquoise ground, painted factory marks, 6.8cm. high £300-500 Literature Leonard Griffin Clarice Cliff The Art of Bizarre, Pavilion Books, page 59 this actual vase illustrated.

1295. ‘Inspiration Caprice’ a rare Clarice Cliff Bizarre miniature vase, compressed form with cylindrical neck, painted in shades of purple, lavender and black on an Inspiration turquoise ground, painted factory mark, 7cm. high £300-500

1294 both sides

Literature Leonard Griffin Clarice Cliff The Art of Bizarre, Pavilion Books, page 59 this actual vase illustrated.

Catalogue notes These miniature vases are believed to have been produced as samples for Clarice’s travelling salesmen.

1295 both sides

1296. ‘Sunray’ a Clarice Cliff Bizarre single-handled Isis vase, painted in colours between orange and blue bands, printed mark, 25cm. high £2,000-3,000

1296 both sides

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1297. ‘Crocus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between yellow and brown bands, printed factory mark, 14cm. high £250-300

1298. ‘Delecia Citrus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours printed factory mark, 14cm. high £300-400

1297

1298

1299. ‘Chalet’ a Clarice Cliff Conical sugar sifter, painted in colours, highlighted in gilt, and a Royal Staffordshire Chintz Conical sugar sifter, printed factory marks, restored 14cm. high, (2) £150-200

1300. ‘Canterbury Bells’ a Clarice Cliff Bizarre Bon Jour sugar sifter, painted in colours printed factory mark, 12cm. high £250-300

1299

1300

1301. ‘Capri’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours printed factory marks, 14cm. high £300-400

1302. ‘Lydiat’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours printed factory marks, 14cm. high £250-300

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1303

1304

1305

1303. ‘Forest Glen’ a Clarice Cliff Conical sugar sifter, painted in colours, printed factory marks, 14cm. high £600-700

1304. ‘Orange Secrets’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours inside orange bands, printed factory marks, restored rim, 14.5cm. high £250-300

1305. ‘Solitude’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours between yellow bands, painted marks, restored, 14cm. high £200-300

1306. A rare Clarice Cliff Laughing Cat figure, painted with spots in green, black and orange printed factory mark, 15.5cm. high £600-800 Provenance Clarice Cliff, Christie’s South Kensington, 9th October 2005 lot 96.

Private collection.

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1307

1308

1309

1310

MIDWINTER POTTERY 1307. A Midwinter Pottery vase designed by Jessie Tait, ovoid with tapering cylindrical neck, tubeline decorated with black dashes on a white ground printed factory mark, 22.5cm. high £120-180 Literature Steven Jenkins, Midwinter Pottery, Richard Dennis Publications, page 50 for a comparable vase illustrated.

1311

1308. A Midwinter Pottery vase designed by Jessie Tait, shouldered form with tapering neck, tubeline decorated with black dashes on a white ground printed factory marks, 23cm. high £150-200 1309. A matched pair of Midwinter Pottery vases designed by Jessie Tait, shouldered form with tapering solifleur neck, tubeline decorated with bands of black dashes black on a white ground, printed factory marks, 17cm. high, (2) £150-200 1310. A collection of Midwinter Stylecraft Festival tableware designed by Jessie Tait, painted with atomic design in colours, including; teapot and cover, hotwater pot and cover butter dish cover, ten tea cups, nine saucers, coffee cups and saucers, slop basins and tableware printed marks, 17cm. high, (teapot), (77 pieces) £150-200 1311. A Midwinter Stylecraft Magic Moments service designed by Jessie Tait, comprising two graduated teapots and covers, five cups, twenty saucers, eight coffee cups and nine saucers, four various jugs and two sugar basins, a Midwinter Melody coffeepot and cover, sandwich plate, and ten side plates, and six Midwinter Nature Studies plates printed factory marks, 15cm. high £120-180

1312

1312. ‘Chequers’ a Midwinter Stylecraft part tea set and dinner service for four designed by Terrence Conran, printed with geometric panels in colours, comprising, teapot and cover, four cups and saucers, a tureen cover, two platters, two side plates and a saucer, six Midwinter Patio side plates designed by Jessie Tait and a small collection of Midwinter Bolero tableware printed factory marks, 15cm. high (teapot), (a lot) £150-200 Literature Steven Jenkins, Midwinter Pottery, Richard Dennis Publications, page 53 for a comparable example illustrated, 1313. A collection of Midwinter Stylecraft Salad Ware designed by Terence Conran, printed in colours on white comprising, small teapot and cover, oil bottle and stopper, four cups and saucers, two side plates. sauce boat, pepper pot, two platters, five various plates, four large serving bowls, two shaped serving bowls, four small bowls, printed factory marks, 13cm. high (teapot), (35) £120-180 Literature Steven Jenkins, Midwinter Pottery, Richard Dennis Publications, page 52 for a comparable example illustrated.

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1314 1314. A rare Hornsea Pottery wall light designed by John Clappison, cast and screen printed with abstract design in olive and ochre, printed factory marks, 36cm. high £150-200

1315

Literature Austerity to Affluence British Art and Design 1945-1962, Fine Art Society, page 67 catalogue numbers C42-C43 for comparable examples illustrated.

1315. A Richard Parkinson Pottery Pawn plate designed by Susan Parkinson, resist decorated in blue on a white ground with a stylised chess pawn figure impressed marks, 22cm. diam. £150-200 1316. A Denby Pottery Cheviot vase designed by Glynn Colledge, tall, tapering cylindrical form, painted with panels of geometric design in colours on a black ground painted signature to base, 46.5cm. high £500-800 Literature Irene & Gordon Hopwood Denby Pottery 1809-1997, Richard Dennis Publications, page 126 for the original Cheviot advert from the 1950s reproduced.

1316

1317

1318

1317. A Rye Pottery plate, painted with a stylised fish in shades of blue and red on a white ground, another Rye plate decorated with geometric panels and a collection of Rye Pottery, printed factory marks, 22.5cm. diam. (24) £120-180 1318. A large Briglin Pottery vase, ovoid with collar rim, resist decorated and painted with geometric panels in turquoise and black on a white ground, and a large collection of Briglin pottery factory marks, 24cm. high, (36) £120-180 1319. ‘Henry VIII’ a Powell Tiles International tile panel designed by Jean & Rhys Powell, modelled in low relief and painted in colours, framed, incised title and factory mark to front, 60cm.square £300-500 Literature Chris Blanchett 20th Century British Tiles, page 478 for a comparable tile panel depicting Europa and the Bull, produced for an exhibition in 1976.

1319

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POOLE POTTERY 1320. A Poole Pottery Contemporary vase designed by Alfred Read, pattern HZT, swollen form, painted with columns of scroll and panel in grey, black and red on a white ground, a Poole Pottery Contemporary vase pattern HZU and a butter-dish and cover in this pattern printed and painted marks, 20.5cm. high, (4) £120-180

1320

Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 107 for the original pattern designs illustrated.

1321. A large Poole Pottery Atlantis vase

by Susan Dipple, another similar urchin form

by Beatrice Bolton, another similar by Jenny Haigh decorated with flowerheads, and eight others impressed and incised marks, 12cm. high, (11) £150-200 1322. A Poole Pottery Atlantis vase by Guy Sydenham, ovoid with cylindrical neck, incised decoration and five others similar impressed and incised marks, 17cm. high (6) £150-200

1321

1322

1323. A Poole Pottery Atlantis vase by Jenny Haigh, ovoid with solifleur aperture, incised with geometric motif glazed black and white, and seven other ovoid Atlantis vases, impressed and incised marks, 9cm. high (8) £150-200 1324. A Poole Pottery Atlantis vase by Jennie Haigh, tapering form with flaring rim, painted with geometric band, another covered in a tenmoku glaze three cylindrical Atlantis vases and two pedestal bowls, impressed and incised marks, 18cm. high, (7) £150-200 1325. A Poole Pottery Atlantis vase by Jenny Haigh, tapering cylindrical form, incised decoration, glazed blue, and five other Poole Pottery Atlantis vases, impressed and incised marks, 21.5cm. high, (6) £150-200

1323

1324

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1327 1326

1326. Alasdair Neil Macdonell (born 1947) Aztec Head, a pottery wall mask, modelled and glazed in colours, with applied hair, and two other masks by Alasdair Neil Macdonell, impressed monogram, repaired 29cm. high, (3) £150-250 Provenance Felix Dennis, Private collection.

1328

1327. Alasdair Neil Macdonell (born 1947) African mask, a pottery wall mask, modelled and glazed in colours with wire, screws and hair additions, and two other masks by Alasdair Neil Macdonell, impressed monogram, 18cm. high, (3) £150-250 Provenance Felix Dennis, Private collection.

1328. Alasdair Neil Macdonell (born 1947) Articulated Mask a pottery wall mask, modelled and glazed in colours, with articulated panels, and another mask with applied nose ring by Alasdair Neil Macdonell, impressed monogram, 18cm. high, (3) £150-250

1329

Provenance Felix Dennis, Private collection.

1329. Alasdair Neil Macdonell (born 1947) a large pottery wall mask, rectangular form, modelled and glazed in colours and another by Alasdair Neil Macdonell, impressed monogram, 34cm. high, (2) £150-250 Provenance Nick Rocke collection of British Art Pottery, Woolley & Wallis, 25th February 2015, lot 266.

Private collection.

1330. Alasdair Neil Macdonell (born 1947) Egyptian Mask, an articulated pottery wall mask, modelled and glazed in colours and another mask by Alasdair Neil Macdonell, impressed monogram, 25cm. wide, (2) £150-250

1330

Provenance Felix Dennis, Private collection.

1331. Alasdair Neil Macdonell (born 1947) Sun God a pottery wall mask, modelled and glazed in colours, and two other masks by Alasdair Neil Macdonell, impressed monogram, 28cm. high, (3) £150-250 Provenance Felix Dennis, Private collection.

1331

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1332. Janet Leach (1918-1997) a Leach Pottery stoneware vase with lug handles, shouldered form with cylindrical neck and everted rim, covered in a running olive green ash glaze, impressed seal marks to base, 16cm. high £150-200

1332

1333

1333. Janet Leach (1918-1997) a Leach Pottery stoneware lug-handled vase, tapering cylindrical form with knopped neck, the neck glazed tenmoku over white impressed seal marks, 15.5cm. high £150-200 1334. Sotis Filippides (born 1963) a stoneware vase, flaring cylindrical form, covered to the exterior with a matt black manganese glaze, the interior glazed platinum, impressed seal mark, 23cm. high £200-300

1335

1335. Sotis Filippides (born 1963) a set of three stoneware vases, each flaring conical form, glazed to the exterior with bands of cobalt on a matt black manganese ground, the interiors glazed cobalt blue impressed seal mark 13cm. high (3) £150-200 1336. A terracotta bust of a man, dated 1960, modelled in relief, partially glazed in black and blue incised monogram, dated 1960, 33cm. high £120-180

1334

1337

1337. Seth Cardew (1934-2016) a Wenford Bridge pottery teapot and cover, painted in tenmoku with foliate motif on an ash ground, a coffee pot and cover by Seth Cardew, a stoneware plate by Michael O’ Brien, a jug by Michael Leach and various other pieces, impressed seal marks, chips to spout of teapot 12cm. high, (19) £150-200 1338. Seth Cardew (1934-2016) a Wenford Bridge pottery service, decorated to the well with a meandering river motif, comprising; eight various dinner plates and sixteen various side plates, glazed in tenmoku and ash, impressed seal marks, 28cm. diam. (dinner plate), (24) £150-200

90

1336

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1340

1339

1339. A porcelain cauliflower box and cover by Didier Gardillou, naturalistically modelled and glazed, painted beetle cipher to interior, 12cm. wide. £200-300

DENNIS CHINA WORKS 1341 1340. ‘Indian Elephant’ a large Dennis China Works vase designed by Sally Tuffin, dated 2002, limited edition, painted in colours between red and blue bands, impressed and painted marks, 36cm. high £300-500

1341. ‘Lobster’ a Dennis China Works vase designed by Sally Tuffin, dated 2002, limited edition, painted in colours impressed and painted marks, 27cm. high £300-500

1342. ‘Poiret’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 2014, flaring cylindrical form, tubeline decorated in colours, highlighted in platinum on a cream ground, impressed and painted marks, number 3 of 5, 41.5cm. high £600-800

1342

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1343

1344

1343. ‘Leaf and Blackberry’ a Dennis China Works ewer designed by Sally Tuffin, dated 2006, cylindrical form with applied berries, in colours, two Dennis China Works Magnolia vases and a Dennis China Works Fashion figure designed by Roger Michell, painted and impressed marks, 24cm. high (4) £150-250

1345

1344. ‘Fly-Fishing’ a Dennis China Works mug designed by Sally Tuffin, dated 2001, limited edition number 1 of 50, painted in colours on a cream ground, a small plate similar, three other small plates, a Sunflower plate, and five Dennis China Works shop display signs, painted and impressed marks, 13.5cm. high, (11) £150-250 1345. ‘Carnation after William De Morgan’ a Dennis China Works preserve jar and cover designed by Sally Tuffin, dated 2005, painted in colours, another similar and three other Dennis China Works preserve pots and covers, painted and impressed marks, 15cm. high (10) £150-200 1346. ‘Iris’ a Dennis China Works vase designed by Sally Tuffin, dated 2004, painted in colours, a Harebell tazza and a ‘Bee and Snowdrop’ vase, painted and impressed marks, 27cm. high, (3) £120-180

1346

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1347

1348

1347. ‘Magnolia’ a Dennis China Works vase designed by Sally Tuffin, dated 2005, limited edition, shouldered form, painted in colours on a graduated ground, painted and impressed marks, 35cm. high £120-180 1348. Black Panther a Dennis China Works vase designed by Sally Tuffin, dated 2000, painted in ochre and black on a graduated orange-red ground, impressed and painted marks, number 17, 23cm. high £120-180

1349

1349. Giraffe a tall Dennis China Works vase designed by Sally Tuffin, dated 2000, painted in shades of cream and tan, printed and painted marks to base, 50cm. high £150-200 1350. ‘Pineapple’ a Dennis China Works vase designed by Sally Tuffin, dated 2001, cylindrical form with tapering neck and everted rim, painted in colours on a pale green ground, impressed and painted marks, 38.5cm. high £120-180

1350

1351. ‘Moonlight Hare’ a Dennis China Works vase designed by Sally Tuffin, dated 2005, limited edition, flaring form with everted rim, painted in shades of blue, and a ‘Hare’ Dennis China Works vase, painted and impressed marks, 17cm. high, (2) £120-180 1352. Dandy Lion a Dennis China Works vase designed by Sally Tuffin, dated 2002, limited edition of 25, slender, shouldered form painted in colours on a green ground painted marks, 17/25 36.5cm. high £120-180

1351

1352

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CONTINENTAL CERAMICS 1353. A large Sevres earthenware barbotine vase by Felix Optat Milet, painted by Lambert, slender shouldered form, painted with pink rose flower sprays, in colours on a blue ground incised marks, and artist signature 57cm. high £150-200 1354. A large Clement Massier pottery barbotine wall charger by Richard, painted with fruiting sweet chestnut bows in a woodland setting, in gilt wood frame painted signature to front, 63cm. diam. £200-300 Literature Massier September 2000, reproduction of L’Art Revue Hebdomadaire Illustree, 1878 volume 4 page 61 a group of Optat Milet & Massier pieces including a similar charger decorated with a jay amongst sweet chestnut, exhibited the the Exposition Universelle, 1878.

1355. A Delphin Massier Vallauris model of a camel, naturalistically modelled standing in saddle with large packs, the packs open to hold flowers, painted marks, 15.5cm. high £200-300 1356. A Delphin Massier Vallauris wall pocket, modelled as a pansy flowerhead, painted in shades of purple, yellow and aubergine, painted marks, AM monogram, firing cracks to back plate, minor glaze loss, 20.5cm. high £120-180

1353

1355

1354

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1357

1358

1359 1357. A Boch Freres Keramis Persian jardiniere, shouldered form, painted with panels of stylised foliage in shades of black, blue, turquoise and rust on a cream ground, painted marks, 20cm. high £400-600

1358. A Cantagalli Pottery Iznik ewer, ovoid with flaring neck, painted with stylised flowers and foliage in colours on a pale blue/cream ground remains of mark, 18cm. high £150-250

1359. An Art Nouveau bust of a maiden cast from a model by H Jacobs, model no. 806, modelled wearing gilded Art Nouveau pendant necklace, glazed matt green impressed signature, Societe Parisienne de Ceramique mark, 55cm. high £300-500

1360. Night and Day an Alexander Forster & Co ceramic clock designed by Max Blondat, model no. 169, the spherical clock with Roman numerals, flanked with Old Father Time with his scythe, female figures and surmounted by an Art Nouveau maiden, glazed in matt pale blue, grey and cream, stamped marks, 72cm. high £2,500-3,000

1360

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1361. A Bombay School of Art Wonderland Art Pottery earthenware vase, swollen ovoid form, slip painted with birds and butterflies amongst flowers and foliage, in shades of green, pink and white on an ochre ground, between bands of stylised foliate repeat, impressed mark to base, damage to shoulder, 41cm. high £120-180 1362. An Aesthetic Movement Clement Massier pottery vase, shouldered form with modelled foliate handles, modelled in low relief with passion flowers, covered in a ruby flambe glaze, highlighted in gilt, printed factory marks, 50cm. high £120-180

1361

1362

1363. A set of twelve French ceramic tarot cards, each printed and painted in colours on a crackled white ground unsigned, minor losses, 26.5 x 13cm. (12) £500-800 1364. A Herman Kahler pottery vase designed by Karl Hansen Reistrup, the ovoid bowl modelled with waves, perched on the rim an eagle, in colours unsigned, 34cm. high £120-180 1365. An Art Nouveau Gouda Zuid Holland earthenware solifleur vase, footed form, the swollen and tapering body with everted rim and twin-looped handles, painted with a bird perched amongst flowers and foliage, in colours on a cream ground painted marks, AL monogram and 311, 37cm. high £500-800 1366. A Villeroy and Boch wash basin and ewer designed by Joseph Maria Olbrich, printed in green with a Secessionist foliate repeat on a cream ground, and an en suite dish, printed marks, 41cm. diam. (basin), (3) £300-500

1363

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1364

1365

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1367. A large Royal Dux model of an Art Nouveau naked maiden, model no. 1379, modelled seated on a rock drying her feet, glazed in shades of pink, cream and green impressed marks, pink triangle, 47.5cm. high. £150-200

1368. A Royal Dux model of a snake charmer, model no. 2977, modelled exotically dressed and piping, a cobra rising from elliptical section base, glazed in colours and highlighted in gilt, impressed marks, applied pink triangle, professional restoration to neck, 24cm. high £120-180

1368

1367 1369. A pair of Art Deco Czechoslovakian pottery centrepiece, each modelled as a child riding a goat, painted in shades of green and black, printed factory marks, 24cm. high (2) £150-200

1370. A Robj Pottery Boites a Boubons box and cover, modelled in relief glazed with a crackled gold, a Royal Bonn Art Nouveau vase, a Fischer Budapest enamelled tile and a plate impressed marks, 18.5cm. high (4) £150-200

1369

Literature Vanna Brega Le Ceramiche Robj catalogue number 161 this design illustrated dated 1928.

1370 part

1371. A Sitzendorf model of an exotic dancer, modelled holding a tambourine, the costume highlighted in gilt, an Art Deco porcelain half-body figure and a porcelain decanter and stopper probably by Robj, modelled as a Russian peasant, printed factory marks, damages, 19cm. high (4) £150-20

1371

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A PRIVATE COLLECTION OF SCANDINAVIAN POTTERY

1372. A Royal Copenhagen Princess and Hans Clodhopper figure group designed by Christian Thomsen, model no.1473, painted in colours, printed and painted marks, 23cm. wide. £250-300 1373. A Royal Copenhagen model of Boy Neptune Riding a Fish designed by Vilhelm Waldorff, model no.2347, painted in colours and a young mermaid holding a fish, model no.2348, printed and painted marks, painted VW monogram, 13cm. high. (2) £120-180 1374. ‘Adam & Eve’ a Royal Copenhagen figure group designed by Hans Hansen, model no. 1997, painted in colours printed and painted factory marks, 14cm. high £200-300 Literature Nick & Caroline Pope A Collector’s Guide to Royal Copenhagen, Schiffer Books, page 135 for a comparable figure group.

1372

1375. A Royal Copenhagen Cherub Drinking (Young Bacchus) designed by Arno Malinowski, model no.2195, painted in colours printed and painted marks, 7.5cm. high £200-300

1373

1374

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1376

1376. A Royal Copenhagen Japoniste wall plate by Marianne Hoest, model no.6332, painted with a carp swimming past a waterlily flower in colours, printed and painted marks, 30cm. diam. ÂŁ400-500 1377. A Royal Copenhagen Privat jar and cover by Elisabeth Madelung, dated 1911, shouldered form the cover surmounted with a mouse finial, painted with fruiting grape vine in colours on a white ground printed and painted marks to inside cover and base 20cm. high (2) ÂŁ150-200 1378. A tall Royal Copenhagen Iris vase designed by Jenny Meyer, model no 10-731, swollen cylindrical form, painted with flag irises in green, white and blue printed and painted marks to base, signature to side of vase, 44cm. high ÂŁ300-400

1378

1377

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1380

1379. A Royal Copenhagen model of a Stegosaurus, modelled rearing up on hind legs, printed Crown mark, painted B monogram, 17cm. high £200-300

1379

1380. ‘Mouse on Corn Cob’ a Royal Copenhagen figure designed by Erik Nielsen, model no. 512, painted in colours, Mouse on a Chestnut model no.511, two other mice figures and a boar resting, model no.2136, printed and painted marks, 13cm. long (5) £120-180 1381. A Royal Copenhagen Fantail Fish ashtray designed

by A Nielsen, model no.1083/1123, painted in colours, a crayfish and mussel, model no.1862, and an eel, printed and painted marks, 15cm. wide (3) £120-180 1382. ‘Angel Fish’ a Royal Copenhagen figure designed by Platen Hallermundt, model no.3084, and a catfish model no.

464 designed by C F Liisberg, painted in colours printed and painted marks, 13.5cm. wide, (2) £200-300 1383. A Royal Copenhagen dish the design attributed to A Pedersen, model no.715, the rim modelled with three fish swimming, glazed in colours impressed, printed and painted marks, 14cm. diam. £200-300 1384. A Royal Copenhagen Owl and Three Mice dish designed by Chr Thomsen, model no. 610, designed 1904, painted in colours printed and painted marks, 15cm. diam. £120-180

1381

1382

100

1383

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1386

1385

1385. A Royal Copenhagen Emperor & The Nightingale, figure designed by Johannes Hedegaard, model no.4367, painted in colours, highlighted in gilt printed and painted marks, 30.5cm. high £200-300 Literature Nick & Caroline Pope, Royal Copenhagen Porcelain, Schiffer Publications, page 184 for this model illustrated.

1386. ‘Girl With a Snake’ a Dahl Jensen Copenhagen figure designed by Jens Peter Dahl-Jensen, model no.1299. painted in colours printed and painted marks, 19.5cm. high £200-300

1387. ‘Egyptian Woman’ a Dahl Jensen model of a bare breasted lady designed by Jens Peter Dahl-Jensen, model no.1123, painted in colours printed and painted marks, 43cm. high £300-400

1387

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1388

1389 1388. A Royal Copenhagen model of a Cherub Riding a Dolphin designed by Arno Malinowski, model no.2230, painted in colours printed and painted marks, 13.5cm. long £200-300 1389. ‘Pigmy Hippopotamus’ a Royal Copenhagen figure designed by Marie Prinzessin, model no. 309, painted in colours printed and painted marks, 33cm. wide. £200-300 1390. A Gustavsberg Africa Series model of a Lustrous Lion designed by Lisa Larson, designed in 1964, incised and painted decoration, an Arabia model of a walrus and an Arabia model of a Giraffe Gustavsberg paper label, 14cm. high, (3) £120-180

1390

1391. A Royal Copenhagen figure group the design attributed to Carl MartinHansen, model no.12159, modelled as a mother and her two young children, glazed in colours, and another figure of a young boy gathering wood printed and painted marks, 15cm. high, (2) £150-200 1392. Five Bing and Grondahl menu holders, ovoid, painted with flowers and foliage sprays in colours on a white ground printed factory marks, 5cm. high (5) £150-200 1393. A Royal Copenhagen Dodo sculpture, modelled perched on a rock, covered in a crackled blue glaze, printed factory mark, TO artist monogram, 42cm. high £200-300 1394. A Royal Copenhagen stoneware pot designed by Axel Salto, numbered 54, modelled in relief with a lizard climbing the side, glazed matt tan and ochre, painted marks, incised Salto signature, £150-200

1391

1392

102

1393

1394

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1395

1396

1397

1395. A Secessionist Bing & Grondahl mantel clock designed by Hand Peter Kofoed, 1901, modelled in low relief with two stylised birds, glazed in shades of blue on a white ground, set with circular metal dial with Arabic numerals, printed marks, 31cm. high £200-300 Literature Scandinavian Ceramics & Glass in the 20th Century Victoria & Albert Museum, page 36 figure 11 for a vase by Kofoed held in the V&A collection.

1396. A Royal Copenhagen porcelain solifleur vase, covered in a streaked blue crystalline glaze painted marks, JC monogram 25.5cm. high £300-400 1397. A large Royal Copenhagen stoneware model of a Chinese fish designed by Knud Kyhn, dated 1956, modelled with a smaller fish in its mouth, covered in a mottled blue glaze, painted KK monogram, dated 1956, factory mark, 41cm. high £200-300 ‡ 1398. Mermaid a large Bing and Grondahl faience sculpture by Jean Gauguin, the mermaid modelled riding a hippocamp, in colours impressed factory mark, painted facsimile signature, 65cm. high £300-500

Literature Esbjorn Hiort, Modern Danish Ceramics, Museum Books Inc, 1955 page 54-55 for a comparable figure illustrated, listed as designed 1927.

Catalogue notes Jean Rene Gauguin, the son of the artist Paul Gauguin, was born in France in 1881 and died in Copenhagen in 1961.

1398

103

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1399

1400

1401

1399. An Art Deco Hapra pottery table lamp, shouldered ovoid form covered in a crackled rose gold glaze over crackled cream, with patinated metal fitting printed C H France mark to base, 29cm. high £200-300 1400. An Art Nouveau Czechoslovakian pottery box and cover, modelled as an enigmatic maiden’s head with headband and large flowers in her hair, glazed cream and green with gilt highlights printed factory mark, small chips, 16cm. high £200-300 1401. A pottery bust of an African woman designed by Leopold Anzengruber, with applied metal loop earrings, impressed marks, 19.5cm. high £150-250

1402

1402. An Art Deco Robj Paris set of knife rests and salts designed by Edouard Marcel Sandoz, twelve knife rests each modelled as a stylised duck, glazed white and highlighted in gilt, two duck salts with metal spoons, in fitted, silk lined display case stamped marks to base 10cm. long £150-200 1403. An Art Deco pottery model of an exotic lady by Sibylle May, modelled seated wearing head-scarf, face mask and billowing dress, covered in a gold glaze over cracked cream pottery signed by the artist 18cm. high £200-300 1404. A Royal Dux model of a young woman feeding three ducklings, model no.3140, painted in colours, highlighted in gilt, impressed marks, pink triangle mark, 36cm. high £500-800

1403

104

1404

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1405. Nella O Nasin or Janetti a Lenci Pottery figure designed by Helen Konig Scavini, the stylish young woman in chequered dress and green cloche hat, holding a purse and gazing down at a small bird perched on the circular base, painted in shades of green, yellow and black, painted marks to base, 40cm. high ÂŁ2,000-4,000 Literature Alfonso Panzetta Le Ceramiche Lenci, Umberto Allemandi & C. page 153 catalogue number 246.

105

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1406. La Nostalgia an Essevi Pottery figure designed by Sandro Vacchetti, modelled as a young Italian girl seated on stems, in black floral dress, next to her a lizard sunning itself next to a cactus plant, glazed in colours, painted marks, professional restoration to foot, minor glaze frits, 41cm. wide, 29cm. high ÂŁ1,000-1,500

106

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1407. La Bella Lavanderina an Essevi Pottery figure designed by Sandro Vacchetti, modelled as a young Italian girl washing clothes in a large washbasin, in colours painted factory marks, facsimile signature, minor glaze chips, 28cm. high ÂŁ800-1,200

107

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1408. A Goebels model of a woman, model no 101, modelled striding forward, her right hand holding the hem of her skirt, wearing floral dress, on domed black base, and another porcelain model of a woman, model no. 8925, impressed marks, minor nicks to base, 31cm. high (2) £150-200 1409. A large Art Deco Katshutte Pottery model of a dancing couple, glazed in colours printed factory marks, minor professional restoration to hand and hair comb, 46cm. high £250-350 1410. An Art Deco Primavera Pottery model of the Virgin Mary riding a donkey, modelled holding the infant Jesus in her arms, glazed in colours and highlighted in gilt, printed factory mark to base, 26.5cm. high £200-300 Provenance Decorative Arts, Christie’s South Kensington, 1992 lot 45

1408

1409 1411. Eve a Charles Harva France Harva Art Deco pottery sculpture by O Zadory, modelled naked, kneeling and leaning forward, concealing an apple in her right hand behind her, covered in a crackled glaze on circular base with rose gold bands, printed factory marks and artists name, 23cm. high £200-300 1412. A Goldscheider Pottery figure of two huddling naked women, partially wrapped in a towel, covered in a crackled cream glaze printed factory marks, professionally restored base, 52.5cm. high £200-300

1410

1411

108

1412

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1413. A Goldscheider Pottery model of a dancer, model no. 8118, modelled resting on one knee her arms raised up and head thrown back, wearing a red floral dress, painted in colours impressed and printed marks, 26cm. high ÂŁ1,200-1,800 1414. A large Charles Harva France Harva Art Deco pottery sculpture of a woman designed by O Zadory, modelled naked but with elaborate floor-length headscarf, standing before a floral topped plinth, crackled cream glaze, colours and rose gold lustre printed factory marks and artists name, 56cm. high ÂŁ300-500 1415. A Goldscheider Pottery model of a dancer, model no.8758, modelled of standing on one foot, her arms raised, wearing a short dress painted with blue bell flowers, painted in shades of blue, green and yellow impressed marks to base, minor restoration to one hand, 38cm. high ÂŁ1,200-1,800 Literature Ora Pinhas Goldscheider, Richard Dennis Publications, page 151 for a comparable example illustrated.

1413

1414

1415

109

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1416. Egyptian Dancer a large Goldscheider Pottery figure designed by Josef Lorenzl, model no.5281, on rounded, stepped base, painted in colours with purple, blue and yellow geometric headdress and cape, green pantaloons and shoes, impressed and printed marks, 46cm. high ÂŁ2,000-3,000 Literature Ora Pinhas Goldscheider Pottery Richard Dennis Publications, page 108-109 for six examples of this figure illustrated in different colours.

110

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1417. A large Goldscheider Pottery model of a dancer designed by Josef Lorenzl, model no.5940, modelled striding forward, wearing geometric short dress and long cape, in colours printed and impressed factory marks, 44cm. high ÂŁ2,000-3,000 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 140 this model illustrated.

111

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1418. A rare Goldscheider Pottery Butterfly Girl figure designed by Josef Lorenzl, model no.6366, standing on fluted base, facing forwards her arms raised to display her butterfly wing cape, glazed in colours impressed marks, printed factory marks, Hamon Robert Rennes retail paper label, small glaze nick to base and her right arm, 29cm. high ÂŁ2,000-3,000 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 122 for an identical example illustrated.

112

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1419. A Royal Dux model of a woman lying down, streamlined and stylised form, in blue striped dress, printed marks, 40cm. wide £120-180 1420. A Zsolnay Pecs model of a bull, on rectangular base, glazed in colours printed factory marks, 22cm. wide £120-180

1419

1421. A Gustavsberg pottery large platter designed by Stig Lindberg, rounded rectangular section painted with elliptical trellis design in colours on a white ground, and a large German Fat Lava vase, painted marks, hand cipher and 75, 33cm. wide, (2) £120-180 1422. A Schaubach Kinst porcelain vase, model no.1393, baluster form on spiky foot, decorated in blue, white and gilt with a geometric pattern, impressed and printed marks, 39cm. high £150-250 1423. A Cmielow coffee set for six designed by Wincenty Potacki, comprising; coffee pot and cover, milk-jug, water jug, sugar basin and cover, six cans and saucers, all of slender form, spray glazed in red with incised geometric panels, printed factory marks, 26.5cm. high (18) £150-250

1420

1424. A Rosenthal Cupola coffee set for six designed by Mario Bellini, designed in 1985, printed in gilt and blue enamel with flower design, comprising coffee pot and cover, milk-jug and cover, sugar basin and cover, six cups, saucers and side plates, printed marks, 27cm. high £120-180 Literature Ann Kerr Rosenthal Excellence for all Times, Schiffer, page 31 for a comparable tea set.

1421

1423

1422

1424

113

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WORKS ON PAPER & LITERATURE 1425. ‘The Studio Yearbook’ nine volumes from 1920 to 1940 published by The Studio, comprising; 1920, 1925, 1926, 1927, 1931, 1932, 1933, 1934, 1935, 1937, 1939, and 1940, and The Studio Year Book 1907, (10) £150-250

1425

1426

1426. The Studio Yearbooks five volumes published by The Studio Publications, 1925, 1932, 1933, 1943-1948 and 1949, Everyday Things Exhibition, 1936 catalogue an exhibition organised by The Royal Institute of British Architects, and The Future of Wood Engravings, Etchings of Today, fine Prints of the Year (1924, 1929, 1933) and Drawing and Design, (12) £120-180 1427. A collection of art reference books, the majority art, architecture and design, including Modern English Furniture by J C Rogers (Country Life), Reginald Fairfax Wells (Luton Museum Services), Tim and Lucy Go to Sea by Edward Ardizzone, Brief to Council

by Henry Cecil with illustrations by Edward Ardizzone and English Goldsmiths and their Marks by Sir Charles J. Jackson, (a lot) £50-150 1428. Decorative Arts and Modern Interiors 1943-1980, twenty-nine volumes, published by Studio Vista, (29) £300-500

1427

1428

1429

114

1429. Festival of Britain 1951 Exhibition Catalogue of Exhibits, London catalogue, five other catalogues and a collection of Festival of Britain ephemera, black and white photographs and commemoratives, and a collection of books on design and architecture, (a lot) £120-180

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1430

1431

1430. The Studio volumes I and II with covers designed by Charles Francis Annesley Voysey, published 1893 and 1894, (2) £200-300 1431. Joseph and His Brethren a book with illuminations by Owen Jones and Henry Warren, published by Day & Son, 1865, and Paradise and The Peri by Thomas Moore, published by Day & Son with illuminations by Owen Jones and Henry Warren, (2) £150-200 1432. Science in Modern Life volumes 16 with cover designed by Talwin Morris, six volumes published by The Gresham Publishing Company, 1909, Practical Coal Mining volumes 1-6 with cover designs by Talwin Morris, The Book of the Home volumes 1-8, The Practical Grocer volumes 14, The Modern Baker volumes 1-6 and The Modern Plumber volumes 1-6, (36) £120-180

1432

1433. The Rape Of The Lock by Alexander Pope and illustrated by Aubrey Beardsley, published by John Lane, 1902 £150-200 1434. Gerlach’s Augendbucherei a book with illustrations by Berthold Loffler, published by Martin Gerlach & Co, and five other books illustrated by Loffler, Emil Orlik, and Fritzl Low, (6) £200-250

1433

1434

115

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1435

1436

1437 1435. Art Nouveau The French Aesthetic by Victor Arwas, Chiparus Master of Art Deco by Alberto Shayo, Bronzes 1800-1930 Sculptors and Founders, volumes 1-4 and a collection of reference books and catalogues on Art Deco, Art Nouveau and bronzes, (17) £150-200 1436. Mrs W Greenall Nude Model in the Studio painted wood panel with etching, in ebonised wood frame indistinct pencil details to reverse 30 x 24cm (panel) £150-250 Provenance Design Woolley and Wallis Auctioneers, 13th October 2010 lot 1014 (part of a small collection) Private collection.

1438

1437. An Art Deco printed advertising fan by J Ganne, printed with a drinks party, a lady standing and serving Apry, in colours, framed, another Art Deco by L Regent, and seven others all framed, printed marks, 25cm. high, (9) £120-180 1438. Three valentine postcards designed by Kate Greenaway, printed by Marcus Ward & Co. each printed in colours, with verse to reverse, two dated 1878, in common frame, 44.5 x 28cm. £120-180 1439. Four pochoir prints by Ettore Tito, printed and coloured on paper, framed, and six other framed pochoir prints signed in the print Tito, 20 x 15cm (image), (10) £80-120

1439

116

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1441 1440. Walter Crane (1845-1915) Summer, pen and ink on paper, framed 55 x 30.5cm.

£2,000-3,000

Provenance Campbell Wilson, Private collection.

1441. Harry Clarke (1889-1931) Rime of the Ancient Mariner, 1913 print on paper, framed signed in the print and dated 1913, 17.5 x 11.5cm.

£120-180

1442. Eric Ravilious (1903-1942) The Lifeboat a modern giclee digital print from the original 1938 print, published by the Mainstone Press, 2012 in an edition of 700, The Oxford Almanac Trinity College by Edward Bawden, a section of Edward Bawden wall paper, and a roll of Edward Bawden wall paper in two pieces Lifeboat number 13.700 in pencil with receipt 67 x 59.5cm (5) £150-200

1440

1442

117

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1443. Samuel Webley (1877-1956) The Moonmaid, 1935 137 x 98.5cm

1443

£500-1,000

Provenance Purchased directly from the artist by R H Hutchings, thence by descent.

1444. Samuel Webley (1877-1956) Begonias, 1938 oil on panel over gilding, mounted on frame unsigned, titled in white conte pencil to reverse, sold with a copy of the original receipt 66 x 47cm (image), 87 x 68.5cm (frame) £200-400 Provenance Purchased directly from the artist by R H Hutchings, thence by descent.

1444

118

This work is characteristic of Webley’s pioneering technique of painting of gilding to provide the vivid iridescence of the ceiling light.

This rich Art Deco style of painting led to the commission to decorate the interior of a Marharajah’s car, by repute.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1445. Samuel Webley (1877-1956) The Pearl Seat, 1935 143 x 108cm

ÂŁ500-1,000

Provenance Purchased directly from the artist by R H Hutchings, thence by descent.

1445

1446. Samuel Webley (1877-1956) Seascape, 1938 oil on panel with painted gilt frame of a seagull flying above waves, and The Old Mill and Poplars by a Lakeside, main signed with monogram lower right, sold with a copy of the original receipt 51.5 x 32.5cm. (3)

ÂŁ200-300

Provenance Purchased directly from the artist by R H Hutchings, thence by descent.

1446

119

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1449

1447

1450

DODO BURGNER

1448

120

‡ 1447. Dorte Clara Dodo Burgner (1907-1998) The Comforting Embrace pencil and wash on paper, mounted unsigned, 43 x 23.5cm (image)

£120-180

‡ 1448. Dorte Clara Dodo Burgner (1907-1998) Exotic Lady in a Mask, pencil and watercolour on paper signed in pencil Dodo, losses 62 x 41.5cm. (sheet)

£120-180

‡ 1449. Dorte Clara Dodo Burgner (1907-1998) Woman in a Black suit and hat (Cowgirl) pencil, pen and ink on paper, mounted annotated in pencil, 45 x 32cm. image

£120-180

‡ 1450. Dorte Clara Dodo Burgner (1907-1998) Lady walking her dog pencil, pen and ink on paper, mounted unsigned 24 x 19.5cm

£120-180

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1451 1452

‡ 1451. Dorte Clara Dodo Burgner (1907-1998) Portrait of a Woman in a Black Hat, pencil and watercolour on paper, mounted unsigned 39 x 28cm.

£120-180

‡ 1452. Dorte Clara Dodo Burgner (1907-1998) Lady in a Blue Dress charcoal, and wash on paper, mounted unsigned, 42 x 26.5cm. (image)

£120-180

‡ 1453. Dorte Clara Dodo Burgner (1907-1998) Lady in a long scarf, pen and ink on paper, mounted unsigned 19 x 15cm. (sheet)

£150-250

‡ 1454. Dorte Clara Dodo Burgner (1907-1998) Lady in a Slip, Ulk S6 pen and ink on paper, mounted signed Dodo in ink and also in pencil, and Ulk S6 33 x 22.5cm.

£150-250

1453

Catalogue Notes Dodo produced some of her finest design for the German satirical magazine Ulk in the 1920s and 1930s. these were used both for the front cover, full page and double page spreads.

1454

121

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1455. William Henry Barribal (1874-1952) Portrait of a lady in a green hat pastel on paper of a young lady wearing a green hat decked with holly, framed signed lower right 49 x 38cm. £200-300

1456. Jean Hardy (born 1880) Women with a parasol, aquatint on paper, framed signed in pencil 45cm wide (image)

£150-250

1457. Louis Icart (1888-1950) The Spanish Comb, 1922 etching with drypoint and aquatint, on paper, published by L’Estampe Moderne, framed signed in pencil, numbered 275/546, titled, 47 x 37.5cm. (image) £200-300

1455

Literature Catalia and Isen Holland Louis Icart The Complete Etchings, page 71 catalogue no.140 for a comparable example.

1458. Louis Icart (1888-1950) La Dame au Camelias (Lady of the Camelias), 1927 etching with drypoint and aquatint, on paper, published by Les Graveeurs Modernes, framed signed in pencil 52cm. wide (image) £200-300 Literature Catalia and Isen Holland Louis Icart The Complete Etchings, page 152 catalogue no.321 for a comparable example.

1456

1457

122

1458

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1459. Aubrey Beardsley, after Pseudonym lithographic poster, originally printed by Unwin Brothers, re-issued by Anthony D’Offay, framed signed in the print 81 x 54cm. £200-250

1460. George Sturm (1855-1923) Primavera (Spring) lithograph in colours, numbered 56, printed

by Verlag von Gerlach & Schenk, Vienna, for Gerlach Allegorien framed signed in the print G Sturm 30 x 21 (image) £120-180

1460

1459

1461. The Poster Six Masters of the Poster of the Eighteen Nineties a limited edition print set published by the Sunday Times, comprising; Jules Cheret, ToulouseLautrec, Dudley Hardy, Theophile Steinlen, Beggarstaff and Louis Anquetin, in original folder, printed marks, Westerham Press for Sunday Times, limited to 2000 editions, 75 x 49.5cm. £120-180

1461

1462. Harper’s Magazine - The Martian (PL.120) a les Maitres de L’Affiche lithographic print by Fred Hyland, printed

by Waterlow & Sons, ‘A Gaiety Girl by Dudley Hardy and ‘ Kunst Anstalt Fur Moderne Plakate by Otto Fishcer, two Les Maitres de L’Affiche prints signed in the prints, 40.5 x 29cm (sheet), (3) £150-200

1462 part

123

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1463. Lynne Moore Platform Wings, 1969 lithograph on paper, framed signed and tiled in pencil, Proof 1969 nr 70, 79 x 58cm (image), 99 x 74.5cm.

£120-180

1464. Patrick ‘Pat’ Keely (died 1970) ARP Calling You, 1938 a lithographic poster on paper printed by Fash & Cross Ltd for the H.M Stationery Office, framed signed in the print Pat Keely, 38 74.5 x 50cm (image), 89 x 64cm (frame) £150-250

1463

1465. David Klein (1918-2005) Paris Fly TWA Jets, 1962 a lithographic poster on paper, printed in the USA, depicting the Eiffel Tower lit by firework explosions, framed signed in the print, 62.5 x 39.5cm (image), 79.5 x 55.5cm (frame) £150-200

1466. Paul Martial Provence, Societe Nationale Des Chemins de Fer Francais, 1945 lithographic poster on paper, published by Publicitie S.N.C.F 45, framed printed details to margins, 99 x 61.5cm. (image), 113 x 74.5cm.

£150-250

1467. Herbert Leupin (1916-1999) Knie lithographic poster on paper, printed in Switzerland by Hug & Sohne, Zurich, framed signed in the print 99 x 69cm (image), 102.5 x 72.5 (frame)

£150-250

1464

1465

124

1466

1467

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1468. John Sergeant R.A. (1937-2010) No 1 London, 1979 a London Transport poster, framed signed and dated in pen, dedicated from the artist to Janet & Rodney (Fitch) in pen, 101 x 62cm. (image) £80-120 Provenance The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne.

1469

1469. ‘Monaco 1975’ a lithographic poster, designed by George Ham, printed

by AIP Monoco, framed, 59 x 39cm. £150-200

1468

1470 1470. Anon Moscow Olympics, 1980 lithographic poster on paper, framed 100 x 62cm (image), 115 x 79cm. £120-180

1471. Battle of Britain a British Quad film poster, printed by Lonsdale and Bartholomew, 101.5 x 76cm. £300-400 Catalogue notes Battle of Britain produced by Harry Saltzman, was released in 1969 and starred Michael Caine, Laurence Olivier and Harry Andrews.

1471

125

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CARPETS & TEXTILES 1472. A George Bain woven carpet, rectangular, decorated with mounted huntsmen chasing stag and boar with dogs, amidst scrolling foliate design with birds and moth, and central Celtic knot, on a red ground, inside scrolling knot border, 196 x 118cm. £500-800

1472A. An Art Nouveau portiere, machine embroidered with floral repeat in shades of pink, blue, green and mushroom, unsigned, 270 x 120cm. £150-200

1473. A machine made wool carpet, in the manner of Lucienne Day, possibly American, decorated with rows of geometric motif in colours on a cream ground annotated to reverse, 338 x 238cm. £300-500 Literature Andrew Casey, Lucienne Day Textile Design, Antique Collector’s Club, page 128-129 for examples of Day’s Miscellany pattern, circa 1952, which has similar abstract motif.

1472

1472A

126

1473

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1474 1474. A woven textile in the manner of the Bauhaus, simple brown stripes, a printed textile with Shipibo geometric design, three printed lengths of textiles and another printed linen textile on a blue ground, and four books on Anni Albers Textiles, Helmut Hahn textiles and Ethel Mairet weaves, all unsigned, 116 x 182cm.

(10) £150-200

1475. Plantation eight pieces of Heal’s textile designed by Lucienne Day, printed with black foliate panels on green and blue on a white ground signed to the selvedge, 124 x 66cm(8) £200-400

1476. A woven wool hanging or rug, with geometric design in yellow and ochre on a buff ground, applied label, numbered 69778, 193 x 145cm. £120-180

Literature Andrew Casey Lucienne Day Textile Design, ACC books, page 164-165 for a comparable example illustrated.

Catalogue notes Lucienne Day designed this pattern in 1958.

1475

1476

127

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1477. Adam and Eve a screen printed hessian wall hanging, in the manner of Fernand Leger, printed in black and red on an orange ground signed with monogram in the print, 100 x 71cm. £150-200

1478. Alexander Calder (1898-1976) La Mer, an Ascher silk scarf, designed 1946, screen-printed, signed in the print Calder and Ascher 90 x 90cm.

£400-600

Literature 20th Decorative Arts and Design, Christie’s London, 26th October 2006 lot 131 for the original Proof example.

1479. Henry Moore (1898-1986) Family Group, 1946 a screen-printed rayon headsquare manufactured by Ascher Ltd, circa 1946, printed in colours on a grey ground, framed unsigned 84.5cm square £500-1,000 Provenance Paul Carroll Modern Art & Design, 2003.

The Jim Glennie Collection.

1477

1478

128

Literature Geoffrey Rayner Artists’ Textiles in Britain 1945-1970, Antique Collector’s Club, page 26 for an example illustrated. this design was exhibited at Britain Can Make It held at The Victoria & Albert Museum in 1946. The scarf had an applied makers and designers label attached, the grey ground version is believed to be a trial version for the final version printed on a black ground.

1479

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

‥ 1480. Cragie Aitchison CBE RSA RA (1926-2009) Blue Bird, Yellow Landscape a limited edition wool pile tapestry wall hanging, in colours signed and numbered to reverse 4/25, 244 x 180cm.

ÂŁ3,000-5,000

Provenance Roseberys Auctioneers 29th March 2012, lot 5.

129

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1481. A Leleu Decorateurs woven wool carpet the design attributed to Paule Leleu, rectangular, decorated with a cream diamond trellis panel with yellow and blue infill, on a white ground, signed Leleu to in the design to one corner, applied label to reverse, no,747, 294 x 202cm. ÂŁ2,000-4,000

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‥ 1482. Peter Collingwood (1922-2008) macrogauze hanging M208 no.3, woven linen on stainless steel rods, signed metal plaque 97cm wide, 90cm. high

ÂŁ1,500-2,000

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1483

FURNITURE

1483. A French Gothic Revival cast iron garden bench by Val D’Osne, pierced tracery back and arms, with hexagonal trellis seat, verdi gris finish, 140.5cm. wide, 92cm . high £1,000-1,500 Provenance Sotheby’s Sussex, 22nd May 2002, lot 907.

Catalogue notes The design for this bench is illustrated in the 1858 Barbezat & Cie foundry catalogue under ‘Bancs de Jardin’ plate 251.

1484. A pair of Gothic Revival cast metal garden benches by Val D’Osne, cast oak tracery panels, painted white, 86cm. wide, 82cm. high, (2) £400-600 1485. An Aesthetic Movement oak settle the design attributed to George F Armitage, rectangular plank seat, the plank back with four carved chrysanthemum panels, on turned legs, 151cm. wide, 91cm. high £300-500

1484

1486. A Gothic Revival oak throne chair, with carved foliate to the arms and back, pierced ogee to the sides, button back leather pads, 95cm. high, 55cm. deep, 74cm wide. £200-300

1486 1485

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1487. A set of six Gothic Revival chairs, with tracery ‘Rose’ backs, turned front legs and padded leather seats, 109cm. high, (6) £600-1,000

1488. An Aesthetic Movement ebonised wood occasional table in the manner of E W Godwin, square section top on turned legs, lower square shelf over dowel stretchers unsigned, 69cm. high, 40cm square top £200-300

1489. An Aesthetic Movement oak occasional table in the manner of E W Godwin, octagonal section top on four turned legs with out-turned feet, dowel stretchers stamped HS to underside of top, 65cm. high, 51cm wide. £200-300

1487 1490. An Aesthetic Movement ebonised wood hall chair, turned front legs, the back set with Wedgwood Nell Etticoat tile and an Aesthetic Movement ebonised wood bedroom chair, 82cm. high (2) £150-200 Provenance Private collection.

1491. An Aesthetic Movement ebonised wood occasional table originally designed

by E W Godwin, square section on turned legs with shelf and dowels, unsigned, 43cm. square, 66cm. high £150-200

1488

1490

1490

1489

1491

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1493

1492 1492. A Heal’s style oak sideboard, rectangular section, three cupboards below three plate-shelf back, ebony handles, 139cm. wide, 174cm. high £150-200 1493. An Aesthetic Movement ebonised wood hall chair in the manner of John Pollard Seddon, the back with carved, pierced panel of stylised flowers and foliage with inlaid decoration, inside slender pillars and arched borders, the ebonised wood with carved and gilt-highlighted detail unsigned, 83cm. high £200-300 1494. An Arts and Crafts oak buffet sideboard the design attributed to Shapland and Petter, bow fronted, the planked back with two shelves flanked with cupboards, the base with two cupboards flanking central drawers, the doors with marquetry panels of Dutch scenes, brass furniture, 186cm. wide, 168cm. high £800-1,200

1494

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1496

1495

1495. A Gothic Revival oak wall cabinet, two door low cupboard below , the hinged doors with carved round tracery panels, carved tracery panels to sides, unsigned, 72cm wide, 88cm high £150-200

1497

1496. A Liberty oak overmantel mirror probably retailed by Liberty & Co, shaped rectangular form with pierced Art Nouveau flower and leaf panels, overhanging mantel shelf, unsigned, 105cm. wide, 77cm. wide £150-200 1497. An oak library table probably Liberty & Co, octagonal top on four flaring plank legs, with peg joints and cruciform stretchers, 107cm wide, 75cm. high £400-600 1498. A Liberty and Co Milverton oak buffet sideboard, on square section legs, bow fronted base with hinged cupboards, the top with cupboards flanking a glazed central cabinet, 183cm. wide, 158cm. high £500-800 Literature Daryl Bennett, Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design ACC page 264 for an example illustrated.

1498

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CHARLES HAROLD ST JOHN HORNBY (1867-1946) St John Hornby, as he was widely known, was both a successful businessman and a private printer. Educated at Harrow and New College, Oxford, Hornby rowed, as stroke, for the University boat in 1890 and the following year travelled the world with his College friend W.F.D. (Freddy) Smith, Later Lord Hambledon. Smith asked Hornby to join him on the board of his family firm, W.H. Smith & Son, and the firm remained dominant in their industry and survived the First World War under his guidance. Hornby's main passions, outside his work, were the Ashendene Press, his private press, initially based in Hertfordshire but subsequently in Shelley House on the Chelsea Embankment. Hornby had met Emery Walker and Sydney Cockerell (then William Morris' secretary at the Kelmscott Press) in 1900 and they encouraged Hornby to have the typefaces, 'Subiaco' and 'Ptolemy', specifically designed for the press. Ashendene went on to produce many highly regarded and limited books.

In 1919, Hornby bought Chantmarle in Dorset, a fine but remodelled house that had started life out as a Manor House for the monks of Milton Abbey in the 13th century. It was here that Hornby commissioned the Barnsleys, Powells and Waals to furnish his new house, and an article in Country Life of July 7th 1950 shows a number of pieces of furniture by both Ernest and Sidney Barnsley as well as a set of plates by the Powells illustrating aspects of Hornby's life and interests. The same article also states 'The products of the Gimson-Barnsley school are little heard of today, but by breaking with traditional forms and concentrating on simplicity of design, fine finish and beautiful woods, they anticipated in their hand-made pieces several of the ideals of later designers who have accepted the aid of the machine’. The three pieces offered here exemplify this sentiment perfectly.

1499. A small ebony and macassar desk top cabinet by Peter Waals with painted decoration by Louise Powell, rectangular section, with shallow domed top, twin, hinged ebony doors set with macassar panels painted with simple foliate band and central red flower wreath, opening to nine small drawers all with painted white and red flower panels, the interior of the doors profusely painted with red flowers, on sleigh feet, one drawer with paper label No.L92 in the catalogue of C.H. St J.Hornby, 46cm. wide, 34cm. high, 26cm. deep. ÂŁ6,000-8,000 Provenance Charles Harold St John Hornby (1867-1946), Chantmarle House, Dorset and thence by descent.

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1500. A large walnut breakfront bookcase by Sidney Barnsley, the central double, glazed doors flanked by single doors, above glazed curtained doors, constructed with dovetail joints, chip carved ebony banding, on sleigh feet, the shallow overmantel inlaid with ebony diamond band and chip-carved beading, with patinated bronze door furniture, 213cm wide, 227cm. high, 38cm deep. ÂŁ18,000-22,000 Provenance Charles Harold St John Hornby (1867-1946), Chantmarle House, Dorset and thence by descent.

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1502 1501. A walnut two drawer chest on stand by Sidney Barnsley, rectangular section with fine dovetail joints, two slender drawers with turned ebony handles, on shaped mantle, tapering square section legs and stepped cross stretchers, 89cm. high, 48.5cm wide, 32.5cm. wide £3,000-5,000 Provenance Charles Harold St John Hornby (1867-1946), Chantmarle House, Dorset and thence by descent.

1501

1502. A Liberty and Co style oak buffet sideboard, tapering rectangular section, two drawer base with strap handles, two drawers below mirror back overmantel, applied G H Morton label to drawer, 153 high, 60cm. deep, 137cm wide. £200-400 1503. A pair of Robert Mouseman Thompson oak Monk bookends, designed by Robert Thompson probably made by George Weightman in the 1930’s, carved mouse signature, 15cm. high (2) £2,000-3,000 Catalogue Notes In the 1930’s Robert Thompson had strong connections with Ampleforth Abbey and College as he was making furniture for many of the the college houses. Items such as these bookends were often made as a gift for one of the benefactors, who paid for some of the work at the Abbey and College.

We would like to extend our gratitude to Ian Thompson Cartwright for the information provided.

1503

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1504

1504. A pair of ebonised ash Rossetti chairs probably by Morris & Co, with circular rushed seat, unsigned, 86cm. high, (2) £150-250

1505 1505. A Morris & Co carved mahogany cheval screen, rectangular with carved flower stem panel and ball finials, on reeded and turned legs with turned stretcher, inset with embroidered silk honeysuckle panel, unmarked, 100cm. high £500-800 Literature Specimens of Furniture and Interior Decoration, Morris and Company catalogue, page 22 no.413 for a comparable screen with trellis base and scrolling foliate embroidery.

1506. A Morris & Co walnut Saville settee, on casters, with silk upholstery, 133cm. wide, 93cm. high, 70cm. deep. £500-800

1506

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1507. An oak gate-leg table the design attributed to Arthur Romney-Green, elliptical top on carved legs with sleigh feet 152 x 104cm, 72cm high £300-500

1508. A set of six William Birch chairs, comprising two carvers and four chairs, with turned front legs and back supports, four slat back rest and cushioned textile seats, 101cm. high, (6) £300-500

1507

1509. A set of ash Gimson ladder-back chairs by Neville Neal, comprising two carvers and six chairs, turned ash frame with rush seats, stamped marks, 114.5cm. high, (8) £1,000-1,500 Provenance Purchased from Neville Neal by the vendor in 1986.

1508

1509

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1510

1511

1510. A mahogany gate-leg table designed by Mackay Hugh Baillie Scott, model no.14, rectangular with two flaps with hinged legs, inlaid elliptical decorative panel, 72cm. high, 82 x 100.5cm £1,000-1,500 Literature Furniture Made at the Pyghtle Works, Bedford by John P White, original catalogue, this table design illustrated as model no.14 with a variation to the decoration. The table was available in oak or the more expensive mahogany at £11.11.0.

1511. A Shapland and Petter oak hanging cabinet, model no.904, the design in the manner of Mackay Hugh Baillie Scott, rectangular form with single long shelf above open shelved compartment and single hinged door, the door inlaid with marquetry daffodil stem, inside inlaid ebony and boxwood borders stamped 904 to reverse, 63.5 x 51cm. £150-250 Literature Daryl Bennett Shapland and Petter Ltd of Barnstaple, Private Press, page 102 plate 6.11 for a comparable small cabinet model R.900 with a similar Daffodil marquetry design.

Furniture Made at the Pyghtle Works Bedford by John P White designed by M.H.Baillie Scott, catalogue number 4 for a comparable corner cupboard decorated with two Daffodil stems.

1512. An Arts and Crafts oak firescreen in the manner of Arthur Simpson, the rectangular panel carved with Art Nouveau flowers and foliage, unsigned, 83cm. high £300-400

1512

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1513. An Aesthetic Movement walnut occasional table in the manner of E W Godwin, rectangular top, over arched undercarriage with slender turned columns, rectangular shelf, square section legs with flaring curved feet, 91 x 42cm (top), 66cm. high £200-300 1514. An Arts and Crafts oak occasional table, canted, rectangular top, with shaped lower shelf and angled plank legs with pierced decoration, unsigned, 69 x 44cm. (top), 70cm. high £200-300

1513

1515. A Liberty & Co oak firescreen, rectangular with low shelf, the short front legs and tall back legs with square terminals, pierced Art Nouveau flower decoration to back, the back with Morris & Co Willow pattern textile panel stamped 802, 86cm high, 55cm. wide £150-200

1514

1516. A Liberty & Co Anglo-Persian mahogany bureau, on four tapering legs, with arched under carriage shelf, applied paper label to drawer, 80.5cm. high, 63cm wide. £120-180 1517. An Arts and Crafts oak rocking chair in the manner of Gustav Stickley, ladder back with cane seat, padded cushion, 81cm. high £150-200 1518. An Arts and Crafts stained oak desk in the manner of Gustav Stickley, rectangular top over single drawer, square legs and stretchers, the top with red leather inset, 91cm. wide, 55cm. deep, 77.5cm. high £150-200

1515

1517

142

1516

1518

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1519

1520

1519. An Art Nouveau Galle marquetry wood twin-handled tray, rectangular form, decorated with thistle flowers, signed in the marquetry Galle and with Croiss of Lorraine, 60 x 39cm. £450-550 1520. An Art Deco Liceu de Artes marquetry wood twin-handled tray, octagonal form. inlaid with floral panel stamped mark, 53cm. wide £120-180 1521. An Art Nouveau Louis Majorelle mahogany trefoil table, the trefoil foliate top with carved detailing, above flaring, carved tripod legs and triangular shelf with rim, unsigned, 76cm. high, 52cm wide (top) £800-1,200 Literature Alastair Duncan Louis Majorelle: Master of Art Nouveau Design, ACC, page 204 catalogue number 131 for a comparable example.

The Warshawsky Collection : Masterworks of Tiffany and Prewar Design, Sotheby’s New York 19th May 2015 lot 132 for a comparable but decorated version.

Arts Decoartifs, Sotheby’s Paris 26th November 2013 lot 12 for a comparable undecorated version in cherry wood, oak and beech.

1521

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1522. A P.E. Gane bedroom suite, commissioned in 1926, comprising dressing table, chair, wardrobe and single-bed, limed oak veneer with gesso borders and panels, the dressing table with shaped mirror, brass furniture and polished stone insets, 182cm. high, 52.5cm deep, 104cm wide (wardrobe),100cm wide, 141cm high (dressing table),205 x 92cm (bed), (4) ÂŁ300-500

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1523. A Waring & Gillow Ltd English Walnut veneer library table designed by Serge Chermayeff, angled, kidney shape on four fluted legs, two cupboards flanking central drawer, one internally fitted with three angled drawers, the other shelves, 157cm. wide, 77cm deep, 76cm. high ÂŁ3,000-5,000 Provenance The Jim Glennie Collection.

Literature J.C. Rogers ARIBA, Modern English Furniture Country Life, Page 59 and 60 for a comparable example illustrated.

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1524

1524. A Betty Joel Token Works walnut dining table, made by W R Hamilton, 1929, the canted rectangular top with stepped edge, on heavy square section legs with reeded decoration, applied paper label, 180 x 75.5cm (top), 72cm. high £500-800 Provenance Interiors Dreweatts & Bloomsbury, 9th December 2015 lot 445 Private collection.

1525. An English Art Deco walnut veneer occasional table, the D shaped section above single drawer and cabinet, with orange bakelite handles, Good Furniture Units label, 47cm. high, 84cm. long £150-200

1524 label

1525

146

1526. An English Art Deco walnut veneer corner desk, triangular section top with red leather writing desk, with two banks of two drawers over cupboards, unsigned, 126cm. wide 77cm. high £300-500

1526

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1527 both sides 1527. A Rowley Gallery seven-fold screen, the seven fold screen lacquered silver on one side and gold to reverse, with clear plastic tube hinges unsigned, 178cm. high, 23cm wide (each panels) £200-300 Provenance Kingsford Auctions, 28th January 1993, lot 60a, part of a small collection of ten Rowley Gallery items.

1528. An Art Deco hall table, the octagonal top inlaid with exotic wood veneer panels, on four scroll legs and stepped elliptical base, unsigned, 73cm. high, 91cm. wide £200-300 1529. A pair of Art Deco calamander and burr wood bedside cupboards, each with a raised back above a black marble top, a drawer and a cupboard, revealing a bird’s eye maple veneered interior with a shelf, 105.8cm high, 45cm wide, 39.5cm deep. (2) £300-500 Provenance The collection of the late Geoffrey Harley, Furniture, Works of Art & Clocks, 11th April 2018, lot 215.

Private collection 1530. A small walnut sewing cabinet in the manner of Frank Brangwyn, rectangular section with hinged top, inlaid with walnut veneer, ebonised band, the top rim with ebony and holly chequered band, 56cm. wide, 31cm deep, 63cm. high £150-200

1528

1529

1530

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1531

1531. A set of six modern Bauhaus Modernist chrome arm chairs, chrome tube frame with tan leather slung seat and back rest, unsigned, 78cm. high, (6) £400-600

1532. A Modernist plywood occasional table, in the manner of Gerald Summers, circular top on four streamlined legs, unsigned, 50cm. diam. £200-300

1532

1533. A birch ebonised laminate table designed by Alvar Aalto, model no.75 designed for the Paimio Sanatorium and probably made by Finmar, the ebonised rectangular top and shelf with upturned edges, unsigned, 59.5 x 60cm, 59.5cm. high £800-1,200 Literature Alvar Aalto Furniture 1929-1939, Haslam & Whiteway 1987,catalogue number 7 for a comparable table with ebonised structure and birch top and shelf.

1533

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1534. Two laminated plywood Canberra chairs and a side table designed by John Wright, bent laminated plywood probably manufactured by Craft, both chairs with laminated padded seats, one stencilled Peacock Room, the table made by Craft with laminate top, padded seats, stencilled mark to one chair, paper Craft maker’s label to one chair, 77cm. high (chair), 53.5cm. square (table) (3) £400-600 Literature The Collection of Art and Memorabilia on Canberra lists that John Wright FRIBA designed four chairs and an en suite table for the Tourist Class areas of the liner. The SS Canberra was designed for P&O in the late 1950s being named in March 1958 and in service between 1961 and 1997.

1535. An enamelled metal occasional table, square section with cylindrical legs and brass terminals, 69cm. high, 36cm square £120-150

1534

1536. A Modernist enamelled metal desk, black enamelled square tube frame with green laminate wood top, teak drawer unit, and a bent-ply 3117 office chair on castors designed by Arne Jacobsen, 114 x 61cm, 69cm. high, (2) £120-180 1537. A set of eight Odense Maskinsnedkeri teak chairs designed by Erik Buch, streamlined frame and arms, with padded textile seat and back stamped made in Denmark to base, 80cm. high, (8) £200-300 1538. A pair of Frem Rojle teak chairs designed by Hans Olsen, Danish, each with swollen cylindrical tripod frame and shaped triangular padded black laminate seat, and a pair of ebonised wood spindle back chairs probably Danish, burnished marks to Frem Rojle chairs, 70cm. high, (4) £150-200

1537

1535

1536

1538

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1539. A Barnsley Workshops walnut circular dining table, the circular top on four tapering legs, inlaid with thin ebony and fruitwood bands stamped Barnsley to the cross brace, 137cm. diam. ÂŁ800-1,200 Provenance Thomas Howard Hooton (timber merchant) and his wife Vera Hooton (chef and cookbook creator), purchased directly from the Barnsley Workshop.

1540. A Barnsley Workshops walnut console table, slightly bow fronted rectangular top with raised lip back, three drawer front, one fitted for cutlery, with boxwood stringing, on square section with twin-stretchers, stamped Barnsley to inside, top of leg, 153 x 46cm, 85cm. high ÂŁ2,000-3,000 Literature Edward Barnsley Sixty Years of Furniture Design and Cabinet Making, FAS London/ Crafts Study Centre Bath, 1982, page 56 catalogue number 74 for a variation of this design, made in 1967.

1539

Provenance Thomas Howard Hooton (timber merchant) and his wife Vera Hooton (chef and cookbook creator), purchased directly from the Barnsley Workshop.

1540

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1541

1541. A set of six Barnsley Workshops walnut dining chairs, with drop in embroidered cushions, stamped Barnsley 87.5cm. high (6) ÂŁ800-1,200 Provenance Thomas Howard Hooton (timber merchant) and his wife Vera Hooton (chef and cookbook creator), purchased directly from the Barnsley Workshop.

1542. A Barnsley Workshops walnut corner cupboard, with hinged, curved plank door, stamped to frame, inside 84cm. high, 67cm. wide ÂŁ300-500 Provenance Thomas Howard Hooton (timber merchant) and his wife Vera Hooton (chef and cookbook creator), purchased directly from the Barnsley Workshop.

1542

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1543

1543. A Herman Miller red plastic Panton chair designed

by Verner Panton, and a pair of chrome metal and acrylic folding Plia chairs designed by Giancarlo Piretti, cast Herman Miller mark 82cm. high, (3) £120-180

1544. A Gordon Russell Limited Helix sideboard, rectangular section, twin door with router cut geometric design, internally fitted with shelf and cutlery drawer, applied label, 121.5cm. wide, 46cm deep, 84cm. high £300-500

1544

1545. A Gordon Russell Limited teak dining room suite, comprising sideboard, extending table and six chairs, applied labels, 141cm. wide, 49cm. deep, 86cm. high (sideboard) £200-400

1545

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1546

1547

1546. A Faarup Mobelfabrik teak console table designed by Kofod Larsen, rectangular top, two drawer front with tapering square legs applied label, 115 x 50cm, 73cm. high £300-500 1547. A pair of Race Furniture Maximus Range wingarm chairs designed by Max Clendinning, designed 1967, moulded laminate ply wood with metal bracket fixings, rubber sprung seat supports, unmarked, 86.5cm wide, 75cm high (2) £150-250 Literature Lesley Jackson, Modern British Furniture Design Since 1945, V&A Publications, page 143 plate 152 for the range illustrated from the Race Furniture archive.

1548. An Antelope chair designed by Ernest Race for the Festival of Britain, 1951, white enamelled metal frame with grey painted bentwood seat unsigned, 77cm. high £120-180 Literature Lesley Jackson, Modern British Furniture Design Since 1945, V&A Publications, page 105 plate 110 for a comparable chair.

1548

1549

1549. A pair of Morris of Glasgow (H Morris & Co) bent-ply Toby chairs designed by Neil Morris, the bent ply seat with walnut veneer, on painted silver metal tube frame with rubber feet, 78cm. high, (2) £150-250 Literature Lesley Jackson, Modern British Furniture, Design Since 1945, V&A Publishing, page 89 plate 93 for a comparable example illustrated.

λ 1550. A pair of Brazilian Rosewood armchairs designed by Andrew John Milne, probably manufactured by Mines & West for retail at Heal’s, with leather pad, 90cm. high, (2) £800-1,200 Literature Austerity to Affluence British Art and Design 1945-1962, Fine Art Society, page 29 catalogue number F50A for a comparable example.

Charlotte & Peter Fiell 1000 Chairs Taschen, page 206 for a comparable example.

Catalogue Notes These chairs are sold with the cites certificate no: 584345/01

1550

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1551. A Heal’s birch veneer and ebonised wood sideboard designed by Andrew John Milne, slender, rectangular section on four freestanding, streamlined ebonised wood legs, with black enamelled metal cross supports, a band of three drawers, one fitted, beside ebonised, hinged cupboard compartment, with ebonised wood handles unsigned, 84cm. high, 150cm wide by 50cm deep. £300-500 Literature This design was illustrated in Heal’s catalogue of 1956.

1552. A pair of Greaves and Thomas armchairs, the streamlined frame and arms with textile upholstery, applied label, 87.5cm. high, (2) £200-300

1551

1553. A chest of drawers, rectangular section with two banks of four drawers, black laminate finish on clack cylindrical legs and brass feet, 117 x 54cm, 74cm. high £120-180

1554. A Merrow Associates chromed metal and glass table, circular glass top resting on chrome metal pedestal of eight legs, 140cm. diam, 71cm high £400-600

1552

1553

1555. A set of four Howe Mobler teak Skandia chairs designed by Hans Brattrud, slat form on chrome base, stacking, unsigned, 95cm. high (5) £700-900

1555 1554

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1556

1556. An Aleph M (Serie Lang) table designed by Philippe Starck, rectangular polished quartered mahogany on aluminium tapering legs, cast signature to legs, 210 x 89cm. £400-600

1557 1557. A set of four Driade Aleph Pratfall bucket chairs designed by Philippe Starck, the black lacquered, curved seat on black enamelled metal tripod, with black leather cushion, applied labels, 79cm. high (4) £200-300

1558. A hall table in the manner of Andrew Varah, rectangular section with two drawer front, inset with box banding and mother of pearl roundels to sides and drawer fronts, on four flaring cylindrical legs with inlaid box bands, unsigned, 74cm. high, 104cm x 47cm. £300-500

1558

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‡ 1559. A John Makepeace and Ann Sutton double bed sleeping area, comprising nine white plastic laminated sections, with wooden base, unsigned, 306cm. long, 193cm. wide, 39cm. high, (9) £300-500

Provenance Professor Roy Harris (Oxford University) and Rita Harris. Commissioned and purchased in 1970 this bed reached the national press, being the focus of an article in The Daily Mail, 24th February 1970. It was designed to give a couple a good nights sleep, with the quote from the Roy Harris that 'Sometimes a chap wants to sleep with his wife and sometimes a chap has a cold'.

1559

‡ 1560. A John Makepeace white birch table and four throne seating group, 1967, the throne benches with curved backs inset with coral red leather to the convex backs, the seat with padded cream Draylon velvet upholstery over low open shelves, each on casters, the circular laminate table on carpeted drum column, 150cm diam.(table), 139cm high, 130cm wide (thrones), (6) £1,000-2,000

Provenance Professor Roy Harris Oxford University Purchased from John Makepeace 16th November 1967.

Catalogue notes The table’s central drum support is constructed in two pieces enabling the table to be used at two heights.

The invoice (no.202) for the suite from John Makepeace and Ann Sutton, is dated November 16th 1967.

Literature Furniture by John Makepeace, Architectural Review, June 1968, page 6 this suite illustrated. The set was also illustrated in The Daily Telegraph magazine July 3rd 1970 page 36.

Modern Home, April 30th 1969, page 16.

1560

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1561

‡ 1561. A John Makepeace slate desk with nubuck leather cover, the elongated hexagonal top with two thin drawers, covered in a tan leather, on six laminate flaring conical legs covered in tan leather 209cm wide, 74cm high £800-1,200

Provenance Professor Roy Harris Oxford University

‡ 1562. A John Makepeace plywood triangular occasional table, painted with three graduated blue bands unsigned, 46cm high, 41cm wide. £150-200

1562

Provenance Professor Roy Harris Oxford University

1563. Sir Peter Blake OBE (born 1932) Babe Rainbow enamelled tin published by Dodo Designs 1968, printed inscription to reverse 66 x 44.5cm. £200-300 Provenance Professor Roy Harris Oxford University

1563

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‡ 1564.

A John Makepeace maple wood armchair, with laminate arm and back support, with textile back and seat pads, and a plywood chair, armchair stamped John Makepeace, 71cm. high, (2) £150-250

Provenance Professor Roy Harris Oxford University ‡ 1565. A George Ingham fumed oak armchair, with cane seat, and an en suite chair 80cm. high (2) £150-250

Provenance Professor Roy Harris Oxford University Purchased from the Prescote Gallery, Banbury.

1564

‡ 1566. A John Makepeace pine Collector's table, square section with central glazed cabinet, and a marble inset pine occasional table, rectangular section, the marble inlaid with a table lamp on flexible stem, unsigned, 81 x 58cm, and 72cm. square (2) £200-300

Provenance Professor Roy Harris Oxford University Purchased from Prescote Gallery, Banbury

1565

1566

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1567

‡ 1567. A Tom Woods Three Tier Sycamore lacquered occasional table, the circular top in three fan shaded lacquered panels, on central flaring stepped red lacquered column, incised Tom Woods, 91cm. diam., 51cm high £400-800

Provenance Professor Roy Harris Oxford University 1568. A John Makepeace burr walnut card tray, circular with two disc handles, the rim with ebony and stained wood laminate edge signed John Makepeace, 25.5cm. diam. £120-180

‡ 1569. Petter Byorn Southall (born 1960) a pair of fumed oak Batten low tables, designed by Petter Southall and made by Petter Southall and Tom March at his I Tre Furniture studio, 2010, sold with a photocopy of the original receipt of purchase, 43cm high, 38cm wide. (2) £400-600

1568 both sides

Provenance Purchased directly from the maker by the vendor, 2010.

Catalogue notes These Batten tables show Southall’s slatted construction, taking one shape and repeating it - creating a play of light and shadow on the surface of the piece. The pieces of wood are held tightly together using a copper boat rivets (gleaned from his training as a boat builder) which both provide a strength to the piece and also reduce the need for glue.

Southall records his first commission, after graduation from Hooke Park College, was from the sculptor Elisabeth Frink for a table and dining chairs in 1991.

1569

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METAL WARE 1570. An Arts and Crafts silvered metal casket with hinged cover, in the manner of A E Jones, rectangular section with riveted strap feet, the hinged cover set with ‘Ruskin Pottery’ ceramic roundel inside strapwork border, and a Liberty Tudric Pewter jardiniere with three scroll handles, model no.0357 the design attributed to Oliver Baker stamped marks to Liberty Pewter piece, 23cm wide (casket), 21cm. diam. (jardiniere), (2) £220-280

1570

1571

1571. An Arts and Crafts twin-handled copper log box and cover by John Pearson, dated 1905, cylindrical form on four strapwork copper feet, the body repousse hammered in low relief with fleur de lys, the flat cover with a frieze of four stylised swans swimming amongst rushes, punched JP 1905 to base, 41cm. diam, 38cm high, (2) £150-250

1572. An electroplated metal charger, the well decorated with a portrait of a young male classical figure with laurel wreath, the rim a frieze of fruiting foliage unsigned, 43.5cm. diam. £200-300

1573. A Hukin & Heath electroplated metal and glass claret jug in the manner of Dr Christopher Dresser, shouldered glass body with cylindrical collar neck, flat hinged cover and angled handle, stamped marks, 22cm. high £200-300

1572

1573 1574. A Hamburg American Clock Company oak mantel clock retailed by Liberty & Co, rectangular stepped base, the rectangular body with riveted patinated copper panels and circular dial with Arabic numerals, domed copper bell terminal, unsigned, 30cm. high £200-250

1575. An Arts and Crafts carved oak mantel clock, swollen rectangular form with over-hanging mantel, carved with stylised flower and foliage panel, circular enamel dial with Roman numerals, unmarked, 23cm. high £120-180

160

1574

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1576

1577

1576. A Benham & Froud Japoniste copper and brass card tray probably designed by Dr Christopher Dresser, circular with raised rim, the copper well decorated with a swallow flying past flowering foliage, highlighted in white metal, stamped Benham & Froud mark, 26.5cm. diam. £50-100 Literature Michael Whiteway Christopher Dresser a Design Revolution, V&A Publications, page 176 plate 237 for a comparable example decorated with a stylised peacock from The Birkenhead Collection.

1577. A rare Benham & Froud brass kettle designed by Dr Christopher Dresser, the elongated hexagonal body with hinged cover, with ebonised wooden finial, over-slung handle with scroll terminals, stamped Benham & Froud mark and number 4, 25cn, high £200-400 Literature British Art Pottery and Design, Woolley and Wallis Auctioneers, 14th December 2017 lot 649 for a comparable example Dresser, People’s Designer New Century Gallery, 2-19th June 1999, catalogue number M.072 for an example illustrated.

1578. A rare and large Reformed Gothic brass mantel clock designed by Bruce Talbert, probably manufactured by Cox & Co or Hart, Son, Peard & Co, the triangular section body with borders of pierced circular flowerhead panels set with moonstones, on four flaring feet, the pinnacle set with quartz stone flower finial, the circular dial with Roman numerals, 39cm. high £1,500-2,000

1578

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1579. An Arts and Crafts copper wall clock, stamped in low relief with foliate border, inscribed I Mark Time Dost Thou? the circular dial with pewter Arabic figures, the pendulum with circular mask panel, unsigned, 38cm. high £150-200

1580. A Gothic Revival black painted metal hall lantern, the slender circular section with scroll supports, the foliate section mantle with tapering conical terminal and hanging loop, with cylindrical vaseline glass shade unsigned, 49cm. high £200-300

1581. An Arts and Crafts ceiling pendant lantern, the brass frame with stamped foliate panels, clear and frosted glass shade unsigned, 26cm. high £150-200

1579

1582. A Glasgow School brass charger, stamped in low relief to the well with three rose flower unsigned, 42cm. diam. £120-180

1583. A set of three aluminium fire tools after a design by Charles Rennie Mackintosh, comprising tongs, poker and shovel unmarked, 33cm. long (3) £400-600

1580

162

1581

1582

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1585

1584

1584. A W.A.S Benson brass ceiling light, with flaring conical vaseline glass shades, frame stamped A Bastet Lyon, 26cm. long £300-500 Literature Arts and Crafts, Woolley and Wallis Auctioneer’s, 19th June 2019 lot 315 for a comparable pair illustrated.

1586

1585. An Art Nouveau three light brass ceiling light in the manner of W.A.S Benson, the three arms with foliate shade terminals, twisted wirework stem and foliate ceiling rose, unsigned, 28cm. wide, 27cm. drop £150-200

1586. A set of three Medieval Revival cast metal wall sconce, each twin branch, with pierced foliate back plate unsigned, 20cm. high, (3) £150-200

1587. A pair of Medieval Revival brass and patinated metal fire dogs, with pierced panels of flowers and foliage unsigned, 60cm. high, (2) £300-500 Literature Mary Comino Ernest Gimson and the Barnsleys, Evans, page 114 figure 78 for a pencil drawing by Ernest Gimson of a 17th Century firedog at Haddon Hall, comparable.

1587

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1589

1590

1588. An Arts and Crafts brass box with hinged cover, for coal or boots, brass over wood, with wrought iron handles and feet, the hinged, angled cover with patinated Art Nouveau straps, raised foliate design with central turquoise ceramic heart, hammered finish unsigned, 56cm. wide. £150-200

1588

1589. An Arts and Crafts repousse brass plate in the manner of John Pearson, hammered in low relief, with a frieze of leaping, scaly fish, patinated finish, unsigned, 29cm. diam. £150-250 1590. A Newlyn Industrial Classes copper tea caddy and cover, cylindrical form hammered in low relief with a galleon at sail, and a Newlyn Industrial Classes charger hammered to the rim with a frieze of fish unsigned, 13.5cm. high (caddy), 38cm. diam. (charger), (3) £150-250 1591. A large Newlyn Industrial Classes patinated copper tray, twin-handled elliptical form with pierced rail, hammered in relief with a border of fruiting foliage, stamped Newlyn, 58cm. wide. £120-180 1592. A Newlyn Industrial Classes copper tray, circular with galleried rail, hammered with a frieze of scaly fish, waterweed and shells, and a Newlyn Industrial Classes copper wall mounted letter holder, stamped marks, 32.5cm. diam. (2) £150-200

1591

Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 108 for a comparable letter holder.

1593. A Newlyn Industrial Classes patinated copper tea caddy and cover, elliptical form, hammered in low relief with a panel of cob nuts, a chamberstick hammered in low relief with two scaly fish and a small dish decorated with a crab stamped marks, 8cm. high, (4) £150-200 1594. A Newlyn Industrial Classes copper tray designed by J D Mackenzie, dated 1899, worked by P Hodder, rectangular, hammered in low relief with a border of fruiting foliage, on a hammered ground, with central FD monogram, and a Newlyn Industrial Classes copper tray decorated with a band of scaly fish, incised inscription to reverse, 59 x 42cm (largest), (2) £120-180

1592

164

1593

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1595

1596

1595. A Newlyn Industrial Classes patinated copper wall mirror, circular, hammered in low relief with a frieze of scaly fish swimming amongst waterweed, with bevelled circular mirror, unsigned, 38cm. wide. £250-300 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 102 for a comparable mirror.

1596. An Arts and Crafts patinated copper wall mirror, rectangular, stamped in relief with flowers and foliage, set with four Ruskin Pottery ceramic roundels, with bevelled rectangular mirror, paper label to reverse, 60 x 42cm. £500-1,000 Catalogue notes The paper label to the reverse states the mirror was presented by the Clarion Club members 60 Years ago as a wedding present - and is dated 16.1.67, implying a date of 1907.

1597

1597. A J & F Pool Hayle patinated copper wall mirror, rectangular, stamped in relief with scaly fish to each corner, stylised bell-flowers on a hammered ground, with bevelled mirror, unsigned remains of paper label for Morab Art Gallery, Penzance, 40 x 33.5cm. £150-200 Literature Colin Pill, Cornish Art Metalwork, Sansom & Company, page 34 for a detail of a comparable fish and the distinctive hammered background.

1598. A Newlyn Industrial Classes copper wall sconce, hammered in low relief with a fishing lugger at sail, with curved tray and circular sconce, stamped mark to base, 32cm. high £150-200 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 24 for a comparable sconce.

1598

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1599

1599. A set of fire tools designed by Charles Frances Annesley Voysey, probably manufactured by Thomas Elsley & Co, comprising a pair of tongs, poker and heart-shaped shovel, and a pair of en suite fire dogs, unsigned, 54cm. long (tongs), (5) ÂŁ1,000-1,500 Literature Karen Livingstone C.F.A Voysey Arts and Crafts Designer, V&A Books, page 260 plate 338 for comparable fire tools, and page 259 plates 331-334 for comparable fire dogs.

1600. An electroplated metal water jug and hinged cover designed by Charles Francis Annesley Voysey, swollen form with hinged domed cover set with green stone finial, applied scroll handle with woven cane insulation, simple strap-work bands with rivets and hammered finish unmarked, 25cm. high ÂŁ500-1,000 Literature Victoria and Albert Museum, catalogue number E2801913 for the original pen and ink design for the coffee pot from this set illustrated and dated 1906.

1600

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1602

1601

1601. An Arts and Crafts enamel of a maiden by Ada Hayes, dated 1904, painted in colours, framed incised AH and 1904, and painted AH in gold paint bottom right corner, 11.5 x 8.5cm. £300-500

1602. A pair of Birmingham Guild of Handicraft patinated copper vases and covers designed by Arthur Stansfield Dixon, shouldered baluster form with domed cover and ball finial, hammered finish, stamped B.G.H to base, 24cm. high, (4) £500-1,000 Literature Alan Crawford By Hammer and Hand, The Arts and Crafts Movement in Birmingham, 1984 Birmingham Museum & Art Gallery, page 99 for a teapot and cover, designed by A.S. Dixon, the cover of comparable form.

1603. A Birmingham Guild of Handicraft patinated metal lantern designed by Arthur Stansfield Dixon, four tapering, hammered legs with foliate feet and scroll terminals, supporting domed, hammered shade unsigned, 53.5cm. high £1,500-2,000

1603

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1604

1605

1606 1604. A Liberty & Co English Pewter crumb tray designed by Archibald Knox, model no.0532, cast in low relief with Art Nouveau scrolling foliage, a Liberty & Co pewter charger inset with abalone shell foliate panels and a WMF Art Nouveau figural inkwell, stamped marks, 24.5cm. diam. (3) £150-250 1605. A Liberty & Co pewter vase designed

by Archibald Knox, model no.0226, tapering bombe form with tripod foot, cast in low relief with scrolling stylised honesty, a Liberty pewter coupe base designed by Archibald Knox, a Liberty & Co And The Woodbine Spices are Wafted rose bowl and a chamberstick, unsigned, 18.5cm. high, (4) £150-250

1607

1606. A pair of Liberty & Co English Pewter candlesticks designed by Archibald Knox, model no. 0223, slightly domed base with tripod support, and bombe shaped sconce, and a Liberty & Co Tudric pewter card tray designed

by Archibald Knox, stamped marks, 22.5cm. high, (3) £350-450 Literature Stephen A Martin, Archibald Knox, ARTMEDIA PRESS, page 221 for a comparable example illustrated.

1607. A Liberty & Co Tudric Pewter milk-jug and sugar basin designed by Archibald Knox, model no.0231, cast in low relief with honesty on scrolling foliage, a Liberty & Co butter-dish model no.0162, and a Liberty pewter and enamel tea caddy spoon, stamped marks, 15cm. wide (4) £150-200

1608

1608. A Liberty & Co Tudric Pewter twinhandled vase, tapering cylindrical form, cast with a frieze of stylised trees, and titled For Old Times Sake, an Art Nouveau pewter flower vase and a Liberty & Co Tudric Pewter Tankard the design attributed to Archibald Knox, stamped marks, 20cm. high, (3) £120-180 1609. A Liberty & Co Tudric Pewter plate, model no. 0113, circular, the rim cast with simple foliate repeat with inlaid mother of pearl panel, stamped marks to base, 33cm. diam. £120-180

1609

168

1610

1610. A Liberty & Co Tudric Pewter vesta designed by Archibald Knox, model no.0701, triangular section, cast in low relief with berried Art Nouveau foliage, and a Liberty Tudric Pewter crumb tray, model no.0532, stamped marks, 25cm. wide (crumb tray), (2) £150-250 Provenance Private collection.

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1611

1611. A Liberty & Co copper wall mirror designed by Archibald Knox, rectangular form with arched panel stamped in low relief with a celtic knot motif, rivet borders on a hammered ground, on wooden frame unsigned, 62cm. high, 88cm wide. £1,000-1,500 Literature Stephen A Martin, Archibald Knox, ARTMEDIA PRESS, page 229 for a variation of this mirror made in brass and portrait format illustrated.

1612

1612. A Liberty & Co Tudric Pewter coupe with glass liner designed by Archibald Knox, model no.0276, tripod stand on circular base, cast and pierced with panels of stylised foliage, with green glass liner probably James Powell & Co, stamped marks, 13.5cm. high, (2) £700-1,000 Provenance Private collection.

1613. A Liberty & Co pewter tea and coffee set designed by Archibald Knox, model no.0231, cast in low relief with stylised foliage on Art Nouveau sinuous stems, comprising teapot with hinged cover, coffee pot and hinged cover, hot-water pot and hinged cover, milk-jug, sugar basin and slop basin, on a twin-handled tray various stamped marks, 22cm. high (coffee pot), (7) £600-1,000 Provenance Private collection.

1613

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1614. A Wiener Werstatte brass bottle top, hammered ovoid form, a polished bronze Art Nouveau bust of a maiden, an Art Nouveau marquetry glove box, an Art Nouveau paperknife, a silver bronze medallion mounted in green onyx paperweight base, and two patinated metal portrait plaques of Dante and Beatrice, unsigned, 4cm. high (bottle top), (6) £120-180 1615. An Art Nouveau Victor Sanglier silvered bronze table lamp, modelled as a maiden rising from large flower and foliage, a stem rising to support a vaseline glass shade stamped factory mark to top of base, 47cm. high £500-800

1614 part

1616. A pair of WMF Art Nouveau pewter and glass ewers, each with tapering green glass body, with pewter mount, handle and stopper cast in low relief with Art Nouveau maidens with long wavy hair, flower and berried foliage, and a WMK Art Nouveau pewter and glass biscuit barrel and cover, stamped marks to all three items, 38cm. high (ewer’s), (6) £400-600

1615

1617. An Art Nouveau WMF pewter and glass claret jug, cast and pierced in low relief with Art Nouveau maiden panels, with scrolling, long hair, to the base, the neck with flowers, hinged cover, with tapering cylindrical green glass body stamped marks, 41cm. high £350-550 1618. A WMF electroplated Secessionist dressing table mirror, stamped in low relief, on wooden back with easel support, bevelled glass mirror, stamped factory marks to base 38.5cm. high £200-300

1616

170

1618

1617

1619. A bronze pouring vessel cast from a model by Max Le Verrier, modelled as a griffin, an Ever Ready desk clock, and a Gorham silver-gilt cake slice with enamelled handle, stamped marks, 20cm. wide (3) £150-200

1619

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Îť 1620. A rare Liberty & Co Cymric silver three piece coffee set designed by Archibald Knox, comprising coffee pot and hinged cover, milk-jug and sugar basin, all cast in low relief with Celtic knot motif, the coffee pot with ivory handle, various stamped marks, coffee pot Birmingham 1908, milk-jug Birmingham 1912, sugar basin Birmingham 1903, 15cm. high, (3) ÂŁ4,000-6,000 Provenance Arts and Crafts including the collection of the late Barbara Morris, Woolley and Wallis Auctioneers, 23rd June 2010, lot 592 Private collection.

Literature Victor Arwas, British Art Nouveau from Mackintosh to Liberty, page 120 for a comparable set illustrated.

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SCULPTURE 1621. An Art Nouveau patinated metal vase cast from a model by Thomas Somme, slender form, cast in relief with flowers and foliage signed in the cast TH Somme, 46cm. high £120-180 1622. Felix Charpentier (1858-1924) Le Depart des Hirondelles, (The Departure of the Swallows) gilt bronze on white marble base with black and tan veins signed in the cast F Charpentier Sc, E Colin & Cie Paris foundry mark, 39cm. high £1,000-1,500 1623. Max Le Verrier (1891-1973) Dancer on Point a patinated bronze figure, on green veined polished marble base signed in the cast M Le Verrier 19cm. high £200-300

λ 1624. Affortunato Gori Woman Playing the Harp and Woman with Viola a pair of gilt patinated bronze and ivory figures, on red and white veined marble base signed in the cast A Gori 30.5cm. high (2) £1,000-2,000

1621

1622

172

1623

1624

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1625. Louis Richard Garbe (1876-1957) The Red Shawl, black and red lacquered Japanese Ash, unsigned 138cm. high ÂŁ8,000-12,000 Provenance Private collection.

Exhibited Royal Academy of Arts, London 1925, catalogue number 1336.

Sculpture in Britain Between the Wars Fine Art Society, 1986, catalogue number 38.

Carving in Britain from 1910 to Now, Fine Art Society, 2012-2013, catalogue number 7.

173

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1627

1626. Edward Onslow Ford (1852-1901) Bust of Sir William Quiller Orchardson, 1895 bronze on serpentine marble base signed in the cast Onslow Ford 1894, 64cm. high

£3,000-5,000

Provenance Sotheby’s London 20th November 1997, lot 121 Sotheby’s London 21st May 2014, lot 87.

1626

Exhibited Royal Academy of Arts, London 1895, catalogue number 1643 (for an example) Literature A Graves The Royal Academy Exhibitors, Volume III, page 137 catalogue number 1643.

1627. Alfred Stevens (1817-1875) Caryatids for the Boy Stove patinated bronze unsigned, 38cm. high, (2)

£1,500-2,000

Catalogue notes The pair of caryatids were part of a bronze, brass and steel fireplace designed by Steven’s and manufactured by Hoole & Co, known as the Boy stove - exhibited at the Great Exhibition 1851.

1628. Gilbert Bayes (1872-1953) Earl Haig on Horseback, bronze, designed in 1933, cast inscription to the base At The Going Down of the Sun & in the Morning, We Will Remember Them, signed FAS 1/8 58cm wide, 39cm. high £800-1,200 Provenance The Gilbert Bayes Charitable Trust number one of an edition of eight cast for the Fine Art Society in 2001.

Literature Louise Irvine and Paul Atterbury Gilbert Bayes: Sculptor 1872-1953, Richard Dennis Publications, page 159 for the two versions Bayes designed of Earl Haig (1861-1928) on horseback for the Haig Memorial.

1628

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1629. Sir Edgar Bertram Mackennal KCVO RAA (1863-1931) Salome a patinated bronze on polished slate waisted plinth titled in the cast 35.5cm. high, (including base) ÂŁ4,000-6,000 Provenance Charles & Lavinia Handley-Read, thence by descent.

Literature Deborah Edwards Bertram Mackennal, Art Gallery NSW, page 115 for an example illustrated. It is believed this model was exhibited at the Royal Academy in 1897.

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1630. A patinated bronze candlestick on marble base designed by Gustav Gurschner, reeded cylindrical stem with swollen bud form sconce, on octagonal, stepped red marble base inset with four small bronze panels, unsigned, 21cm. high £220-280

1631 1631. A cast bronze stamp tray designed

by Gustav Gurschner, rectangular section, cast in low relief with geometric Mon, inset with two copper roundels, inscribed Castle Make, signed in the cast G Gurschner, 9cm. wide. £300-350

1632. An Art Nouveau style vide poche cast from a model by Gustav Gurschner, cast as a maiden with long flowing hair forming the bowl, deep brown patina, unsigned, 20cm. wide £250-300

1630

1633. Emmanuel Villanis, after Slave Girl, a patinated bronze sculptural table lamp signed in the cast E Villanis 42cm. high £200-300

1634. August Gaul (1869-1921) Fressender Bar (Bear Eating) patinated bronze with ebonised wooden base signed in the bronze cast A Gaul 11cm. wide, (2) £600-1,000

1632

1633

176

1634

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1635

1635. Alexander Munro (1825-1871) Portrait Relief of Pauline, Lady Trevelyan (1816-1866) plaster with gilt border, framed in mahogany veneer frame, unsigned 48cm diam, roundel, 62cm diameter (frame). ÂŁ800-1,200 Provenance Raleigh Trevelyan (1923-2014) This relief is the original plaster model for the roundel bust of Pauline Trevelyan at Wallington, Northumberland.

Literature B Read and J Barnes Pre-Raphaelite Sculpture, Nature and Imagination in British Sculpture 1848-1914, exhibition catalogue Birmingham City Museum and Art Gallery, 1991 plate 62 and 64.

1636. An Art Nouveau white marble bust of a maiden, with long flowing hair, on square plinth, signed Rowenna and indistinct monogram, 27cm. high ÂŁ500-800

1636

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1637. Bruno Zach, after dancer patinated metal on polished black stone base cast foundry mark, 53cm. high

£200-300

‡ 1638. Romain de Tirtoff (Erte) (1892-1990) Prisoner of Love a limited edition patinated bronze erotic sculpture, cast by Joel Meisner foundry, 1980 signed in the cast Erte, foundry mark and numbered 208/250 38cm high, 32cm wide £2,800-3,200

1639. Bruno Zach, after Slave Girl dipped patinated metal signed in the cast B Zach, 67cm. high

£500-800

1637

1638

178

1639

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1641

1640

1642

1640. Hans Harders (1871-1950) Egyptian Maiden patinated bronze model of a crouching woman with feather wings, on polished black slate base signed in the cast Harders 32.5cm. high £300-500

λ 1641.Josef Lorenzl (1892-1950) Lady in Pantaloons a cold painted bronze and ivory figure, on veined green onyx base signed in the cast RLor to her foot 14cm. high £700-1,000 1642. Josef Lorenzl (1892-1950) Scarf Dancer silvered bronze on a green, veined onyx base, signed in the cast Lorenzl 27cm. high

£500-700

1643. Josef Lorenzl (1892-1950) Dancer cold painted bronze on green veined onyx base signed in the cast Lorenzl 20cm. high

£500-700

1643

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λ 1644. Ferdinand Preiss (1882-1943) The First Jewellery a cold painted bronze and ivory figure, on green onyx square base signed F Preiss to the base 14cm. high £700-1,000 Literature Alberto Shayo Ferdinand Preiss Art Deco Sculptor The Fire and the Flame, Antique Collector’s Club, page 131 for a comparable example illustrated.

1645. A pair of polished metal squirrels cast from a model by Hippolyte Moreau, with applied glass eyes, on veined black marble bases, signed H Moreau in the cast, 12cm. high £300-400

1646. A pair of Franjou patinated metal woodpecker bookends, cast from a model by Hippolyte Moreau, each modelled on a tree branch, with applied glass eyes, on veined, polished black slate bases signed in the cast Franjou, 16.5cm. high, (2) £200-300

1644

1645 1646

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1647. Ferdinand Preiss (1882-1943) Sonny Boy a large patinated bronze sculpture on black slate base etched F Preiss to base 29.5cm. high

ÂŁ2,000-2,500

Literature Alberto Shayo, Ferdinand Preiss Art Deco Sculptor, ACC, Page 130 for a comparable bronze and ivory version illustrated

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λ 1648. Ferdinand Preiss (1882-1943) Dreaming a carved ivory figure on flaring green onyx base, signed F Preiss in the base 12.5cm. high, 12cm wide

£6,000-7,000

Provenance Private collection, thence by descent Literature Alberto Shayo Ferdinand Preiss An Art Deco Sculptor, Antique Collector’s Club, page 93 for another example illustrated (model no.1132)

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

λ 1649. Ferdinand Preiss (1882-1943) Thoughts, an ivory figure, model no. 1131, on tapering green onyx base signed in the base F Preiss 12cm. wide

£4,000-6,000

Literature Alberto Shayo Ferdinand Preiss Art Deco Sculptor The Fire and the Flame, Antiques Collector’s Club, page 100 for comparable examples.

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1650. A Hagenauer brass pedestal bowl, the base pierced with a frieze of golfers playing a round, amongst stylised pine trees unsigned, 19.5cm. diam. £120-180 1651. A pair of Hagenauer wooden busts of horses, on rectangular brass bases, stamped marks to base, 35cm. wide. (2) £1,000-1,500 1652. A Hagenauer wooden bust of a horse, on square brass base plate with table lamp fittings, stamped marks to base, 31cm. high £600-800

1650

1653. A Henry Howell & Co YZ bird, mixed exotic wood, bamboo and red phenol formaldehyde resin, modelled as a stylised ostrich, on Macassar ebony base, and two other YZ birds stamped YZ mark, 29cm. high, (3) £300-500 Literature This model was illustrated in an advertisment for Henry Howell & Co Ltd published in The Fancy Goods Trader February 1932.

1651

1652

184

1653

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1654

1654. A French Art Deco onyx and bronze mantel clock, rectangular section on bronze bud feet, the onyx panelled body set with three stylised foliate panels, square section face with Arabic numerals, the dial signed Plantard Paris, 43.5cm. wide. £150-200 1655. A pair of Puiforcat electroplated Ruban candlesticks, each of scroll form section, with two cylindrical candle sconces, stamped marks, 24cm. wide, (2) £600-800 1656. A bronze and glass candlestick designed by Jacques Adnet, cruciform, square section branches on spherical stem and circular bronze base, unsigned, 22cm. wide £500-700

1655

1657. A polished steel Dice paperweight designed by Edgar Brandt, with painted red numbers unsigned, 9.5cm. high £150-200

1656

1657

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1658

1659

1660 1658. A Waechtersback pottery box with chrome metal cover, in the manner of Peter Behrens, rectangular section cream box with flat hammered metal cover with orange ball finial, printed factory mark to base, 26cm. wide (2) £200-300

1659. A pair of Decorative Glass Company Stourbridge glass caddies, reverse decorated with a mythical flying dragon on red ground, with metal rim and cover, factory mark to base, 19cm. high, (4) £150-200

1660. An Art Deco patinated metal table up light, on stepped square section brass base, three square glass panels, and flaring inverted bell shape shade, unsigned. 37cm. high £120-180

1661. A modernist Emor chrome radio ball on stand, regd no.845502, 106cm. high £600-800

1661

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1662. A rare American Modernistic Middletown Silver Company silver-plated nickel three piece coffee set designed by Elwood North Cornell, comprising coffee pot and hinged-cover, sugar basin and cover and milk-jug, faceted triangular sides, stamped factory marks to base, 22cm. high, (4) £3,000-5,000 Literature Jewellers’ Circular May 19th 1928 page 10 for a full page advertisement by the Middleton Silver Company for the Modernistic pattern coffee service. The patent for this design (US no.80527) was applied for on the 24th January 1928 and awarded January 7th 1930.

Jewel Stern Modernism in American Silver: 20th Century Design, New Haven page 28-30 for a comparable cubistic Lights and Shadows of Manhattan coffee service designed by Erik Magnussen.

20th Century Design Sotheby’s New York 18th December 2013 lot 138 for an identical three piece set on a tray, believed to be the only other example of this set.

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1663

1664

1663. A set of twelve electroplated metal knife rests the design attributed to Benjamin Rabier, each modelled as a stylised bird or animal, in original card box unmarked, 8.5cm. wide. (12) £180-220

1665

1664. A pair of patinated metal twinbranch wall lights, each with frosted glass bell shades, unsigned, 25cm. wide, (2) £120-180

1665. A Bramah stainless steel four piece tea set designed by Eric Clements, with black plastic handles and finials, comprising teapot and hinged cover, milk—jug and sugar basin, hot-water pot and hinged cover, and an Art Deco electroplated four piece tea set with bakelite handles, stamped marks and some original paper labels, 12cm. high (tea pot), (9) £150-200

1666. A Dansk teak ice bucket and cover designed by Jens Quistgaard, tall, slender, flaring form with over-slung handle, internally coral red, printed mark, 49cm. high £80-120 Literature Charlotte & Peter Fiell, Scandinavian Design, Taschen, page 29 for an example illustrated.

1666

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1667. Three Philips Infraphil enamelled metal table lamps designed by Charlotte Perriand, the cream flaring cone with red carry handle base, on chrome stand, and another Philips table lamp similar applied Philips labels, 24cm. high, (4) £200-300 1668. A Philips Infraphil enamelled metal table lamp designed by Charlotte Perriand, designed 1952, the cone lamp set red metal circular frame on shallow domed foot, another the same in tan and polished metal and another Lolilux lamp applied Philips label and stencilled model mark to main item, 24cm. high, (3) £200-300

1667

1669. Five Anvia enamelled metal wall lights designed by J J M Hoogervorst, triangular section, the angled articulated shade with pierced edges providing up or down cast light, applied labels, 20.5cm. wide (5) £150-200

1668

Catalogue notes Designed in the 1950s these wall lights are comparable to the CP1 range designed by Charlotte Perriand.

1670. A Vrieland Holland enamelled metal table lamp, circular disk base with angled column and domed shade, white enamelled metal with black fittings, another Alda table lamp similar and a desk lamp with articulated chrome stem, main has paper label to inside of shade, 39cm. high, (3) £150-200

1669 1671. A Kartell Bookworm shelf system designed by Ron Aran, model no, 8003 C4, in original box, blue plastic box with printed makers details, 3.2 meters long £200-300 Literature Ron Arad No Discipline Moma, page 62-32 for the bookworm and original designs for the bookworm system.

1670

1672. A pair of C & C Holmgren cast iron candle holders, circular form, a C & C Holmgren Pumpkin candle holder, a Liberty pewter tray and an Art Nouveau bronze paperknife by Bertin, cast marks, 8cm. high (candle holders), (6) £120-180

1671

1672

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1673

1674

1675 1673. A Smith and Ewen silver and enamel necklace, shield shape, cast in low relief with Art Nouveau foliage, enamelled blue, with simple enamel drop, stamped marks, Birmingham 1909, 4cm. long £150-200

1676

1674. A William Hair Haseler silver and enamel Tudor Rose pendant necklace, enamelled in blue, green and red, stamped marks WHH silver, 2cm. long £150-200 1675. An Arts and Crafts silver pendant necklace, cast in low relief in the form of a berried leaf, set with turquoise, on link chain, unsigned, 4.5cm. long £120-180 1676. A Murrle Bennett & Co silver and enamel brooch, oval section, cast in low relief with flowers, enamelled blue, green and yellow, set with central mother of pearl, stamped marks MB&Co, 950, 2.5cm. wide £150-200 1677. A Scottish silver cloak clasp, pierced and cast with a trellis design with entwined fruiting grape vine and five garnet cabochon, unsigned 9.5cm. wide, (2) £150-200

1677

1678. A Liberty silver and moonstone bar brooch, the elliptical panel cast with foliate motif, enamelled green, central moonstone, and two Charles Horner silver brooches, stamped Liberty Sterling, 6.5cm. wide, (3) £150-200 1679. A Charles Horner silver and enamel Scarab brooch, the Egyptian inspired brooch modelled as a winged scarab, enamelled in shades of green, blue and red stamped marks CH Chester 1905, 4.5cm. wide £120-180

1678

190

1679

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1680. A Ditchling Christ the King bronze pendant designed and made by Dunstan Pruden, cruciform, cast to one side with Christ in Majesty, the reverse inscribed Chichester Readers, unsigned, 6.5cm. long £200-300 Catalogue notes This piece has been verified by Anton Pruden.

1681. An Art Nouveau Murrle Bennett & Co gold pendant, the pierced and cast shield shape frame set with green stone cabochon, and small seed pearl, stamped marks, 3.3cm. long £200-300

1680

1682. An Art Nouveau Charles Horner silver and enamel brooch, pierced and cast with entwined stylised foliage, enamelled green and blue stamped marks, Chester 1908, 3cm. wide £150-200

1683. A Murrle Bennett & Co 9ct gold bar brooch, cast with simple Art Nouveau flower, enamelled in blue and green and set with mother of pearl, stamped marks, 9ct MB&Co, 4.5cm. wide £150-200

1681

1682

1683

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1684. An American silver and enamel Butterfly brooch, naturalistically modelled and enamelled blue, with articulated foliate panels, stamped silver, 4cm wide (butterfly) £120-180 1685. A Hart and Son Gothic Revival silvered bronze door handle and associated lock plate, the plate cast as four radiating leaves, with rope-twist loop and articulated lyre handle, stamped Hart & Son 12cm. high, (2) £100-150 1686. Three Keswick School of Industrial Arts silver Roman spoons, stamped Keswick KSIA Chester 1929, 11cm. long, 1ozt, (3) £200-300

1684

1685

1686

1687. A collection of Viner’s Sable stainless steel cutlery designed by Gerald Benney, comprising; five forks and three knives, four fish knives, four spoons, four soup spoons and two serving spoons and a boxed set of salad servers, and a collection of cutlery including six Viner’s Chelsea Steel boxed butter knives, Viner’s Studio designed

by Gerald Benney, Gense and Rosenthal cutlery stamped marks, 21.3cm long, (servers), (118) £150-200 1688. A Spratling Mexican silver cake slice, two ladles with ebony handles and ten coffee spoons stamped marks, 26cm. long, (13) £120-180 1689. Three H G Murphy Falcon Works silver spoons, circular bowl the tapering handle with three chevron bands, and five en suite silver spoons by George T Friend, stamped marks, HGM Falcon mark, London 1933, and GTF London 1944, 15cm. long, 8.2ozt, (8), £300-500

1687

1688

192

Catalogue notes George Taylor Friend (1882-1969) was the most accomplished engraver of the day, along with running his own studio, he also taught at the Central School of Arts and Crafts until 1900. He worked on pieces in conjunction with H,G. Murphy, such as The Sea Beaker now in the Victoria & Albert collection.

1689

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1690. A large Ramsden and Carr silver tray by Omar Ramsden and Alwyn Carr, oval section mahogany base with hammered silver rail rim, internally decorated with rope border, with Art Nouveau reeded loop handles, stamped marks, RN& CR London 1912, 67cm. wide ÂŁ3,000-5,000

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1691. An Albert Carter silver and enamel easel-back desk clock, the shaped panel with engine turned foliate decoration, enamelled silver, circular dial with Arabic numerals stamped marks, AC Birmingham 1928, 10cm. wide £200-300

1691

1692

1692. An Art Deco chrome travelling clock in fitted case retailed by Harrods, rectangular form with Swiss eight day movement, the dial with Arabic numerals, case stamped Harrods London, clock unmarked, 8.5cm. high, 7.5cm. wide £150-200

1693. A Mont Blanc Meisterstuck fountain pen, model no 140, black plastic with 14c gold nib, 14.5cm. long £120-180

1693

1694

1694. A Mont Blanc Meisterstuck Pix ball pen, a Sheaffer Targa green marbled lacquer fountain pen in original presentation case, and a Waterman fountain pen, stamped marks, (3) £100-150

1695. A Parker 61 Presidential 18ct gold fountain pen and ball pen, fine engine turned decoration, each in original fitted cases with card protector case, stamped marks, PP 750 London 1975 (fountain pen) 1974 (ball pen), 13.4cm. long, (2) £1,000-2,000

1695

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1696. A Dunhill Aquarium table lighter designed by Margaret Bennett, the perspex panels reverse painted with an exotic fish on one side, the other with two zebra fish, cast marks, 9.5cm. wide. £1,000-1,500 Provenance From the collection of Sir Framjee Dinshaw Maneckji Petit, 3rd Baronet (1901-1983) and Lady Sylla Dinshaw Petit (nee Tata).

1696 both sides

1697. A Dunhill Aquarium table lighter designed by Margaret Bennett, the perspex panels reverse painted with two exotic fish above a stone cave on one side, the other with a single fish swimming, cast marks, 9.5cm. wide. £2,000-3,000 Provenance Lady Docker Clarice Cliff, Art Deco & Design, Woolley and Wallis Auctioneer’s, 20th April 2016, lot 1552.

1697 both sides

GEORG JENSEN

1698. A Georg Jensen silver table lighter, model no. 366D, stamped marks, 8cm. wide. £120-150

1698

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1700 1699

1699. A Georg Jensen 18ct gold Torun ladies dress watch designed by Vivianna Torun, model no.2226, streamlined form, in original travel case, stamped marks, 6cm. wide (bracelet), 3.2cm. diam. (face). £400-600 1700. A Georg Jensen silver caddy spoon, with simple reeded decoration to the stem terminal, stamped marks, import marks, London 1928, 11cm. long £120-180

1701 1702

1701. A set of four Georg Jensen silver bowl designed by Gundorph Albertus, model no.355, circular bowls on shallow foot, with applied shell handles, stamped marks, 11.5cm. wide, 4.2ozt, (4) £150-200 1702. A Georg Jensen Acorn pattern presentation set designed by Johan Rohde, comprising sugar shovel, butter knife and cold-cut fork, in presentation box, stamped marks, (3) £150-250

1703

1703. A pair of Georg Jensen silver candlesticks designed by Harald Nielsen, model no.897, shallow circular foot with reeded sconce, stamped marks, 6.5cm. diam. 2.5ozt., (2) £150-200 1704. A Georg Jensen silver bowl, model no.158A, circular form, the shallow foot with cast leaf border, applied tendril handles, stamped marks, 16cm. wide. 6.4ozt. £250-350

1704

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1705

1706

1707

1708

1709

1705. A Georg Jensen silver Grapes letter opener designed by Jorgen Jensen, model no.225, stamped marks, .4ozt £150-200 1706. A Georg Jensen Pyramid caddy spoon designed by Harald Nielsen, a Georg Jensen Acorn pattern tea strainer and another caddy spoon, stamped marks, 9.5cm. long, 3.0zt, (3) £150-200 1707. A Georg Jensen silver Acorn sauce ladle designed by Johan Rohde, and two other Georg Jensen sauce ladles, stamped marks, 14cm. long, 2.ozt, (3) £150-250 1708. A Georg Jensen silver Cactus serving spoon designed by Gundolph Albertus, three other Cactus spoons and a fork, stamped marks, 16.5cm. long, 5.4ozt, (5) £150-200 1709. A Georg Jensen silver Pyramid serving spoon designed by Harald Nielsen, two various sauce ladles, a caddy spoon and a knife stamped marks, 13.5cm. long, 6.1ozt, (5) £150-200 1710. A Georg Jensen silver Cactus pair of grape scissors, and a Georg Jensen silver paperknife model no.126, stamped marks, 3.2ozt, (2) £150-250 1711. A Georg Jensen silver Fuchsia egg server, and two Georg Jensen Fuchsia spoons, stamped marks, 17cm. long, 4ozt, (3) £150-200

1710

1711

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1712. A Georg Jensen silver cruet set designed by Harald Nielsen, comprising salt and pepper pots on four ball feet, two small salts with spoons, a Cactus salt, a small knife and a pickle fork, stamped marks, 4.5cm. high (cruet pots), 3.2ozt, (9) £150-200

1713. A pair of Georg Jensen silver Cactus sugar tongs designed by Gundolph Albertus, and two other Georg Jensen sugar tongs stamped marks, 10cm. long, 2.2ozt, (3) £150-200

1712

1713 1714. Three Georg Jensen silver Acorn sauce ladles designed by Johan Rohde, stamped marks, 3.3ozt, (3) £150-200

1715. A large Georg Jensen Blossom serving spoon designed by Georg Jensen, a Blossom knife and a Georg Jensen preserve spoon, stamped marks, 19.5cm. long, 4.1ozt, (3) £150-200

1714

1715

1716. A set of six Georg Jensen silver Pyramid teaspoons designed by Harald Nielsen, and five Georg Jensen Akkeleje silver teaspoons, stamped marks, 9cm. long, 4.4.ozt, (11) £150-200

1717. A Georg Jensen silver Ornamental preserve spoon, model no.41, a Georg Jensen pickle fork, a Beaded butter-knife and a Georg Jensen silver spoon stamped marks, 13.5cm long, 4.2 ozt, (4) £150-200

1716

1717 1718. A Georg Jensen silver Rope sauce ladle designed by Georg Jensen, another Georg Jensen ladle and two spoons, stamped marks, 12.5cm. long, 3.2ozt, (4) £150-200

1719. A pair of Georg Jensen silver Scroll pattern salad servers designed by Johan Rohde, and an en suite cake slice, stamped marks, 23cm. long, (3), 11.4ozt. £150-200

198

1718

1719

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1720 1721

1720. A Georg Jensen silver heart-shaped brooch designed by Vilhelm Albertus, model no.296, cast and pierced with an anchor and cross design for faith, hope and charity, a Georg Jensen silver ring model 11A designed by Georg Jensen, and two Georg Jensen silver and enamel brooches stamped marks, 2.5cm. long (brooch), (4) £120-180 1721. A Georg Jensen silver flowerhead brooch designed by Georg Jensen, model no. 113, cast as a stylised flower head, and a mixed metal bar brooch cast with bell flowers, model 8018, stamped factory marks, 4cm. diam. (2) £120-180

1722

1722. A Georg Jensen patinated iron and silver brooch designed by Arno Malinowski, model no 5001B, square section pierced with sun motif and inlaid with ear of corn motif, and a Georg Jensen silver bookmark, model no.60 stamped marks, 4cm. square, (2) £120-180 1723. A Georg Jensen silver brooch designed by Arno Malinowski, model no.283, circular, pierced and cast with two butterflies perched on a flowering bough, stamped marks, 5cm. diam. £150-200

1723

1724. A Georg Jensen silver brooch designed by Arno Malinowski, model no.

251, pierced and cast with two Dolphins and a scrolling foliage frond, in rectangular frame, stamped marks, 3.5cm. wide. £200-300 1725. A Georg Jensen silver brooch, model no.238, oval frame, pierced and cast with an exotic bird of paradise flying past stylised flower, stamped marks, 4cm. wide £180-220

1724

1725

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1726. A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no. 93, square section frame, pierced and cast with two birds and a central ear of corn, stamped marks, 5cm. long £150-200

1726

1727

1727. A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no.97, heart-shaped, pierced and cast with a bird flying amongst foliage fronds, stamped marks, 3.5cm. long £150-200

1728. A Georg Jensen silver bird brooch designed by Arno Malinowski, model no,239, heart-shaped, pierced and cast with a bird flying past foliage, stamped marks, 3.5cm. long £150-250

1728

1729

1729. A Georg Jensen silver brooch designed by Arno Malinowski, model no.276, square section, pierced and cast with a cockerel, stamped marks, 4cm. square £150-250

1730. A Georg Jensen silver brooch designed by Arno Malinowski, model no.

257, triangular frame, pierced and cast with a Dolphin swimming down past bull rushes, stamped marks, 4.5cm. wide £150-200

1730

200

1731

1731. A Georg Jensen silver brooch designed by Arno Malinowski, model no.

251, rectangular form, pierced and cast with two leaping dolphins, stamped marks, 3.5cm. long £150-250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1732. A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no.96, rounded, rectangular frame, pierced and cast with a deer lying down beside stylised flowers stamped marks, 4cm. wide £150-200

1733. A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no. 105, circular form pierced and cast with two butterflies, stamped marks, 5cm. diam. £150-250

1732

1733

1734

1735

1736

1737

1734. A Georg Jensen silver brooch designed by Arno Malinowski, model no.239, heart-shaped, pierced and cast with a bird flying amidst foliage fronds, stamped marks, 3.5cm. long £150-200

1735. A Georg Jensen silver necklace, model no.97, heart-shaped, pierced and cast in relief with a bird flying past foliage fronds, stamped marks, 4cm. long £150-200

1736. A Georg Jensen silver brooch designed by Hugo Liisberg, model no.300, rectangular, pierced and cast with a duck flying past bull rushes, stamped marks, 4.5cm. long £150-250

1737. A Georg Jensen silver brooch designed by Arno Malinowski, model no.276, square section, pierced and cast with a cockerel, stamped marks, 4cm. square £150-250

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1738. A Georg Jensen silver link necklace, model no.826S, cast with flowerhead panels, the links set with green chrysoprase, stamped marks, 44.5cm. long £600-900

1739. A Georg Jensen silver bracelet, model no. 5, each link cast with foliate design, the clasp set with amethyst cabochon, stamped marks, 16cm. long £200-400

1740. A Georg Jensen silver necklace, model no.15B, modelled as flowerhead repeat links, each set with green chrysoprase, the clasp with large green chrysoprase stone, stamped marks, 42cm. wide £300-500

1738

1741. A Georg Jensen silver link bracelet designed by Kristian Mohl-Hansen, model no.14, cast with alternating panels of a bird perched amongst foliage and foliage panels set with moonstone cabochon, stamped marks, 19cm. long £300-400

1739

1740

202

1741

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1742. A Georg Jensen silver pendant, model no.231, cast in low relief with double flower with two pendulous drops each set with stones, stamped marks, 7cm. long £300-400

1742

1743. An impressive Georg Jensen silver brooch designed by Gudmund Hentze, model no.98, pierced and cast with foliage panels, set with four green chrysoprase cabochon, with three silver foliate drops set with three amber cabochon, stamped marks, 8.5cm. long £700-1,000

1743

1744. A Georg Jensen silver brooch designed by Georg Jensen, model no.236, pierced and cast in relief with two flowerheads inside scroll tendril border, set with two green chrysoprase and central amber stone, stamped marks, 4cm. diam. £200-300

1744

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1745. A Georg Jensen silver and labradorite brooch designed by Georg Jensen, model no.236, pierced and cast with two bell flowers, set with a central and two smaller labradorite stones, stamped marks, 4cm. wide ÂŁ250-300

1745

1746. A Georg Jensen silver and labradorite bracelet, model no.

16, alternate flowerhead and scroll links, each set with blue labradorite stone, stamped marks, 18cm. long ÂŁ300-500

1746

1747. A Georg Jensen silver necklace, model no. 270, each linked modelled a stylised seed pod, stamped marks, 45cm. long ÂŁ300-400

1747

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1748. A Georg Jensen silver link bracelet designed by Nanna Ditzel, model no.106, cast elliptical panels, stamped marks, 21cm. long, ÂŁ200-300

1748

1749. A Georg Jensen silver necklace designed by Astrid Fog, model no.122, simple streamlined teardrop form, on rod necklace, stamped marks, 5cm. long ÂŁ300-500

1749

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MODERN SILVER

λ 1750. A pair of Stuart Devlin silver gilt and rosewood wine coasters, circular section, cast with pierced border set with ball terminals, stamped marks, SD London 1978, 13.5cm. diam. (2) £800-1,200 Provenance Sotheby’s 9th February 1984 lot 20 Catalogue notes These coasters are sold with the cites certificate no. 585075/01

206

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1751. A Stuart Devlin silver gilt champagne flute, model no.500, flaring conical body with textured gilt stem and flaring foot, the bowl with engraved eagle crest, stamped marks, London 1981, , 22.5cm. high, (6.7 ozt) £150-250

1752. A set of six Stuart Devlin silver-gilt textured liqueur goblets, tapering cylindrical bowl on gilded textured stem and flaring, circular foot, stamped marks, SD London, 1982, 11.8cm. high, (6) £250-350

1753. A set of six Stuart Devlin silver gilt menu holders, semicircular section base supporting similar semi-circular filigree panel, stamped marks, SD London 1979, 4cm. wide (6) £250-350 Literature Stuart Devlin Designer Goldsmith Silversmith, ACC Books, page 22 for some comparable napkin rings.

1751

1752

1753

207

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1754

1755

1754. A Guild of Handicraft silver bud vase, planished, flaring cylindrical body on low domed foot, stamped marks GofH London 1978, 9cm. high, 2.5ozt £150-200

1755. A William H Haseler silver napkin ring, engraved with foliate border, an Irish napkin ring cast in low relief with celtic knot panels, and five other silver napkin rings by various markers, stamped marks, WHH Birmingham 1925, 4.5cm. diam. 6ozt, (7) £150-200

1756

1756. A set of six Iona silver coffee spoons by Iain MacCormick, in original case, each cast with St Martin’s cross handle, and dragon bowl, and another set of Iona style cased tea spoons, stamped marks 9.5cm. long, (12) £150-200

1757. An R.E. Stone silver tazza, shallow foot with cast foliate stem and flaring bowl with shaped rim, stamped marks, R E Stone London 1950, 13.5cm. diam, 8ozt £400-600

1757

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1759

1758

1758. An early Wakeley and Wheeler silver quaich and cover by Alex Styles, on shallow reeded foot, flaring bowl with fluted handles, the cover with engraved foliate motif and reeded finial, stamped marks, AG Styles facsimile signature, London 1952, 17.5cm. wide, 13ozt, (2) £600-900

1759. A Georg Jensen silver paperknife designed by Sigvard Bernadotte, with cylindrical textured handle, stamped marks, 30cm. long, 4.9ozt £200-300

1760

1760. A Georg Jensen silver and glass letter knife designed by Allan Scharff, model no.485, streamlined blade with cast glass bird handle, and a small Hans Hansen letter knife ring, stamped marks, 20cm. long, 2.2ozt, (3) £200-300

1761. An Aurum limited edition Fitzwilliam cup designed by Jocelyn Burton and made by Hector Miller, tapering hexagonal bowl, knopped textured stem set with five topaz cabochon, in fitted presentation box, with leaflet, stamped marks, 73/150, London 1975, 23cm. high, 13 ozt £300-400

1761

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1762. A Leslie Durbin silver rose bowl and cover, low footed form bowl with silver-gilt interior, the cover with hand wrought scrolling wirework foliage rising up to form a stem finial with young child, stamped marks, LCD London 1954, 12.5cm. high, 18cm. diam, 23ozt ,(2) ÂŁ1,000-2,000

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1763

1764

1763. A pair of Michael Driver silver candlesticks, pierced, geometric form, stamped marks JMD London 1973, 6cm. wide, 5.5ozt, (2) £150-200

1764. A pair of Brian Asquith silver candlesticks, footed, cylindrical form with flaring sconce, the drum body cast in low relief with geometric pattern, stamped marks, BA Sheffield 1973 13cm. high, 23.8ozt, (2) £700-900

1765

1765. A Graham Watling silver cup, drum foot supporting textured bowl with hammered interior, stamped marks, GW London 1977, 6.5cm. high, 5.7ozt £150-200

1766. A Graham Watling silver cup, on pierced cast textured foot, a simple bowl, stamped marks GW London 1976, 7.5cm. high, 5ozt £150-200

1766

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1767. A Graham Watling silver Bubble candlestick, chased and pierced tapering cylindrical stem, with drum sconce, stamped marks, GW London 1975, 15.5cm. high, 9ozt £200-300

1768. A Graham Watling silver candlestick, tapering, textured stem with drum sconce, stamped marks, GW London 1980, 15.5cm. high, 5.2ozt £200-300

1767

1769. A pair of Gerald Benney silver-gilt grape scissors, with textured handles, stamped marks, AGD, London 1972, 15cm. long, 3ozt £400-600

1770. A pair of Stuart Devlin silver whisky tots, on cast silver-gilt caryatic bases, the silver bowls with gilt interior, stamped marks, London 1977, 6cm. high, 3.4ozt, (2) £400-500

1768

1769

1770

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1771

1772

1771. A pair of Stuart Devlin silver tapersticks, slender silver-gilt textured stem with flaring conical sconce, on shallow domed foot, and a Stuart Devlin silver candle snuffer stamped marks, SD London 1972, 23.5cm. high, 10.5ozt, (3) £800-1200

1772. A Stuart Devlin silver bell, flaring form, the tapering gilt handle cast and pierced with geometric textured design stamped marks, SD London 1967, 19cm. high, 7.3ozt £500-800

1773 1773. A pair of Gerald Benney silver beakers, tapering form with textured bark band to the exterior, stamped marks, London 1975, 7cm. high, 9.3ozt, (2) £500-800

1774. A pair of Gerald Benney silver-gilt beakers, tapering form with textured bark band to the exterior, silver-gilt interior, stamped marks, London 1975, 7cm, high, 9.1ozt, (2) £800-1,200

END OF SALE

1774

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BRITISH ART POTTERY Wednesday 27th November 2019 Closing date for entries 2nd October

John Ward (born 1938) Three hand-built stoneware vases Estimates £700 - 1,000*, £1,500 - 2,000* and £2,000 - 3,000*

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

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FINE SILVER & OBJECTS OF VERTU Tuesday 29th October 2019

By David Wynne, a limited edition silver sculpture 'The Leaping Salmon', London 1980 Estimate £3,000 - 4,000* ENQUIRIES Rupert Slingsby | Tel: +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | Tel: +44 (0) 1722 424594 | lc@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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

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

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

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

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

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

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

The colours printed in the catalogue are not necessarily true.

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

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

Alban Shipping

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

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

Pack & Send

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

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For further information, please contact Ned Cowell.

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

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

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

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

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

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

4. The purchase price.

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

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

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

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

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

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

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

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

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

Please enquire in advance about our arrangements for telephone bidding.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is

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unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

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

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

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

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

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications.

However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available

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Valuations

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CASTLE RD A345

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

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

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

Design & Production

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

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ABSENTEE BID FORM

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

DESIGN

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 16th October 2019 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed Billing Name (please print) Address

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

Signature

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

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Auction cAlendAr october 2nd 15th 16th 29th 30th

Furniture, Works of Art & clocks english & european ceramics & Glass design Fine Silver & objects of Vertu Fine Jewellery

noVember 12th & 13th 20th 27th

Asian Art, chinese Paintings & Japanese Works of Art medals & coins, Arms & Armour british Art Pottery

december 11th

modern british & 20th century Art

JAnuArY 8th 21st & 22nd 23rd

Furniture, Works of Art & clocks Silver & objects of Vertu Jewellery

FebruArY 4th & 5th 19th

the Judith Howard collection of Sèvres Porcelain tribal Art & Antiquities

mArcH 4th 18th

old masters, british & european Paintings clarice cliff, Art deco & design

dates may be subject to change

FREE VALUATION MORNINGS First Friday of the month 10am-1pm.

No appointment necessary.

NEXT VALUATION DATES 4th October, 1st November & 6th December (No valuation day in January)

www.woolleyandwallis.co.uk