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

Design


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

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 329477

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

424509 424598

ARMS & ARMOUR, MEDALS & COINS AND MILITARIA Ned Cowell Gemma Bush

341469 341469

MARKETING Lyndsey Harvey Tamzin Corbett

424590 424590

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Alex Aguilar Doméracki Freya Yuan-Richards Marta Olszewska

424506 424506 424583 424589 424591

ACCOUNTS Janice Clift (Office Manager)

424500

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Hollie Grubb SALEROOM MANAGER David Jordan

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

411854 339161 411854

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

424595 424504 424586

PAINTINGS Victor Fauvelle Jo Butler

424503 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Gemma Bush

339752 339752

424500

BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director COMPANY SECRETARY Natalie Milsted FCCA ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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424500

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

FRICS FRSA

424599


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DESIGN

Tuesday 17th October 2017 at 10.30am VIEWING TIMES Saturday 14th October Monday 16th October Tuesday 17th October

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

ENQUIRIES

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

COLLECTION OF LOTS

Zoe Smith 01722 424505 zs@woolleyandwallis.co.uk

Please note that all lots will be cleared from our Castle Street Saleroom on Thursday 19th October. Furniture will be removed to our Old Sarum warehouse for collection, with all remainder lots cleared to our Salt Lane office. Lots will be available for collection from Friday 20th October. Please contact the department to arrange collection in advance. Our Old Sarum Warehouse address details and map are at the back of this catalogue. All accounts to be settled prior to collection. ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a ‡ symbol which sell for more than 1000 are subject to the levy, payable by the bidder. Please refer to page 123 for full details. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 26.4% inc. VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Monday 16th October. LIVE BIDDING

ILLUSTRATIONS Front cover: Lots 189 Front end pages: Lot 221, 220, 190 & 217 Back cover: Lot 312 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Monday 16th October. Please note there is a 3% +VAT surcharge for using this service.


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GLASS

1. An Aesthetic Movement stained glass roundel, painted with a male figure resting in contemplative pose before two doves a sunflower and a rising sun, unsigned, 22.5cm. diam. £120-180

2. An Aesthetic Movement stained glass window, rectangular, central roundel painted with a bird amidst foliage, inside coloured geometric borders, in later wooden frame, unsigned, 62 x 51.5cm. £120-180

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3. A Stevens & Williams Brierley blue overlay glass dessert set, clear glass overlaid with blue decorated with radiating panels of dragonflies amidst flowers and foliage, comprising; eight wine glasses, four large serving bowls, one tazza, eleven plates, four dessert bowls and one small pedestal bowl, unsigned, 23.5cm. diam. (29) £150-250

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Provenance purchased in 1934, by repute Roger Dodsworth British Glass Between the Wars, Dudley Leisure Services, page 48 catalogue number 338 for a comparable wine glass.

4. A tall blue overlay decanter and stopper, lime green glass cased in blue, decorated with panels of fruiting foliage, unsigned, minor nicks to top rim, 46cm. high (2) £120-150

5. A pair of James Powell & Sons Whitefriars Flint champagne flutes probably designed by Harry Powell, shallow foot supporting fluted, flaring cylindrical form with knop disc, unsigned, £120-180 20.5cm. high, (2) Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis, page 100 plate 18 for a comparable example attributed to Harry Powell.

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6. A Jobling Lovebirds opalescent glass sculpture, modelled perched on a bough, cast regd number to back rim, 10.5cm. high £200-300 Literature Roger Dodsworth British Glass Between the Wars, Dudley Leisure Services, page 44 catalogue number 203 for a comparable figure illustrated. 7. A pair of Thomas Webb & Sons Cameo Fleur glass vases, flaring cylindrical form, clear textured glass cased in amber, decorated with tulip flowers cameo Webb signature 20.5cm. high, (2) £150-200

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Literature Roger Dodsworth British Glass Between The Wars, Dudley Leisure Services, page 86 catalogue numbers 265 and 266 for comparable vases. 8. Six Stuart cut glass glasses, with cut leaf decoration, a set of six Arabia large tea cups and saucers, painted with a band of blue circle motif on a white ground, a Heinrich white porcelain vase, another similar, a continental enamelled glass boot vase, six Wedgwood wine glasses and a cut glass dish, painted marks, 9cm. high Arabia cups) (22) £120-180 9. An unusual Monart glass vase, ovoid with collar neck, orange glass cased in clear with internal air bubbles, stress cracks to base, 16.5cm. high. £120-180

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10. A Monart glass vase, shouldered, ovoid form, mottled green graduating to blue with purple whorls and aventurine inclusions, unsigned, 25cm high £300-500 11. Three glass paperweights designed by Ronald Stennett-Willson, blue blown glass cased in clear, another paperweight probably M’dina, five vases and a collection of glass, unsigned, 10cm. high, (30) £120-180 12. Two Whitefriars Glass Ruby Wave-ribbed tumbler vases designed by Marriott Powell, flaring cylindrical form, two Ribbon trailed vases and four vases designed by James Hogan, unsigned, 25cm. £150-200 high (tallest ruby vase), (8) 13. A Whitefriars architectural slab panel designed by Geoffrey Baxter, model no.3, square section moulded with four indented circles, applied paper label, 18cm. square £120-180 Literature This design illustrated in the original Whitefriars catalogue, page 35.

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14. An unusual Whitefriars Glass architectural slab panel designed by Geoffrey Baxter, model no.1, rectangular, cast in low relief with a face, a Whitefriars glass Meadow Green vase of tapering textured form, a Whitefriars glass Toby, and a collection of glass including eight Iittala clear glass candlesticks, unsigned, 17cm long, (a lot) £120-180 Literature This design illustrated in the original Whitefriars catalogue, page 34.

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15. A Whitefriars Pewter glass vase designed by Geoffrey Baxter, moulded triangular form, two Whitefriars square section vases with Greek Key motif, an Aubergine glass Bark vase and two smaller and a green vase, unsigned 18cm. high (7) £120-180

16. A Whitefriars Willow cased glass vase designed by Geoffrey Baxter, smoked glass cased in clear, slender flaring form, another smaller and a collection of Whitefriars and other glass unsigned, 20cm. high (a lot) £120-180 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis, page 137 plate 152 for a comparable vase illustrated. this range of cased vases was introduced in 1965.

17. A Whitefriars glass Willow shoulder vase designed by Geoffrey Baxter, modelled in low relief, applied Whitefriars paper label and number label 9678, 23cm. high £150-200

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Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 138 plate 156 for a comparable example illustrated.

17A. A Whitefriars Ruby glass Bark vase designed by Geoffrey Baxter, cylindrical form with moulded texture unsigned, 26.5cm. high £120-180

18. A Whitefriars Tangerine glass reversed Drunken Bricklayer vase designed by Geoffrey Baxter, block form, unsigned, 21.5cm. high £200-300 Provenance Given to the vendor as a present in the early 1970s.

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‡ 19. Patrick Reyntiens OBE (born 1925) The Gods go a-begging, 1985 painted stained glass panel with lead, in silver mount by MRB, on white polished alabaster base, signed and dated in the glass, 85, London 1985 hallmarks, 34cm. high (including base) £300-500

Provenance Bruton Gallery Limited, Bruton Somerset Private collection.

‡ 20. Patrick Reyntiens OBE (born 1925) Landscape from Theocritus, 1985, a painted and stained glass panel, limited edition, signed and dated to lead rim, numbered 2/4 48 x 35cm.

£400-600

Provenance Visions of Light, exhibition catalogue number 16 Bruton Gallery Ltd Private collection.

‡ 21. Sir Laurence Whistler (1912-2000) a diamond point engraved glass Chi Rho goblet, decorated with a band of vine leaves above ears of corn and PX monogram etched LW to centre of base, 22.6cm. high £700-900

Literature Charles R Hajdamach 20th Century British Glass ACC books, page 261 plate 545 for a comparable goblet form.

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‡ 22. Michael Harris RCA (1933-1994) a glass vase, dated 1966, compressed form opaque white glass with yellow striations, cased in thick irregular clear glass, knopped neck, etched MH RCA 66, 16.5cm. high £150-200

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‡ 23. Sam Herman (born 1936) an ovoid vase with flattened neck, made at the Jam Factory, South Australia, 1973, opaque glass streaked with yellow and metallic surface decoration, etched Samuel J Herman 1973 SA143, 24cm. high £350-450

‡ 24. Sam Herman (born 1936) a Val St Lambert glass vase, slender, swollen cylindrical form, purple glass with green whorls forming stylised tree motif, surface decorated with metallic lustre etched Val St Lambert and SH monogram, 35.5cm. high £350-450

‡ 25. Sam Herman (born 1936) a glass Head vase made at the Jam Factory, South Australia, dated 1978, swollen form with small aperture, streaked green and blue glass with metallic oxide swirl decoration, etched signature, SH1853 and date, original paper label, 31cm. high £800-1,200

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27 28 ‡ 26. Peter Layton (born 1937) a glass vase, dated 1985, surface decorated with iridescent finish, etched signature and date, 22cm. high £120-180 ‡ 27. Elizabeth Swinburne Sunshine Was I Dreaming or Did the Sun Go Out a glass vase, flaring form streaked golden brown cased in clear, inscribed in the glass, etched signature to base rim, 16cm. high £120-180

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‡ 28. Anthony Stern (born 1944) a large flat bowl, purple swirls graduating to white rim, cased in clear etched signature, 46cm. diam. £120-180 ‡ 29. Norman Stuart-Clarke (born 1944) a studio glass vase, dated 1988, shouldered form opaque glass cased in clear, surface decorated with streaked red, blue and white abstract design, another vase decorated with a petrol iridescence, and a clear glass model of a naked woman, and two other studio glass pieces, etched signature and 88 date, 23cm. £200-400 high (5) ‡ 30. Anthony Stern (born 1944) a glass plate, radiating white and mushroom, cased in clear glass, a Karlin Rushbrooke glass vase, a Julia Donnelly glass vase and three other Studio glass vases etched marks, 24.5cm. diam. (6) £120-180

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‡ 31. Jon S Clarkson a shouldered glass vase, dated 1970, clear glass internally decorated with green and yellow striations, etched Jon S Clarkson London 1970, 20cm. high £120-180 ‡ 32. Wayne D Filan a pear shaped glass vase, dated 1970, opaque glass with pale blue swirl and air bubble inclusions, cased in clear, etched to side of base Wayne D Filan, 1970 London 27cm. high £120-180

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‡ 33. Wayne D Filan a shouldered glass vase with knopped neck, dated 1970, acid yellow with green and red, cased in clear, etched Wayne D Filan 1970 London to base, 16cm. high £120-180


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CONTINENTAL GLASS 34. A Galle enamelled glass beaker vase designed by Emile Galle, footed cylindrical form, with applied teardrop prunts, enamelled with flowers and scrolling foliage, highlighted in gilt, signed E Galle Nancy to base, minor losses to two prunts, 12cm. high £150-250 35. A small Art Nouveau Galle glass vase designed by Emile Galle, tapering cylindrical form, pale pink glass cased in lime green, decorated with sea holly, cameo signature Galle to side 10.7cm. high £150-200

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36. A Moser Karlsbad amber glass vase, flaring, faceted form on foot, unsigned 19cm. high £150-200 37. A Moser Karlsbad amber glass vase made for the Wiener Werkstatte, flaring faceted form on foot acid etched WW Moser mark, 10.5cm. high £150-200 38. An Austrian iridescent glass vase possibly Loetz, triangular section, with dimpled and twisted form and everted rim, covered in a golden iridescence, a pair of iridescent green glass vases and thirteen other glass items, unsigned, 11.5cm. high (16) £120-180

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39. An Austrian iridescent glass vase probably Loetz, ovoid, stepped shoulder with cylindrical neck and everted rim, covered in a crackled blue-green lustre surface finish, a pair of iridescent glass vases with applied tears, another taller and an iridescent glass box and cover, unsigned, 12.5cm. high, (6) £120-180

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40. A Loetz Creta Rusticana pewter mounted glass vase, iridescent green glass, swollen form with everted and pulled rim in pewter twin-handled mount stamped 2576 to pewter, 21cm. wide £120-180

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41. A Loetz glass vase after a design by Dr Christopher Dresser, ovoid with tall cylindrical neck and flaring rim with pulled sides, covered in a green iridescent, unsigned, 34cm. high £150-200 42. A Val St Lambert Cortege de Musiciens overlaid glass vase designed by Leon Ledru, flaring cylindrical, yellow glass cased in red, acid etched with a band of classical figures, highlighted in gilt, unsigned, 25cm. high £700-900 Literature Art & Design 1880-1990 Val St Lambert exhibition catalogue Bank Brussels Lambert 20th April-10th June 1990, page 48 catalogue number 87 for an identical example.

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LALIQUE GLASS 43. ‘Paniers de Fruits’ two Lalique clear and frosted glass menu holders designed by Rene Lalique, comprising apples and cherries, with Lalique cardboard boxes, two ‘Pinsons’ No.3501 clear, frosted and stained glass Rene Lalique menu holders and a modern Lalique menu holder, etched R Lalique 5.3cm. wide. (5) £150-250

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43A. ‘L’Origan - Rachel 1’ a clear glass dressing table box and cover designed by Rene Lalique, with sepia staining, moulded Lalique Depose to base and moulded Coty Trademark, original paper Coty labels, 8.5cm. diam. £150-200 44. ‘Dans La Nuit’ a Modern Lalique scent bottle in original box, and six other modern scent bottles, including Lalique cast marks, 5.5cm. high, (7) £50-150 45. ‘Duncan’ a Lalique clear glass scent bottle designed by Rene Lalique, and a Lalique ‘Duncan’ clear glass box with cover, sepia staining, stencil R Lalique to base, 19cm. high (2) £200-300 46. ‘Duncan’ a Lalique clear glass scent bottle designed by Rene Lalique, sepia staining, stencil R Lalique to base, 19cm. high £400-600

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47. ‘Moineau’ no. 284 a Lalique opalescent glass cendrier designed by Rene Lalique, etched R Lalique France no. 284, 9cm. diam. £200-300 48. ‘Naiade’ a modern Lalique clear and frosted glass seal, originally designed by Rene Lalique, a modern frosted glass model of a girl and a floral glass dish etched Lalique France to base, 10cm. high (3) £150-250 48A. ‘Rampillon’ no.991 a Lalique opalescent glass vase designed by Rene Lalique, wheel cut R Lalique France, 13 cm. high £500-1,000 This vase was introduced in 1927.

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49 50 49. ‘Sophona’ no.977 a Lalique clear and frosted glass vase designed by Rene Lalique, etched R Lalique France no.977, cracked, 26cm. high £500-800 This vase was designed in 1926.

50. ‘Avalon’ no.986 a Lalique opalescent glass vase designed by Rene Lalique, etched R Lalique France no.986 to foot rim, top rim reduced, 14cm. high £500-800

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51. ‘Druide’ no.937 a Lalique opalescent glass vase designed by Rene Lalique, with green staining, moulded R Lalique, 18cm. high £500-800 This vase was introduced in 1924.

52. ‘Chicoree’ No.3213 a Lalique clear, frosted and opalescent glass bowl designed by Rene Lalique, cast R Lalique France to inside of well, 23.6cm. diam. £300-350

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53. A Royalit Moser cherry brandy liqueur decanter and stopper, pink faceted glass, and en suite creme de menthe and apricot brandy decanter and stoppers, main decanter with factory marks, 21.5cm. high (cherry brandy), (3) £150-250

53A. An Art Deco cut and enamelled glass decanter and six glasses, faceted form, enamelled with red panels and polished with flower stems, unmarked, 25cm. high, (8) £120-180

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54. A clear and frosted glass atomiser the design attributed to Michael Powolny, rectangular form, cast in relief with a naked female, with chrome atomiser, stamped mark to mount, 16.5cm. high £120-180 Literature Design auction, Quittenbaum Auctions, 5th November 2013, lot 111a for a comparable atomiser.

53A 55. An opalescent glass table lamp, cast in relief with a maiden holding up a globe before a scallop shell, on rectangular base £120-180 unsigned, two stress cracks, 27cm. high

56. A WMF Ikora glass dish, footed form, pale yellow glass graduating to orange, crackled and cased in clear unsigned, 26cm. diam. £120-180

57. A Leerdam crackle glaze glass flaring bowl designed by A D Copier, bottle green with external surface decoration, acid etched mark to base, 34.5cm. diam. £120-180

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58. A large Daum Nancy acid etched green glass bowl, flaring form, with acid etched frosted panels, etched Daum Nancy to foot rim, 40cm. diam. £300-500

59. A Daum Nancy glass plaffonier, circular section, mottled orange glass graduating to yellow, cased in clear, 26cm. diam. £300-500

60. A Charles Schneider Charder cameo glass shallow bowl, mottled opaque glass cased in orange, acid etched with stylised flowers cameo signature Charder, 36cm. diam. £200-300

61. A Charles Schneider glass tazza, lime green glass shallow bowl on applied black glass foot with internal striations, unsigned 34cm. diam. £150-200

62. A Charles Schneider glass tazza, mottled purple stem on a low, flat green bowl with air bubble inclusions, etched Schneider to top of foot rim, 32cm. diam. £150-200

63. A La Verre Francais cameo glass vase, slender swollen form, yellow glass cased in orange, cut with pendulous berried foliage, etched La Verre Francais to foot 44cm. high £700-1,000

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66 66A 64. A Leerdam Unica glass vase, low, elliptical form, green and orange stripes cased in clear, and another taller vase with green and blue stripes, etched marks to base under paper retail label on main vase, 14.5cm. wide, (2) £180-220 65. A modern Daum glass model of a yacht, thick, clear glass cast in full sail, etched Daum France to base, 26cm. high £120-180 66. A Murano glass model of a standard poodle, lime green and red glass unsigned, 19.5cm. high. £120-180

67 66A. A set of four Kosta Boda glass dishes designed by Erik Hogland, impressed to the well with a stylised figure, green, blue, amber and clear glass, another two similar with impressed naked female figure design, a large bottle green glass slab decorated with a toucan bird and eight others, paper label to one, 18cm high (toucan) (15) £300-500 67. A Vetreria Alfredo Barbini Corroso glass raging bull sculpture, the frosted burgundy glass body with applied frosted glass tail, ears and horns, faint etched signature to base rim, 37cm. wide £400-600 68. A V Nason & C Murano glass model of a bull, modelled standing with head lowered, thick clear glass graduated to smoked dark grey, applied paper label, 27cm. wide. £50-80

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69. A Murano glass sculpture by Alessandro Barbaro, in the style of Pablo Picasso, modelled as a bird perched on a splitting woman’s head, on black glass base, signed to the base A Barbaro Murano, 39.5cm. high £300-500 70. A Murano glass bird sculpture, thick clear glass internally decorated with red, modelled as a perched, stylised bird, unsigned, 30cm. high £150-200

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71. A large Holmegaard Gul vase designed by Otto Brauer, olive green glass, and three others similar, paper retailers mark to one, 30cm. high (olive green vase), (4) £120-180 72. A large Holmegaard Gul vase designed by Otto Brauer, white glass cased in vivid red, and another yellow glass vase similar, unsigned, 43cm. high (2) £150-200

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73. A pair of DSM glass decanters and stands by Borek Sipek, (born 1949), limited edition, green bottle glass decanters with twisted decoration on clear heavy moulded glass stands, cast Sipek signature to base, 31cm. high, (4) £120-180 74. A pair of Ragazzi & C Murano glass figures, modelled as a pierrot and a dancing woman, with murrine decoration, black and white glass cased in clear retail label to one, 23.5cm. high (2) £120-180 75. A Fontana Arte white glass Fontana 1853 table lamp and shade designed by Max Ingrand, designed in 1954, ovoid body with white enamelled metal foot and fitting mount and tapering white glass shade unsigned 53cm. high £400-600 76. An Iittala Kantarelli type vase designed by Tapio Wirkkala, with cut veins, a Varsanjalka (foal’s foot) vase designed by Tapio Wirkkala and an Iittala Orchid vase £500-800 designed by Timo Sarpaneva, etched marks to base, 24.5cm. high. (3) Literature Iittala 125 Years of Finnish Glass, Arnoldsche, page 243 for a comparable foal’s foot vase illustrated. 77. An Iittala glass Varsanjalka vase designed by Tapio Wirkala, slender, swollen form with pulled rim, incised with vertical veins, etched signature, marks and indistinct date, 17cm. high £150-200

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Literature Iittala 125 Years of Finnish Glass Arnoldsche, page 243 for two comparable Varsanjalka (foal’s foot) vases illustrated.

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CERAMICS 78. A pair of Doulton Burslem Aesthetic Movement vases, shouldered form with waisted rectangular section neck, printed and painted in colours with birds flying past flowers and foliage, highlighted in gilt on a cream ground, impressed and printed marks, repaired damages, 22cm. high (2) £150-200

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79. A Doulton Lambeth Faience Aesthetic Movement vase, dated 1873, slender baluster form, painted with stylised sunflowers in yellow, ochre and green, impressed factory mark and painted artist GM cypher, professionally restored rim, 42cm. high £120-180

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80. A Royal Doulton stoneware grotesque designed by Mark V. Marshall, modelled as a grotesque creature, covered in a green blue glaze, a Doulton stoneware flask and stopper, a pottery Zebra and lying horse designed by Basil Matthews and a cut and engraved glass vase by Lars Kjellander, impressed factory mark, 6.5cm. high, (5) £150-250 This Doulton figure is often referred to as The Mock Turtle from Lewis Carrol’s Alice in Wonderland.

80 81. A Royal Doulton stoneware vase by Vera Huggins, slightly swollen cylindrical form, incised with simple grasses, under a mottled pink and pale grey glaze, another vase by Vera Huggins with simple running glaze, and four other Royal Doulton vases probably by Vera Huggins, impressed mark, incised signature, 21.5cm. high, (6) £150-250

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Provenance Applied Arts, Sotheby’s 29th May 2003 lot 315 (main vase part)

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82. A Royal Doulton stoneware vase by Florrie Jones, slender baluster form, painted with Art Nouveau flowers and foliage in green, purple and white, a pair of Royal Doulton stoneware vases painted with flowers and a pair of Royal Doulton cylinder vases modelled in low relief with bluebird panels, impressed and incised marks, 27cm. high (5) £150-250 83. An Art Nouveau Doulton Lambeth stoneware vase, flaring cylindrical form with three applied loop handles, cast in low relief with stylised foliate stems, glazed green and blue on a mottled olive-green and brown ground, a Doulton stoneware vase painted with purple lustre flowers, a Natural Foliage Ware vase and eight other Doulton items, impressed marks, 18cm. high (11) £150-250

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84. A large Royal Doulton stoneware gourd vase, shouldered form with carved ribs, covered in a royal blue glaze impressed box, 30.5cm. high £120-180


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85. Toby XX a Doulton Lambeth stoneware figural flask and stopper, Toby modelled seated on a barrel of XX, on electroplated stand, glazed in colours impressed marks, 26cm. high (2) £200-300

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86. Terrier a Royal Doulton figural wall mask on wooden base, model KT, painted in colours 10cm. high £120-180 87. The Apothecary a Royal Doulton limited edition twin-handled vase designed by Charles Noke, modelled in low relief, painted in colours printed and painted marks, impressed Noke signature to side, 15.5cm. high £150-200 88. Seated Tiger a Royal Doulton animal designed by Charles Noke, painted in colours printed factory mark, 16.5cm. high £150-200

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89. Foxes Curled HN.117 a Royal Doulton figure designed by Charles Noke, painted in colours printed and painted marks, restored ears, 12cm. wide £150-200 90. Polar Bear Walking a Royal Doulton figural spirit flask made for Girolama Luxardo, painted in colours printed factory marks, 24cm. wide. £200-250 91. Bulldog Seated a Royal Doulton figural spirit flask made for Girolamo Luxardo, painted in colours printed factory marks, 20cm. wide £200-250

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92. Sealyham Terrier HN.1032 a Royal Doulton animal, covered in a flambe glaze, and a Royal Doulton seated Alsation, printed factory marks, 11.5cm. wide (2) £200-300

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93

93. Seated Fox HN.130 a large Royal Doulton Flambe animal, covered in a flambe red glaze, another smaller, a flambe duck and eleven other Royal Doulton flambe animals, printed factory marks, 23.5cm. high, (14) £300-500 94. Elephant Trunk Down a Royal Doulton flambe animal designed by Charles Noke, covered in a red flambe glaze printed £150-200 factory mark, 14.5cm. wide 95. Peruvian Penguin HN.946 two Royal Doulton flambe animals designed by Charles Noke, covered in a red flambe glaze, printed factory marks, 22.5cm. high (2) £200-250 96. Guinea Fowl HN.125 two Royal Doulton Flambe figures designed by Charles Noke, covered in a red flambe glaze 15cm. wide (2) £150-200

94 95

97. A Royal Doulton Sung pottery floating bowl designed by Charles Noke, internally decorated with a simple cloud motif in red flambe on speckled dark blue and green ground, the exterior running and mottled dark blue printed factory mark, professional spray to interior, 28cm. diam. £120-180

96

97

98. A large Bernard Moore flambe jardiniere, shouldered, ovoid form, painted with two ferocious dragons, above scrolling foliage, in ruby flambe on a mushroom brown ground, internally decorated with scrolling foliage band, painted Bernard Moore mark and HL artist monogram, 26.5cm. high £800-1200 98A. A large Pinder Bourne & Co charger probably retailed by Howell & James, painted with a medieval gentleman in puce robe and hat, on patterned gilt ground, impressed mark, painted JC monogram and original paper label, 44cm. diam. £120-180 99. An H & R Daniels stoneware Japan vase pot pourri vase and cover, with inner cover, slender baluster form painted with flowers and foliage in colours on an iron red ground, the pierced cover with dog of fo finial, highlighted in gilt, printed factory mark, professionally restored, 43cm. high £150-200 Provenance The collection of Tony Johnson.

20

98


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100. A Minton’s Pottery vase, model no.3708, shouldered form, printed with a peacock standing on an Ionic pillar, in colours with slip applied work, impressed marks, 29.5cm. high £150-200 101. A Ruskin Pottery lustre vase designed by William Howson Taylor, dated 1915, shouldered, flaring cylindrical form, decorated with a band of fruiting grape vine in green on a yellow lustre ground, a Ruskin Pottery orange lustre carafe vase and two Crystalline vases printed and impressed £120-150 marks, 15cm high (4) 102. A Leeds Fireclay Lefco Ware Burmantofts jardiniere and stand, square base with swollen, fluted stem and shallow bowl modelled in low relief with entwined band, covered in an oatmeal glaze, unsigned, 82.5cm. high (2) £150-200

100

98A 99

103. A Moorcroft Pottery Studio vase designed by William Moorcroft, shouldered form with waisted cylindrical neck, decorated with a carved band to the shoulder, glazed green-blue graduating to white neck, a Moorcroft Pottery vase glazed yellow impressed and painted marks, 35cm. high (2) £120-180 104. ‘Poppy’ A James Macintyre candlestick designed by William Moorcroft, tubeline decorated with Art Nouveau poppy stems in blue and green incised signature, glaze chip to top rim, 15.5cm. high £150-200

101

105. A Moorcroft Pottery Flamminian Ware vase designed by William Moorcroft, shouldered, flaring cylindrical form, modelled and tubeline decorated with a foliate roundel, glazed blue on a red ground, impressed mark, minor professional restoration rim, 22.5cm. high £150-250

102

106. Six Cobridge high-fired stoneware vases, each covered in a sang de boeuf glaze, impressed marks, 31.5cm. (tallest), (6) £120-180 107. A Compton Pottery pendant, cast in low relief with St Patrick and a shamrock leaf, in colours, on leather chord with beads unsigned, 5.5cm. long £100-150

105

103

104

106

107

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MORRISWARE FROM THE COLLECTION OF TONY JOHNSON George Cartlidge (1868-1961) Born in 1868 he trained at Hanley School of Art, staying and painting at the school until 1897 when he was apprenticed to Sherwin & Cotton Tile Works. Here he helped to develop a series of portrait tiles from photographs - subjects included international politicians, military leaders, artists and religious figures. He experimented with the technique of Emaux Ombrants - a technique of flooding glaze onto a shallow relief design which created a smooth graduated tone giving a realistic ‘photographic’ quality to the design. In 1916 he moved to Sampson Hancocks designing a range of tubelined pottery proudly titled Morris Ware to the base. The range was released at the British Industries Fair in 1918 and competed commercially with the tubelined designs of Frederick Rhead, and William Moorcroft who had recently set up his own factory in Burslem. 108. A Hancock & Son Morrisware vase by George Cartlidge, pattern no.C5-11, compressed form, tubeline decorated with flowers and foliage in purple and blue on a mottled green ground, a Morrisware bowl C46-5 and a bowl C75-2, printed factory mark, painted facsimile signature, daffodil bowl restored, 13cm. diam. (3) £150-200 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 90 catalogue number 249 for this vase illustrated.

Tony Johnson

Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 109. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no.C18-11, tapering form with knopped neck, slip decorated with bell flowers in purple and green on a mottled blue ground, printed factory mark, painted facsimile signature, professional restoration to base rim, 24.5cm. high £150-200

108

109

Provenance The collection of Tony Johnson. This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 110. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no. C50-5, cylindrical form with everted rim, painted with flowers stems in pink, green and blue on a mottled green ground, and another Morrisware vase on a blue ground, printed factory mark, painted facsimile signature to one, stress crack to base of green vase, blue vase restored, 17cm. high, (2) £150-250 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 106 catalogue number 282 for a comparable vase.

110

Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 111. A Hancock & Son Morrisware vase designed by George Cartlidge, pattern no. C3-1, shouldered form, tubeline decorated with clover flowers in purple and green on a mottled blue ground, and another Morrisware vase similar, printed factory mark, painted facsimile signature, 18cm. high, (2) £150-250 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 89 catalogue number 247 Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

22

111


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112 112. A Hancock & Son Morrisware bowl designed by George Cartlidge, pattern no.C13-1, with inverted rim, tubeline decorated with clover flowers in purple and blue-green on a mottled green and blue ground, and another Morrisware bowl C13-15, printed factory mark, facsimile signature, 2nd bowl professionally restored to top rim, 23cm. diam. (2) £150-250

113

Literature Tony Johnson The Morris Ware,Tiles and Art of George Cartlidge, page 94 catalogue number 258 and 259 for these bowls illustrated. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

114

113. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no. C8-4, tubeline decorated with peony flowers in purple, yellow and green-blue on a mottled green ground, printed factory mark, painted facsimile signature, professional restoration to top rim, 16.5cm. high £150-200 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 92 catalogue number 252 this vase illustrated . Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 114. A near pair of Hancock & Son Morrisware bowls designed by George Cartlidge, model no. C71-1, painted with bell flowers, in colours on purple and green ground, printed factory marks, facsimile signature to one, 26.5cm. diam. (2) £250-350 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 110 catalogue number 291. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 115. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no.C17-10, cylindrical form with swollen neck, tubeline decorated with thistle flowers in purple and green on a mottled blue ground, printed factory mark, painted facsimile signature 30cm. high £300-500 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 97 catalogue number 264 for three comparable vases. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

115

23


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116. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no. C28-2, shouldered form with cylindrical neck, tubeline decorated with bell flowers in purple and green on a mottled blue ground, printed factory mark, painted facsimile signature, 36.5cm. high £400-600 Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

117. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no. C14-3, swollen form with everted rim, tubeline decorated with cornflowers in red and green on a mottled brown ground printed factory mark, painted facsimile signature, 33cm. high £300-500 Provenance The collection of Tony Johnson. This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

116 118. A Hancock & Son Morrisware vase designed by George Cartlidge, pattern no.C27-5, tapering cylindrical form with everted rim, tubeline decorated with Rhododendron flowers in purple and green on a mottled blue ground, printed facsimile mark, painted facsimile signature, 32cm. high £350-450

117

Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 100 catalogue number 268 for comparable vases illustrated. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

119. A Hancock & Son Morrisware vase designed by George Cartlidge, pattern no.C27-4, tapering cylindrical form with everted rim, tubeline decorated with rhododendron flowers in purple and blue on a mottled green ground, printed factory mark, painted facsimile £350-450 signature, 31.5cm. high Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 100 catalogue number 268 vase illustrated.

118

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

119

24


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120. A Hancock & Son Morrisware vase designed by George Cartlidge, pattern no. C9-7, cylindrical with swollen neck, tubeline decorated with thistle stems, in purple and blue-green on a mottled green ground, and a Morrisware vase similar pattern C9-9, printed factory mark, painted facsimile signature, 16cm. high (2) £150-250 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 92 catalogue number 253. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

120 121

121. A Hancock & Son Morrisware vase designed by George Cartlidge, pattern no. C10-5, compressed form with tapering neck, painted with flower stems in purple and green on a black ground, printed factory mark, painted facsimile signature, 22.5cm. high. £120-180 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 93 catalogue number 254. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

122

122. A Hancock & Sons Morrisware floating bowl designed by George Cartlidge, model no. C19-13, painted to the rim with a frieze of flowers in purple and green on a mottled blue ground, and another pattern no.C19-15, printed factory mark, painted facsimile signature, professional restoration to 2nd bowl, 29cm. diam. (2) £150-250 Provenance The collection of Tony Johnson. This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 123. A Hancock & Sons Morrisware bowl designed by George Cartlidge, model no.C45-9, straightsided form, tubeline decorated with flower stems in purple and green on a mottled blue ground, and another near identical, printed factory mark and facsimile signature, second bowl restored 16cm. diam. (2) £120-180 Provenance The collection of Tony Johnson. This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

123

25


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124. A Hancock & Sons Morrisware bowl designed by George Cartlidge, model no. C16-11, painted with bell flowers in purple and green on a mottled blue ground and another C16-1 on a mottled green ground printed and painted factory marks, painted facsimile signature, hairlines to bases, 24.5cm. diam. (2) £150-250 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 96 for two comparable bowls.

124

Provenance The collection of Tony Johnson. This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 125. A Hancock & Son Morrisware vase designed by George Cartlidge, pattern no. C7-11, tapering cylindrical form with everted rim, tubeline decorated with tulip flowers, in purple and green on a blue ground, printed factory mark, painted facsimile signature, £120-180 20cm. high Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 91 catalogue number 251 for comparable vases illustrated. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 126. A Hancock & Son Morrisware vase designed by George Cartlidge, pattern no. C30-10, tapering cylindrical form, tubeline decorated with flower stems, in purple and green on a streaked blue ground, printed factory mark, painted facsimile signature, £150-200 26.5cm. high

125 126

Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 103 catalogue number 271. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 127. A Hancock & Sons Morrisware bowl designed by George Cartlidge, model no. C12-13, tubeline decorated to the shoulder with flowers and foliage in red and green on a mottled green ground. and another similar model no. C12-3, printed factory marks, painted facsimile signature, stress cracks to base rim of main, 22cm. diam. (3) £150-200

127

Provenance The collection of Tony Johnson. This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 128. A Hancock & Sons Morrisware bowl designed by George Cartlidge, model no.C16-27, decorated with bell flowers in red, purple and green on a mottled blue ground, printed and painted factory marks, painted facsimile signature, 24.5cm. diam. £120-180 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 96 for a comparable bowl. Provenance The collection of Tony Johnson.

128

26

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129. A Hancock & Son Morrisware vase designed by George Cartlidge, model no. C78-1, waisted form with collar neck, tubeline decorated with fish swimming amongst waterweed, the rim with waterlily flowers, in colours on a green and blue ground, printed factory mark, 25cm. high £300-500 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 114 catalogue number 296 this vase illustrated. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 130. A Hancock & Son Morrisware Owl vase designed by George Cartlidge, model no. 73-1, tubeline decorated with an owl perched on fruiting grape vine foliage, in colours on a green ground, printed and painted factory marks, 26.5cm. high £200-300 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 112 catalogue number 293.

129

130

Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson. 131. A pair of Hancock & Son Morrisware vases designed by George Cartlidge, pattern no.C2-13, bottle form, tubeline decorated with clover in purple and green on a streaked blue ground printed factory mark, painted facsimile signature, 25.5cm. high (2) £200-400 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 89 catalogue number 246 Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

131

132. A pair of Hancock & Sons Morrisware vases designed by George Cartlidge, model no. C8-6, decorated with purple peony flowers in purple and green on a mottled dark olive ground, printed and painted marks, painted facsimile signature, 17.5cm. high, (2) £150-250 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 92 for a comparable example illustrated. Provenance The collection of Tony Johnson. This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

132

133. A Hancock & Son Morrisware vase designed by George Cartlidge, pattern no. C11-1, tapering, shouldered form, tubeline decorated with clover flowers in purple and blue on a streaked greenblue ground, and another Morrisware vase similar pattern C11-7, printed factory mark, painted facsimile signature, 27cm. high, (2) £300-500 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 93 catalogue number 255 these vases illustrated. Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

133

27


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135

134

135A

134. A Pilkington’s Royal Lancastrian Pottery vase, shape no.2967, tall, shouldered cylindrical form, covered in a streaked blue glaze, another Pilkington’s vase glazed mottled turquoise and yellow and a smaller Royal Lancastrian vase glazed silver grey, impressed marks, glaze fritting, 34cm. high, (3) £200-300 135. A Bursley Ware charger designed by Charlotte Rhead, pattern no.1420, tubeline decorated with flowers and foliage in blue and ochre, highlighted in gilt on a white ground, the rim with simple gilt scrolling foliage band, printed Lawley’s mark and number, 41cm. diam. £150-200

136

135A. An Art Deco Myott & Sons vase, model no.8940, flaring stepped, form painted in shades of pink, pale blue and green, a Clarice Cliff vase moulded with blossom, an Art Deco Burleigh ware Leaping Gazelles jug and two other vases printed marks, 21.5cm. high (5) £120-180 Literature Andrew Casey Art Deco Ceramics in Britain, Antique Collector’s Club, page 213 plate 25.2 for a similar Myott vase. Page 111 plate 13.9 for a Leaping Gazelle jug similar. 136. A Linthorpe Pottery vase, model no.1801, ovoid with flaring neck, slip decorated with foliage in mushroom and sand on a turquoise ground, two vases made for Liberty decorated with crayfish, a Gouda vase retailed by Liberty and a collection of art pottery impressed marks, 21cm. high (15) £120-180

136A

136A. A Denby Danesby Ware Pastel stoneware vase, ovoid cast in low relief with flowers, painted in colours, and an early Carter Stabler & Adams vase by Ruth Pavely painted with floral bouquet, printed factory mark, chips to base rim, 18cm. high (2) £120-180 137. ‘Jazz’ a Carlton Ware cylindrical box and cover, pattern no.3361, printed and painted in colours on a rich blue lustre ground, highlighted in gilt, with patinated metal rims, printed Labore et Virtute mark to base, £150-250 138. ‘New Anemone’ a Carlton Ware dish, pattern no.4219, diamond shape with flange handles, printed and painted in colours, highlighted in gilt on a pale green ground, another smaller dish, a Rouge Royale vase and seven Rouge Royale dishes, printed and painted marks, 31cm. wide, (10) £200-300

137

139. ‘Feathertailed Bird and Flower’ a Carlton Ware bowl, pattern no. 3354, printed and painted in colours with stylised flowers on a matt pale blue ground, printed and painted marks, 23.5cm. diam. £120-180 140. ‘Forest Tree’ a Carlton Ware lustre bowl, pattern no. 3244, printed and painted in colours and highlighted in gilt with stylised trees on a blue ground, printed and painted marks, 23.5cm. diam. £80-120 140A. ‘New Mikado’ a Carlton Ware coffee set for six, pattern no.2728, printed and painted in colours and gilt on a mottled blue lustre ground, comprising coffee pot and cover, milk-jug and sugar £150-200 basin, six cans and saucers printed and painted factory marks, 19.5cm. high, (15) Provenance Doulton, Poole & Carlton Ware Christie’s South Kensington, 19th August 1999 lot 568. Private collection. 141. ‘Chinaland’ a Carlton Ware vase and cover, pattern no. 2950, shouldered form printed and painted in colours and gilt on a petrol blue lustre ground, a pair of Carlton Ware vases and a tea cup and saucer, printed and painted factory marks, wear to gilt, firing stress crack to cover 18cm. high, (6) £150-200

138

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139

140

140A

141


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142. ‘Travel’ a Wedgwood earthenware dinner service designed by Eric Ravilious, with impressed date code for 1954, printed in black and blue with travel vignette of trains, boats, hot-air balloons and bus, on a grey ground, comprising; two graduated platters, gravy boat and saucer, two tureens and covers, six soup bowls, six dinner, entree and side plates, printed and impressed marks, 36.5cm. wide (largest £800-1,200 platter), (32) 143. A Wedgwood Pottery model of a Bison designed by John Skeaping, covered in a Matt White Moonstone glaze, impressed J Skeaping Wedgwood, small bruise to base rim, 25cm. wide £200-300 144. A Wedgwood earthenware bowl designed by Keith Murray, flaring ribbed form on shallow foot, covered in a Matt White glaze, impressed marks, KM monogram, 16cm. high £120-180

142 145. Coronation of Her Majesty Queen Elizabeth II a Wedgwood tankard from the design of Eric Ravilous, printed in colours under exploding firework frieze, seven other Wedgwood Royal commemorative mugs and two commemorative mugs designed by Dame Laura Knight, printed factory marks, 10.5cm. high (10) £300-500 146. ‘God Save The Queen’ a Wedgwood Coronation mug designed by Richard Guyatt, designed in 1953, commemorating the Coronation of Her Majesty Queen Elizabeth II, printed in colours, another Wedgwood commemorative mug designed by Richard Guyatt to commemorate the investiture of Prince Charles and another Wedgwood mug commemorating the Royal wedding printed factory marks, 10.5cm. high, (3) £100-150

143

144

147. A Wemyss Pottery Clover pattern biscuit box and cover, painted with flowers and foliage in pink, purple, green and yellow on a white ground, painted Wemyss to base 12cm. high £120-180 148. ‘Finch Gold’ a Dennis China Works vase designed by Sally Tuffin, dated 2005, limited edition of 30, shouldered form, painted in colours with a gold finch on a yellow ground, and a ‘Spider’s Web’ Dennis China Works pot and cover impressed and painted marks, £150-200 numbered 3/30,13.5cm. high, (2)

145

149. ‘Wisteria with Butterfly’ a Dennis China Works limited edition vase designed by Sally Tuffin, 2006, slender cylindrical form with everted rim, applied with butterfly to the shoulder, painted in shades of purple and green on a graduated purple to blue ground painted marks, 39cm. high £150-200

147

146

148

149

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150. A Susie Cooper Studio Ware vase, pattern M.77, shouldered form with everted top rim and three applied scroll handles, painted with foliage in shades of mint green, mushroom and yellow on a cream ground, another painted with scroll design and two other Susie Cooper vases, painted marks, 15cm. high (4) £120-150 151. A Susie Cooper Carved Ware footed vase, flaring cylindrical form incised with flowers and foliage, glazed green, another incised with geometric columns glazed £120-180 cream and six other Susie Cooper vases, incised marks, 26cm. high (8)

150

152. A Susie Cooper Carved Ware vase, swollen cylindrical form, incised with squirrels eating nuts amongst tree boughs, glazed mint green, and another glazed sand yellow incised Susie Cooper England to base 30cm. high (2) £120-180 Literature Andrew Casey & Ann Eatwell Susie Cooper A Pioneer of Modern Design, Antique Collector’s Club, page 46 figure 1 for a comparable vase.

151

153. A Susie Cooper Studio Ware vase, dated 1933, pattern M.32, ovoid with flaring neck, painted with stylised leaves in mushroom and blue on pale blue ground, another Susie Cooper vase with tubelined geometric decoration, and three other Susie Cooper Studio vases, painted marks, 16cm. high (5) £120-150 154. A Susie Cooper wall charger, resist decorated with exotic fruit in celadon green over cream ground, a Susie Cooper Crescent wall charger pattern no.1543 and another similar, decorated with crayon bands hand painted Susie Cooper signature, 41cm. diam. (3) £120-180

152 155. A large Susie Cooper Spiral Feather wall charger, pattern 1664, painted with scrolling feather design in puce, mushroom and green on a cream ground, and a large punch bowl and ladle in the same pattern, printed and painted factory marks, hairline and re-stuck chip to punch bowl, 41.5cm. diam. (3) £150-200 This design was introduced in 1939. 156. A pair of Art Deco Susie Cooper Productions mugs designed by Susie Cooper, pattern E110, painted with geometric panels of yellow, mushroom, grey and black blocks, on a honeyglaze ground, printed and painted marks, 10cm. high, (2) £120-180

153

Literature Andrew Casey and Ann Eatwell Susie Cooper, A Pioneer of Modern Design, ACC, page 74 for a jug in the same pattern and a comparable beaker. 157. A Susie Cooper Studio Ware vase, dated 1933, pattern E/548, shouldered, twinhandled form, painted with stylised foliage in shades of black, brown, orange and red, highlighted in silver on a cream ground, another painted with columns of stylised foliage in mint green and mushroom, and two other Susie Cooper vases, painted marks, 20cm. high (4) £120-180 Literature Andrew Casey and Ann Eatwell Susie Cooper, A Pioneer of Modern Design, ACC, page 94 figure 8 for comparable vases.

154

155 158. A Susie Cooper Carved Ware vase, dated 1932, shouldered cylindrical form incised with flowers and foliage in vivid orange glaze, another similar glazed celadon green and four other Susie Cooper Carved Ware vases incised marks, 17.5cm. high (6) £120-180 158A. ‘Patricia Rose’ a Susie Cooper Production wall charger, model no.1895, decorated to the well in colours, inside a vivid yellow border, printed and painted factory marks, 37cm. diam. £150-200

156

30

157

158

158A


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THE CLARICE CLIFF COLLECTION OF PETER WENTWORTH-SHEILDS & KAY JOHNSON


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“I bought my first piece of Clarice Cliff at the Kensington Market in 1969 for 7 Shillings and 6 Pence (illustrated). It was a Bizarre jug of traditional shape but decorated with extraordinary pattern and colour. A revelation! From then on I started seriously collecting at absurdly low prices by today’s standards. As the collection grew, writing a book about Clarice became more and more appealing. She had long since retired but I did speak with her briefly on the phone. The first major exhibition of her work was held at the Brighton Museum and Art Gallery in 1972 curated by Betty O'Looney. It was an inspiration. Kay and I spent many happy days exploring markets all over England and our book, the first on the subject, was published in 1976 by the L'Odeon Gallery in London. During this time I worked in film business Art departments for about 10 years as Art Director, Set Dresser , draughtsman, etc ., which included the first "Star Wars", " The Avengers" and "Clockwork Orange", when I met Kay. We married in 1974. I was educated at Westminster School and was there for the Queens' Coronation in 1953. I trained as an architect and became ARIBA in 1967 and now have a practice in the USA specializing in renderings and models. Kay was a Pan American stewardess in the " golden age " of air travel before she started work as an assistant to Stanley Kubrick .. She died in 2015. Our Clarice Cliff collection remained completely intact. " Peter Wentworth-Sheilds.

159. ‘Forest Glen’ a Clarice Cliff cruet set, painted in colours, comprising, salt and pepper pots, mustard pot and cover and a Bon Jour preserve pot and cover, a Daffodil pot and a spill vase painted with the same pattern printed factory marks, repair to finial of preserve pot, 7.5cm. high (salt), (8) £200-300 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 37 plate 1 this spill vase illustrated. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

159 160. ‘Forest Glen’ a Clarice Cliff Daffodil vase, shape no. 450, painted in colours printed factory marks, restored handle, 33.5cm. wide. £120-180 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

160 161. ‘Forest Glen’ a Clarice Cliff Globe tea set for six, painted in colours, comprising, small teapot and cover, milk-jug and sugar basin, six cups, saucers and side plates and a Coronet jug printed factory marks, hairlines to two cups 12.5cm. high (teapot), (22) £800-1,200 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 37 plate 1 this tea set illustrated. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. This set has the impressed sate mark for 1936.

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162. ‘Sunray’ a Clarice Cliff Bizarre Conical teapot and cover, painted in colours printed factory marks, paint flakes, 12cm. high £400-600 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976, page 65 plate 30 this teapot illustrated. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 163. A Clarice Cliff Bizarre Conical Bizarre teapot and cover, painted with narrow bands in shades of yellow, orange, red and black, printed factory marks, fine hairline to top rim, 11.5cm. high £120-180

162 both sides

Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 164. ‘Pink Dots’ a Clarice Cliff Bizarre Stamford part tea set, comprising Stamford teapot and cover, circular stand and Stamford milk jug, painted with pink and grey dots, inside pink and grey bands, printed factory marks, fine hairline to milk-jug, 12.5cm. high £200-300 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 60 plate 25 this teapot illustrated.

163

Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 165. ‘Delicia Citrus’ a Clarice Cliff Bizarre Conical teapot and cover, painted in colours, and a Delecia Citrus Conical milk-jug, printed factory marks, 12cm. high, (2) £300-400 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 67 plate 33 this teapot illustrated.

164

Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 166. ‘Orange Trees and House’ a Clarice Cliff Fantasque Bizarre Stamford tea for two, painted in colours comprising; teapot and cover, milk-jug and sugar basin, two cups and saucers printed factory marks, cover repaired, one cup cracked, 12.5cm. high (teapot), (7) £800-1,200 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 63 plate 28 this set illustrated.

165

Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

166

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167. ‘Bignou’ a Clarice Cliff Conical jug, painted in colours to the spout and handle, and a Clarice Cliff ‘Memory Lane’ Coronet jug printed factory marks, 14.5cm. high, (2) £150-200 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

167

168. ‘Artists in Industry’ a Clarice Cliff Bizarre bowl designed by Duncan Grant, printed and painted with a bouquet of flowers to the well, the rim a geometric border, and a sauce boat designed by John Armstrong, a Gay-day Beehive preserve pot and cover and a collection of Clarice Cliff and related ware, printed factory marks, sauce boat repaired, 22.5cm. diam. (24) £200-250 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 169. ‘Original Bizarre’ a Clarice Cliff single-handled Lotus jug, painted with a band of geometric shapes in blue, orange and yellow, outlined in green, between blue and orange bands, printed factory marks, bruise and hairline to top rim, 29cm. high £120-180 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 170. ‘Original Bizarre’ a pair of Clarice Cliff tall Octagon candlesticks, painted with geometric panel design in orange, blue and brown, outlined in green between orange bands, printed factory marks, 29.5cm. high £200-300 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 73 plate 41 this pair of candlesticks illustrated.

168

169

34

Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

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171. ‘Crocus’ a Clarice Cliff Bizarre Dover jardiniere, painted in colours between yellow and brown bands, a fern pot and two bowls in the same pattern. printed and painted factory marks, faint stress crack to base, 17cm. high, (4) £200-300 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

172. ‘Crocus’ a Clarice Cliff Bizarre Tankard coffee set for six, painted in colours, comprising Tankard coffee pot and cover, sugar basin, six cans and five saucers printed and painted marks, small nick to one can, 19cm. high (coffee pot), (13) £120-180 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

171

173. ‘Crocus’ a Clarice Cliff Bizarre Cylindrical biscuit barrel and cover, painted in colours above brown and green bands, with wicker handle, a pair of Crocus candlesticks, a fern pot, two teapot and covers and a collection of Clarice Cliff Crocus, printed factory marks, damages, 16.5cm. high (a lot) £200-400 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

172

173

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174. ‘Rhodanthe’ a pair of Clarice Cliff Bizarre Biarritz plates, painted in colours, two other Biarritz ‘plates and a modern vase painted with a variation of Orange Trees and House, printed factory marks, hairlines to two plates, 26.5cm. wide. (5) £150-200 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 175. ‘Rhodanthe’ a Clarice Cliff Bizarre Trieste tea for two, painted in colours, comprising Trieste teapot and cover, milk-jug and sugar basin, two Conical cups and saucers, printed factory marks, 13.5cm. high, (7) £300-500 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 608 plate 35 this teapot illustrated.

174

175

Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 176. A Clarice Cliff Bon Jour tea for two, painted with pink and green flowers, comprising, Bon Jour teapot and cover, Stamford milk jug and sugar basin, two Conical cups, saucers and one side plate printed factory marks, repaired cover, 12cm. high (teapot, (8) £200-300 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 27 this set illustrated. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. This set has the impressed date mark for 1940 to the side plate. 177. ‘Alton’ a Clarice Cliff Bizarre 635 vase, painted in colours printed factory marks, 17cm. high £150-200 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

176

178. ‘Orange Autumn’ a Clarice Cliff Bizarre bowl, shape no.55, painted in colours, a Clarice Cliff eight piece table centrepiece glazed green, and a octagonal bowl, printed factory marks, faint star-crack to base, hairlines and wear to interior, 22cm. diam. (10) £120-180 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

177 178

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179. ‘Forest Glen’ a Clarice Cliff flower trough table centrepiece, diamond section, painted in colours, and a Clarice Cliff Bizarre ‘Newlyn’ bowl, printed factory marks, bowl hairline crack, 37cm.wide, (2) £150-200 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

180. ‘Summerhouse’ a Clarice Cliff Fantasque Bizarre bowl with electroplated rim, painted in colours printed factory marks, 21cm. diam. £120-180

179

Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 56 plate 20 this bowl illustrated. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

181. ‘Yoo Hoo’ a Clarice Cliff Conical bowl, painted in shades of black and red enamel, and eleven Yoo Hoo plates, printed factory marks, bowl broken and £150-250 repaired, 19.5cm. diam. (12) Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 57 plate 21 this bowl illustrated.

180

Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. The plates have the impressed date mark for 1932.

181 detail

181

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182. ‘Latona Tree’ a tall Clarice Cliff Bizarre Mei Ping vase, painted in colours on a Latona ground, printed and painted marks, 30.5cm. high £800-1,200 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 50 plate 14 this vase illustrated. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 183. ‘Orange Trees and House’ a Clarice Cliff Fantasque Bizarre Mei Ping vase, painted in colours between orange and black bands, printed factory mark, 22.5cm. high £500-1,000 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. 184. ‘Inspiration Caprice’ a tall Clarice Cliff Bizarre Mei Ping vase, painted in shades of blue, pink, purple and ochre on a turquoise Inspiration glaze, painted factory mark, chips to rims, 37cm. high £500-1,000 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 49 plate 13 this vase illustrated. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

182

185. ‘Caprice’ a Clarice Cliff 342 vase, painted in colours on a sky blue ground, painted factory mark, 20cm. high £300-500 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 page 46 plat 10 this vase illustrated. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. This vase has the painted title Caprice added to the printed factory mark to the base.

183

185 detail 185

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186

187

186. ‘House and Bridge’ a Clarice Cliff Bizarre toast-rack, painted in colours, printed factory marks,12.5cm. wide. £120-180 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

187. ‘House and Bridge’ a Clarice Cliff Fantasque Bizarre plate, painted in colours, inside yellow, orange, red and black bands, printed £200-400 factory marks, 22.5cm. diam. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection. This plate has the impressed date mark for 1932.

188. ‘House and Bridge’ a Clarice Cliff Bizarre 362 vase, painted in colours, between yellow, orange, red and black bands, printed factory marks, 21cm. high £800-1,200 Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

188

189. ‘House and Bridge’ a rare Clarice Cliff Fantasque Bizarre wall charger, painted in colours inside yellow, orange, red and black bands, printed factory marks, 42cm. wide £3,000-5,000 Literature Peter Wentworth-Sheilds and Kay Johnson Clarice Cliff, L’Odeon London, 1976 this actual charger illustrated on the front cover. Provenance Peter Wentworth-Sheilds and Kay Johnson Collection.

189

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190. ‘Red Cafe’ a rare Clarice Cliff Bizarre Mei Ping vase, painted in red, grey and black between coral red bands printed factory marks, Sevi Guatelli paper label, 22.5cm. high £6,000-8,000 Provenance Iconic Clarice Cliff The Sevi Guatelli Collection, 18th March 2009, Bonhams, Lot 84. Private collection.

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191. ‘Tennis’ a tall Clarice Cliff Bizarre Mei Ping vase, painted in colours, the top rim with coral red band to interior, printed factory mark, minor professional restoration to the base rim, 31cm. high £3,000-5,000 Provenance Private collection.

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A PRIVATE COLLECTION OF CLARICE CLIFF COFFEE CANS 192. ‘House and Bridge’ a Clarice Cliff Bizarre Tankard coffee can and saucer, painted in colours printed factory mark, 6.5cm. high (2) £150-200

192 both sides

193

193. ‘Crocus’ a Clarice Cliff Bizarre Tankard coffee can and saucer, painted in colours, an Original Bizarre Tankard coffee can and saucer and a Conical coffee can and saucer painted with graduated blue bands printed factory marks, hairline crack to Conical can, £150-200 7cm. high (6)

194. ‘Delecia Poppy’ a Clarice Cliff Bizarre Tankard coffee can and saucer, painted in colours, and a ‘Delecia Citrus’ Tankard coffee can and saucer printed factory marks, 7cm. high, (4) £150-200

195. ‘Lily’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours, and an ‘Orange Lily’ Tankard coffee can and saucer printed factory marks, 6.5cm. high (4) £150-200

194

196. ‘Sunrise’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours and a ‘Blue Chintz Tankard coffee can and saucer printed factory marks, 6.5cm. high (4) £150-200

197. ‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre Daffodil cup and saucer, painted in colours printed factory marks, £150-200 6.5cm. high (2)

195

196

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198. ‘Orange House’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours printed factory marks, 7cm. high (2) £150-200

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

198

199

200

201

202

203

204

205

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

201. ‘Red Trees and House’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours, printed factory mark, 6.5cm. high (2) £120-180

202. ‘Orange Autumn’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours printed factory £120-180 marks, 6.5cm. high (2)

203. ‘Shark’s Teeth’ a rare Clarice Cliff Bizarre Tankard coffee can and saucer, painted in colours, printed factory mark, 6.5cm. high £150-200

204. ‘Umbrellas and Rain’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours printed factory marks 6.5cm. high (2) £150-200

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

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206. ‘Damask Rose’ a Clarice Cliff Bizarre Daffodil tea for two set, painted in colours, comprising; teapot and cover, milk-jug and sugar basin, two cups, saucers, side plates and a small sandwich plate, printed factory marks, spout professionally restored, hairline to side of sugar basin, 15cm. high (teapot), (10) £1,000-2,000 207. ‘Damask Rose’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours printed factory mark, professionally restored tip, 14cm. high £200-300 208. ‘Damask Rose a Clarice Cliff Bizarre single handled Isis vase, painted in colours, printed factory marks, 19.5cm. high £200-300

206

209. ‘Damask Rose’ a Clarice Cliff Bizarre Biarritz plate, painted in colours printed factory mark, 26.5cm. wide £150-250 This plate has the impressed date of 1934. 209A. A Clarice Cliff Bizarre wall plaque, modelled in low relief and pierced with flowers and foliage, glazed in colours printed factory marks, repaired chip to back rim, 32.5cm. diam. £150-200

207

208

210. ‘Citrus’ a Clarice Cliff Bizarre Stamford tea trio, painted in colours, comprising teapot and cover, milk-jug and sugar basin, printed factory marks, cover restored, 12cm. high, (3) £250-350 211. A Clarice Cliff Bizarre dessert and dinner service, painted with yellow, orange, red and black bands, comprising serving bowl and six dessert bowls, two Odilon tureen and covers, sauce boat, one serving platter, four dinner and entree plates and five side plates printed factory marks, 35cm. wide (platter), (26) £100-150

209 209A

210

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212

213

212. ‘Melon’ a Clarice Cliff Fantasque Bizarre twin-handled Lotus jug, painted in colours between black and orange bands, printed factory marks, professionally restored 30cm. high £300-500

213. ‘Green Erin’ a Clarice Cliff Bizarre 358 vase, painted in colours between green bands, printed factory marks, 20.5cm. high £800-1,200

214. ‘Alton’ a Clarice Cliff Fantasque Bizarre Isis vase, painted in colours between black, red and green bands, printed factory mark, professional restoration to top rim, 24.5cm. high £400-600

214

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215. ‘Oranges & Lemons’ A Clarice Cliff Bizarre single-handled Isis vase, painted in shades of red, yellow and black printed factory marks, 24.5cm. high £1,500-2,000

215

216

216. An early Clarice Cliff Bizarre Singlehandled Lotus jug, painted in colours with geometric panels, on a honeyglaze ground, printed factory marks, oxidised colours, repaired small chip to top rim, 29.5cm. high £200-300

217. ‘House and Bridge’ a Clarice Cliff Fantasque Bizarre 365 vase, painted in colours between yellow, orange, red and black printed factory mark, 20cm. high £1,500-2,000

217

218

218. ‘Summerhouse’ a Clarice Cliff Fantasque Bizarre 365 vase, painted in colours between red and black bands, printed factory marks, 20.5cm. high £1,500-2,000

219. ‘House and Bridge’ a Clarice Cliff Bizarre Conical teapot and cover, painted in colours, the cover with black, red, orange and yellow bands, printed factory marks, £1,000-1,500 12cm. high

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220. ‘Football’ a Clarice Cliff Bizarre singlehandled Isis vase, painted in colours between orange and blue bands, printed factory marks, 24.5cm. high £2,500-3,000

221. ‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre 365 vase, painted in colours between orange, yellow and black bands, printed factory marks, minor professional restoration to base, 21cm. high £1,000-1,500

220 both sides

222. ‘Honolulu’ a Clarice Cliff Bizarre 362 vase, painted in colours between green and black bands, printed factory marks, 20.5cm. high £1,500-2,000

221

222

223. ‘May Avenue’ a rare Clarice Cliff Bizarre Daffodil jug, painted in colours printed factory mark, 17cm. high £2,000-3,000

223 both sides

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226 224

226A

225

224. ‘Summerhouse’ a Clarice Cliff Bizarre plate, painted in colours inside coral red and black bands, printed factory marks, 25cm. diam. £250-300 225. ‘Keyhole’ a Clarice Cliff Bizarre plate, painted in colours inside yellow and orange bands, printed factory mark, 21.5cm. diam. £120-180 226. ‘Umbrellas and Rain’ a Clarice Cliff Fantasque Bizarre tray, octagonal, painted in colours inside orange band, printed factory £150-200 marks, 29cm. wide

227

228

226A.‘Blue Chintz’ a Clarice Cliff Fantasque Bizarre Mei Ping vase, painted in colours, a Clarice Cliff ‘Oranges’ Grapefruit bowl and a saucer, printed factory marks, small chips to rims of vase, 16cm. high, (3) £120-180 227. ‘Blue Japan’ a Clarice Cliff Bizarre Daffodil bowl, painted in colours 32cm. long £300-400

229

230

228. ‘Blue Japan’ a Clarice Cliff Bizarre Cylindrical preserve pot and cover, painted in colours printed factory marks, 9.5cm. high £200-300 Provenance Clarice Cliff & Art Deco Woolley and Wallis Auctioneers, 15th April 2015 lot 43. 229. A Clarice Cliff Bizarre Daffodil tea set for six, decorated in blue on a cream ground, the handles highlighted in gilt, comprising milk-jug and sugar basin, six cups, saucers and side plates, printed factory marks, £200-300 17.5cm. wide (side plates) (20) The side plates are impressed 1933. 230. ‘Delecia Citrus’ a Clarice Cliff Bizarre Athens teapot and cover, painted in colours, and a ‘Delecia Citrus ‘side plate printed factory marks, two small chips to inner rim of teapot, 14cm. high (2) £250-350 231. ‘Delecia Citrus’ a Clarice Cliff Bizarre ribbed wall charger, painted in colours printed factory marks, professional restoration to mount holes on foot rim, 45.5cm. diam. £800-1,200

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232

233

234 232. ‘Sliced Fruit’ a Clarice Cliff Bizarre vase, painted in colours between orange and black bands, printed factory mark, 15cm. high £120-180

233. ‘Applique Idyll’ a Clarice Cliff Bizarre 269 vase, painted in colours between red and black bands, printed factory marks, professionally restored, 15cm. high £300-500

234. ‘Passion Flower’ a Clarice Cliff 602 vase, waisted cylindrical form painted in colours on a turquoise ground, impressed shape number, 24cm. high £120-180

235. ‘Inspiration Caprice’ a Clarice Cliff Bizarre Mei Ping vase, painted in shades of blue, pink and buff on a turquoise ground, printed and painted marks, 31cm. high £400-600

235

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236

237A

237

236. ‘Rhodanthe’ a Clarice Cliff Bizarre Conical bowl, painted in colours printed factory marks, chip to outside of top rim, 19cm. diam. £150-200 237. ‘Coral Firs’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between grey, yellow and brown bands, printed factory marks, tiny frits to vents, small chip to foot rim, 14cm. high £200-300 237A. A Clarice Cliff Bizarre preserve pot, with electroplated cover, painted in stylised flowers and foliage in colours, a ‘Yellow Rose’ Clarice Cliff Odilon sauce boat, a Shelley Harmony jug and an Art Deco jug, printed factory marks, 9.5cm. high (preserve pot), (4) £150-200

238

238. ‘Viscaria’ a Clarice Cliff Bizarre Conical tea service for six, painted in colours, comprising; milk-jug and sugar basin, six Conical cups, saucers and side plates, and a cake plate printed £400-600 factory marks, 22.5cm. diam, (21) This set set has the impressed mark for 1935. 239. ‘Sundew’ A Clarice Cliff Bizarre Lynton coffee set for six, painted in colours, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed factory mark, 19cm. high, (15) £250-350 240. ‘Viscaria’ a Clarice Cliff Biarritz small serving platter, painted in colours printed factory marks, 28cm. wide £150-200

239

This platter has the impressed date of 1934. 241. ‘Red Autumn’ a Clarice Cliff Fantasque Bizarre Conical beaker, painted in colours, a ‘Liberty’ small Beehive preserve pot and a My Garden preserve pot and cover, printed factory marks, damages, 7cm. high, (3) £120-180 242. A large Clarice Cliff Bizarre Biarritz serving platter, painted with a stylised slender tree and flowers to the shoulder, in shades of pink, blue and green outlined in yellow, printed factory mark, 45cm. wide. £120-180 This platter has the impressed date of 1935

240

243. ‘Melon’ a Clarice Cliff Fantasque Bizarre Cylindrical preserve pot and cover, painted in colours between orange bands, a ‘Marguerite’ Beehive Honeypot and cover, a ‘Capri’ Bon jour preserve pot and cover, a Crocus octagonal tray and two other Clarice Cliff items, printed and painted marks, 8.5cm. high (preserve pot), (6) £400-600 244. A Foley bone china Art in Industry ‘White Rose’ part tea set designed by Graham Sutherland, model V.626, comprising, three tea cups, a saucer and five side plates, printed in black and green with rose motif to the well of the tea cup and centre of plates, printed and painted factory marks, facsimile signature, fine hairline to one cup, 16cm. diam (9) £120-180 Literature Graham Sutherland The Tate Gallery, 19th May-4th July 1982, page 66 catalogue number 27 for the original design, page 67 catalogue number 28 for a comparable part service in this design illustrated.

241

50

242

245. ‘Gay Day’ a Clarice Cliff Bizarre Dover jardiniere, painted in colours on a honeyglaze ground, printed factory mark, 19cm. high £120-180

243

244

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POOLE POTTERY 246. A pair of Carter’s Poole lustre tall candlesticks designed by Owen Carter, tapering square section with flaring sconce, covered in a streaked green and ochre lustre glaze unsigned 42cm. high, (2) £300-500 Provenance Nick Rocke Collection British Art Pottery, 25th November 2009 Woolley and Wallis Auctioneers, lot 245. Private collection. 247. A Carter’s Poole Pottery lustre vase designed by Owen Carter, shouldered form, covered in a green and blue lustre glaze, impressed Carter’s mark, small chip to top rim, 22.5cm. high £120-180 248. Picardy Peasant a rare Hammersmith Bridge pottery figure designed by Phoebe Stabler in 1914, potted by Harold Stabler, 1915, modelled seated resting her hands on her lap, covered in a mustard brown glaze, impressed Hammersmith Bridge mark, Phoebe Stabler and date 1914, incised to inside £120-180 Potted by Harold Stabler 1915, 27cm. high

246

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis, page 40 for a later example of this figure produced by Carter, Stabler & Adams at Poole Pottery. 249. A Carter Stabler & Adams Poole Pottery Chinese Blue vase designed by John Adams, shouldered form with collar rim, covered in a speckled blue glaze, a floating bowl and three other vases impressed and painted marks, damages, 25cm. high, (5) £120-180 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis, page 53 for comparable examples illustrated.

247

248

250. A large Carter’s Poole Pottery Portuguese stripe earthenware bowl, originally designed by James Radley Young, painted to the well with radiating sun motif in blue and yellow on a pale blue ground, the exterior with radiating alternate blue and yellow stripes, painted monogram, minor stress cracks to top rim, 37cm. wide £120-180 Literature Leslie Hayward and Paul Atterbury Pooler Pottery, Richard Dennis, page 31 for comparable examples illustrated.

249

250 interior

250

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251. Two Carter’s Poole Pottery Sporting tiles designed by Edward Bawden, SP2 and SP5, decorated with fishing and motor-car travel, in colours on a cream ground, cast Carter Tiles and painted SP marks, 15.5cm. square, (2) £200-300 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis, page 171 four examples from this series illustrated,

251

252

Sue Lunt Age of Jazz British Art Deco Ceramics, Liverpool Museums, page 68 for four comparable tiles from the sporting series illustrated. 252. An Art Deco Poole Pottery Plane Ware vase probably designed by John Adams, model no. 280, footed cylindrical form with applied modernist geometric handles, covered in an Apple Green spray glaze, impressed and incised marks, professional restoration to top rim, 18cm. high £120-180 Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis, page 71 this shape illustrated.

253 254

253. A large Art Deco Poole Pottery vase probably designed by John Adams, shape no.238, model no.C54A, modelled in relief with fan-tail pigeon handles, glazed Ice Green and Magnolia White, two similar vases with stylised lug handles and another tall white magnolia glaze vase, impressed and incised marks, hairline to top rim, 37cm. high, (4) £120-180 Literature Leslie Hayward & Paul Atterbury Poole Pottery, page 76 this shape illustrated in the factory pattern sheets.

255 256

254. An Art Deco Poole Pottery pair of Nautilus candlesticks, possibly designed by John Adams, shape no.974, picotee spray glazed in shades of magnolia and celadon, a Poole Pottery Picotee vase glazed celadon, two covered boxes and a bowl, impressed and printed marks, minor chips, 7.5cm. high (6) £150-250 Provenance The Poole Pottery Museum Archive, Christie’s 31st March 2004, lot 72 (part). Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis, page 75 for a comparable candlestick. 255. A Poole Pottery Picotee wash basin set, comprising basin, ewer and a pail, each spray glazed with turquoise bands, on a cream white ground, impressed and incised marks, glaze loss, 39cm. diam. (basin), (3) £100-200

257

256. An Art Deco Carter Stabler & Adams Poole Pottery vase designed by Harold Stabler, painted by Ruth Pavely, pattern KC, stepped shoulder painted with geometric motif in mint-green, grey and black on a white ground, impressed and painted marks, artist cypher, 23cm. wide. £120-180 257. A rare Art Deco Poole Pottery Studland part tea set designed by Truda Carter, pattern GPA, painted with stylised flower and foliage in green, grey and black, on a white ground, comprising; four cups, saucers and three side plates impressed and painted marks, 16.5cm. diam. (11) £150-200 Provenance The Poole Pottery Museum collection Poole Pottery Christie’s South Kensington 31st March 2004 lot 92 (part) Private collection

52

258

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis, page 43 one cup and saucer in this pattern illustrated.


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259

260

261

258. HMS Sloop Viper a Poole Pottery charger drawn by Arthur Bradbury, dated 1978, painted by Janice Dowding, painted in colours, painted inscription to the reverse, 32cm. diam. £120-150 259. A Poole Pottery vase designed by Truda Carter, pattern KJ, cylindrical form painted with a stylised eyelid design in shades of mushroom and black on a white ground, another cylindrical vase, an Apple Green glaze part tea set for two, two vases and four other items impressed and painted marks, 13cm. high (13) £150-200

262

260. An Art Deco Poole Pottery jug designed by Truda Carter, painted by Doris Marshall, pattern no.LW, painted with geometric foliage in mushroom, blue, grey and black on a white ground, and two other Art Deco Poole Pottery jugs painted with flowers and foliage impressed and painted marks, 18.5cm. high (3) £150-200 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis, page 64 this actual LW pattern jug illustrated.

263

261. A Carter Stabler & Adams Poole Pottery vase, shouldered form painted with geometric flowers and foliage in colours on a white ground, and a Poole Pottery Bluebird pattern jug and a vase, impressed and painted marks, 11.5cm. £150-200 high (3) 262. A Poole Pottery Bluebird vase, pattern PB, painted in colours on a white ground, a Bluebird floating bowl, a vase pattern ED and six other Poole items, impressed and painted marks, damages 16.5cm. high (9) £120-180 263. A Poole Pottery vase designed by Truda Carter, painted by Eileen Prangnell, pattern PJ, compressed form with collar neck, painted with geometric flowers and foliage in shades of mushroom, grey and black, and two others similar impressed and painted marks, 14.5cm. high (3) £150-200

264

264. A Carter Stabler & Adams Poole Pottery twin-handled vase by Anne Hatchard, pattern BR designed by Truda Carter, ovoid with twin-loop handles, painted in shades of mint-green, rust, grey and black on a white ground, and another cylindrical vase in the same pattern, impressed and painted marks, 24.5 and 30.5cm. high, (2) £200-300 Provenance Private collection. 265. A large Carter Stabler and Adams Poole Pottery Art Deco jug by Ruth Pavely, pattern UC, designed by, painted with geometric Egyptian fan flowers and foliage in blue, mushroom and grey on a white ground, impressed marks, painted artist cipher, professional restoration, 36.5cm. high £150-200

265

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266. A Poole Pottery Freeform vase painted by Gwen Haskins, pattern 342/PV, painted in the ‘Burst’ pattern in red and blue on a white ground, printed and painted marks, 19cm. high £120-180

266

267

267. A Poole Pottery Contemporary vase designed by Alfred Read and Guy Sydenham, shape 718 pattern /HZT, painted with columns of scroll and geometric foliage in red, grey and black, and two other Contemporary vases, printed and painted marks, main vase drilled, 20cm. high, (3) £150-200 268. A Poole Pottery Contemporary vase designed by Alfred Read and Guy Sydenham, shape no. 715, waisted cylindrical form, covered in a Lime Yellow glaze, two Freeform vases with a similar glaze, a Contemporary Carafe vase shape no 937 covered in a Sky Blue glaze and two other vases, printed factory marks, 19.5cm. high (6) £150-200

268

269. A Poole Pottery Freeform vase designed by Alfred Read and Guy Sydenham, shape 352 pattern PY, painted in colours and four other graduated Freeform vases in different patterns printed and painted marks, 19cm. high (5) £150-200 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 107 for a comparable vase.

269

270. A Poole Pottery Freeform vase designed by Alfred Read and Guy Sydenham, shape no. 720, covered in a Lime Yellow glaze, and two other Contemporary vases in a Lime Yellow glaze printed factory marks, 25cm. high, (3) £150-200 271. A Poole Pottery Contemporary vase designed by Alfred Read and Guy Sydenham, shape 722 pattern FST, painted with Ice green stylised butterflies on a matt white ground, a vase 342/PX and two Contemporary jardinieres printed and painted marks, 24cm. high (4) £150-200 272. A rare Poole Pottery Freeform vase designed by Alfred Read and Guy Sydenham, shape no. 724, covered in an Ice Green glaze, and another Contemporary vase covered in a Black Panther glaze, printed factory marks, 36.5cm. high, (2) £150-200 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 104 for a comparable vase illustrated.

270

272A. A Poole Pottery Atlantis vase by Guy Sydenham, the tapering body with flaring rim, glazed cream to interior, the body with impressed circle decoration, impressed mark, incised A9/1 and GS cipher, 17cm. high £80-120

271

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 145 for comparable examples illustrated. 273. The Planets four modern limited edition Poole Pottery wall chargers designed by Alan Clarke, dated 2000, comprising, Neptune, Uranus, Mercury and Earth, painted in colours, printed factory marks, 41cm. diam. (4) £200-300 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 206-207 for the limited edition set illustrated. This set was limited to an edition of 500. 274. The Saint George Plate a Poole Pottery limited edition wall charger designed by Tony Morris, painted by L J Wills, resist decorated to simulate a stained glass window, with St George killing the dragon, in colours impressed and painted marks, 190/1000, 32cm. diam. £120-180

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275

272A

274

273

276

277

278

279

275. A string of ceramic beads by Joan Sydenham, variously decorated with impressed designs and glazes, and another string of beads unsigned 92cm. long (largest) £120-150 Literature Guy Sydenham A Potters Life The Island Potters of Poole, Sansom & Company, page 139 for comparable strings of beads illustrated. 276. A Poole Pottery Atlantis vase by Guy Sydenham, ovoid with applied loop handles, incised vertical columns, glazed brown, an Atlantis vase by Guy Sydenham carved with animal features, two Atlantis pebble vases by Guy Sydenham, and two footed bowls, impressed and incised marks, 15cm. high (6) £150-200 277. A Poole Pottery Atlantis vase by Guy Sydenham, tapering cylindrical form, incised with vertical geometric columns, glazed white, turquoise and sand, another taller and another Atlantis vase with arched groove decoration, impressed and incised marks, 21cm. high (tallest), (3) £120-180 278. A Poole Pottery Atlantis vase, model no.A.91, slender, swollen cylindrical form with flaring rim, incised with columns of geometric design, in white, black and turquoise, on a terracotta ground, and another similar Poole Atlantis vase by Jennie Haigh, impressed and incised marks, 25cm. high, (2) £120-180

280

279. A Poole Pottery Atlantis vase by Guy Sydenham, ovoid, with narrow neck, incised with deep vertical grooves, glazed dark brown, impressed mark and incised GS monogram, 19cm. high £200-400

281

280. A Poole Pottery Atlantis Knight’s helmet lamp by Guy Sydenham, the exterior carved and glazed to simulate chain-mail, the interior the knight’s face glazed orange, impressed mark and incised artist monogram, 29cm. high £200-400 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 144 for a comparable lampbase 281. A Poole Pottery Studio vase designed by Robert Jefferson, shouldered cylindrical form, moulded in low relief and matt glazed with geometric decoration, printed Poole TV mark, 31cm. high. £200-300 282. A Poole Pottery Studio charger designed by Robert Jefferson, painted with an owl, in colours on a white ground, printed Studio mark, 41.5cm. diam. £200-300 Literature Jennifer Hawkins The Poole Potteries Barrie & Jenkins, page 96 for a colour illustration of a similar owl. Rena Jefferson Robert Jefferson The Quiet Virtuoso, Richard Dennis Publications, page 25 for a comparable owl on a rounded rectangular dish illustrated.

282

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RICHARD PARKINSON POTTERY 283. A rare pair of pottery mugs made by Richard Parkinson, each painted with geometric columns in blue and mushroom on a buff ground, and a copy of Susan Parkinson and the Richard Parkinson Pottery book by Carol Cashmore and Tim Smith-Vincent signed by Susan Parkinson, impressed seal marks, damages, 9.5cm. high, (3) £200-300

283

284

Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 43 for an illustration of comparable mugs drying in the studio. 284. A pair of Richard Parkinson bowls designed by Susan Parkinson, each decorated with a geometric design in shades of blue on a white ground, and two elliptical bowls one decorated with a geometric design, the other painted 1961, impressed marks to 1961 dish 16.5cm. diam. (5) £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 81 this actual 1961 dish illustrated. Sold with a copy of Susan Parkinson and the Richard Parkinson Pottery.

285

286

285. A Richard Parkinson Money Bear designed by Susan Parkinson, painted in blue with scratch decoration, and two Parkinson wrens with Sunderland pink lustre finish impressed mark to one wren, small chip to beak of one wren, 14cm. wide (money box), (4) £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 102 for a comparable lustre wren made in 1961. Sold with a copy of Susan Parkinson and the Richard Parkinson Pottery.

287

286. Two Richard Parkinson Pottery storage jars and covers designed by Susan Parkinson, cylindrical form painted and incised with geometric bands, one with floral swags, in shades of blue on a white ground, unsigned, 16cm. high, (3) £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page108 for three comparable storage jars illustrated. Sold with a copy of Susan Parkinson and the Richard Parkinson Pottery.

288

287. A Richard Parkinson Pottery Policeman bottle stopper designed by Susan Parkinson, glazed blue-grey and white, a cruet, a Money Bear moneybox and a large leaf dish, impressed marks to leaf and cruet set, chip to leaf, 13cm. long (stopper), (5) £150-200 288. Susan Parkinson (1925-2012) Robins, Mice and a Peacock, a mixed media print, mounted, and Owl Study another print by Susan Parkinson monogrammed SP lower right, numbered 9/10 27 x 10.5cm. (3) £150-200 Sold with a copy of Susan Parkinson and the Richard Parkinson Pottery.

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288A


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290

291

288A. A Richard Parkinson Pottery cruet set designed by Susan Parkinson, slender form glazed with geometric designs in blue on a white ground, impressed marks, to base rim, 16cm. high £120-180 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, privately published, page 50 for comparable cruets illustrated. 289. A Richard Parkinson Pottery dish designed by Susan Parkinson, triangular section, painted with a schoolgirl portrait, in shades of blue on a white ground, impressed factory marks, 16cm. wide, (2) £150-250 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 38 for a comparable dish illustrated. Sold with a copy of Susan Parkinson and the Richard Parkinson Pottery. 290. A Richard Parkinson Pottery Rook wall plate designed by Susan Parkinson, from the Chess Series, resist decorated and scratched with a stylised rook bird before a castle, in shades of blue on a white ground, unsigned, professional restoration 34cm. diam. (2) £300-500

292

Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 58 for a comparable plate illustrated.

293

Sold with a copy of Susan Parkinson and the Richard Parkinson Pottery. 291. A rare Richard Parkinson Pottery Queen wall plate designed by Susan Parkinson, from the Chess Series, painted in resist and scratched with a Queen in profile portrait, in shades of blue on a white ground, unmarked, minor professional restoration to a chip on the rim, 22cm. diam. (2) £300-500 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 56 for a detail of the comparable King plate from the Chess Series. Sold with a copy of Susan Parkinson and the Richard Parkinson Pottery. 292. A Richard Parkinson Pottery cockerel designed by Susan Parkinson, resist decorated in blue on a white ground, impressed marks to base, 30.5cm. high £150-200 293. A Richard Parkinson Pottery model of an owl designed by Susan Parkinson, incised decoration with brushed matt mushroom colouring, and another smaller impressed marks tp smaller owl, 20cm. high (2) £150-200 Literature Carol Cashmore and Tim Smith Vincent Susan Parkinson & The Richard Parkinson Pottery, page 22 for a comparable owl illustrated. 294. A large Richard Parkinson Pottery model of a golfer designed by Susan Parkinson, glazed in blue-grey on a white ground, impressed and printed marks, 39cm. high £500-800

294

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STUDIO POTTERY ‡ 295. Audrey Blackman (1907-1990) St Cuthbert a stoneware wall plaque, dated 1934, circular cast in low relief with the saint and two otters, glazed yellow, impressed A Blackman and dated 1934, chips, 45cm, diam. £120-150 ‡ 296. Daisy Borne (1906-1998) Lucinda & Kittens, a pottery bust on wooden base, glazed in colours paper label to base, 11cm. high £120-180 Exhibited Mall Galleries (The Federation of British Artists)

295

296

297. A massive Upchurch Pottery vase, shouldered cylindrical form, covered in a streaked green and blue matt glaze, impressed marks, painted 4C, 38cm. high £120-180 ‡ 298. William Staite Murray (1881-1962) a stoneware pedestal dish, circular form, covered in a crackled celadon glaze, and a William Staite Murray unomi, covered to the foot with a rust glaze, impressed seal marks, 12.5cm. diam. (2) £200-300

298

‡ 299 Janet Leach (1918-1997) a St Ives stoneware vase, shouldered ovoid form with flaring neck, decorated with combed decoration, covered in an oatmeal glaze impressed seal marks, 17cm. high £150-200 ‡ 300. William ‘Bill’ Marshall (1923-2007) a St Ives pottery stoneware vase, ovoid with collar rim, covered with a textured oatmeal glaze and splashed glaze to shoulder, impressed seal marks, 24cm. high £300-500

297

301. David Leach OBE (1911-2005), attributed a Lowerdown Pottery stoneware vase, shouldered form with a solifleur neck, painted with prunus stem decoration in iron red and blue on a mottled oatmeal glaze, a David Leach vase, a Ray Finch ginger jar and cover and ten other studio pottery items various impressed seal marks, 23cm. high (Lowerdown vase), (13) £300-500 Provenance Craftwork, Guildford 1974, Ray Finch ginger jar and cover.

300 299

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301

302. William ‘Bill’ Marshall (1923-2007) a St Ives pottery vase, square section with solifleur neck, covered in tenmoku glaze with dark splashed glaze to the shoulder, a David Leach stoneware vase and two other vases, impressed seal marks, 10.5cm. high (4) £150-200

302


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‡ 303. David Leach OBE (1911-2005) a large Lowerdown Pottery stoneware flagon, covered to the foot with a running Dolomite and tenmoku glaze, impressed DL seal 42cm. high £150-250

‡ 304. Richard Batterham (born 1936) a cut-sided stoneware footed bowl, covered in an ash glaze, unsigned, 24cm. diam. £120-180

304

303 ‡ 305. Jim Malone (born 1946) an Ainstable Pottery coffee set for six, comprising; coffee pot and cover and six tankard mugs, with simple incised column decoration, covered with a pale celadon glaze to the foot and painted dots, impressed seal marks, 19cm. high (7) £120-180

305 306. Mike Dodd (born 1943) a tall stoneware vase with knopped neck, covered in a thick ash glaze with incised decoration, impressed seal to base, 43cm. high £200-250

306

307. Waistel Cooper (1921-2003) an ovoid vase with flaring solifleur neck, incised with vertical ribs glazed matt brown and white, a stoneware storage jar and cover by Richard Batterham and a bowl and two goblets by Laurence McGowan painted signature 11.5cm. high (5) £150-200

307

‡ 308. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery tin-glazed pottery large bowl, date mark for 1961, flaring form, painted with simple foliate motif in red lustre on a tin-glaze printed factory mark, painted monogram, 47cm. diam. £600-700

308

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‡ 309. Edgar Campden an Aldermaston Pottery low twin-handled pot and cover, the cover painted with fish in brown, black and blue on a grey ground, painted marks, printed factory mark, 36cm. wide. £250-300

309

310. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery platter, rounded rectangular section painted tin-glaze, another larger Aldermaston Pottery twin-handled dish by Alan Caiger-Smith, a cheese dish cover and wooden base and a salt-pig, printed and painted marks, 37.5cm. wide (4) £250-350

310

311. A rare Troika Pottery Pillar vase, footed form, moulded in low relief with geometric panels in green and buff, painted marks, and artist monogram AD to base, 54.5cm. high £800-1,200 Literature Ben Harris and Lawrence Illsley, Troika 63-83, colour plate 18 for a comparable vase.

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311


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‡ 312. Hans Coper (1920-1981) a rare large stoneware bowl with deep rim, resist decorated to the well with a fish or bird motif, in white and black impressed seal mark, chips to rim, 39cm. diam. £20,000-30,000

Provenance Private collection. Literature Tony Birks Hans Coper Collins, page 95 for a comparable bowl illustrated with a geometric bird, also page 97 for another bowl similar. Victoria & Albert Museum number C15-2016 for a comparable bird bowl.

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‥ 313. Dame Lucie Rie DBE (1902-1995) a large flaring porcelain bowl, covered to the foot with a gloss white glaze, impressed marks, 11.5cm. high, 27cm. diam. £4,000-6,000

Provenance Berkeley Collection Private collection.

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‡ 314. Dame Lucie Rie DBE (1902-1995) a stoneware shallow bowl, rounded rectangular section, glazed white with inlaid blue veins, impressed seal mark, 24cm. long, 19cm. wide £8,000-12,000

Provenance Lucie Rie’s Estate Private German collection Literature Lucie Rie Crafts Council exhibition 30th January-5th April 1992, catalogue number 15.6 Dame Lucie Rie Sale of a Lifetime, Bonhams, Thursday 17th April 1997 lot for two comparable pieces.

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315. Dame Lucie Rie DBE (1902-1995) sixty six various buttons with various glazes including golden lustre, unsigned 4.5cm. long (largest), (66) £800-1,200 Provenance Lucie Rie’s Estate Private collection. ‡ 316. Dame Lucie Rie DBE (1902-1995) a stoneware vase, swollen form, covered in a running and pitted blue glaze, impressed seal mark, 15.5cm. high £2,000-3,000

Provenance Private German collection, purchased directly from Lucie Rie in 1975. Literature Dame Lucie Rie Sale of a Lifetime, Bonhams, page 86 lot 189 for comparable glaze on a footed vase.

315

‡ 317. Dame Lucie Rie DBE (1902-1995) a stoneware planter or Bonsai jardiniere, flaring cylindrical form with incised bands, glazed to the foot with a pitted oatmeal glaze, impressed seal mark, frost crack to top rim, 35.5cm. diam. £2,000-3,000 Catalogue notes These planters were commissioned from Lucie Rie and Hans Coper by Bunny Roger and his brother Sandy for use outside. On Bunny’s death in 1997 they were sold with his collection at Sotheby’s.

Provenance Bunny Roger. Private collection. 318. Ryoji Koie (born 1938) a porcelain footed chawan, with cut decoration, glazed to the foot with a white glaze, applied Galerie Besson paper label, 9cm. high £400-600 Provenance Galerie Besson 2001 Private collection.

316

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CONTINENTAL CERAMICS 319. A Della Robbia style architectural panel by Cantagalli, modelled in relief with the Madonna and Child, glazed in blue and white impressed cockerel roundel, chips and losses, 50cm. high, 53cm wide. £120-180 320. A Cantagalli pottery Iznik charger, painted to the well with stylised flowers, the rim with a simple band, painted cockerel mark, minor glaze loss to rim, 39.5cm. diam. £400-600 321. A Cantagalli Hispano-Moresque pottery ewer, slender form with tall neck and scroll handle with dragon terminal, painted with classical figures and scrolling foliage in golden and red lustre on a blue lustre ground painted factory mark, 39cm. high £500-1,000

319

320

322. A Cantagalli Hispano-Moresque pottery ewer, footed form with scroll handle with mask base, painted with a cherub in heart-shaped panel, inside classical dragons, in gold and red lustre on a blue ground, painted mark to base, 29cm. high £400-600 323. A Zsolnay Pecs temple jar and cover, shouldered form painted with oriental figures standing before flowering foliage sprays, in red and yellow flambe on a deep flambe ground printed factory mark, 36cm. high £300-400 324. A pair of Sevres vases by Optat Milet, shouldered form with collar rim, painted with flower stems in red on an orange ground painted marks to base, chips, 25cm. high, (2) £300-500 325. An Art Nouveau Sevres porcelain box and cover, rounded, lobed form tubeline decorated with sprays of wild flowers, in colours on a mint green ground, printed Sevres mark, painted number, 14cm. wide. £150-200

321

322

326. An Art Nouveau Meissen porcelain figure of a young girl the design attributed to Alfred Konig, model H.157, modelled standing plaiting her long hair, in colours impressed marks, painted cross sword mark, 20.5cm. high £250-300 327. A Sevres pottery vase designed by Paul Milet, slender, shouldered form glazed blue with turquoise and green streaks, stamped Sevres MP mark, glaze nick to base rim, 30cm. high £120-180

323

324

325 326

327

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328. Die Kranken Pflegen (The Care of Sick) a large Villeroy & Boch wall charger, printed and enamelled in colours, and another similar, printed factory mark, hairline and rim chips, 51cm. diam. (2) £120-180 329. A large Art Nouveau Amphora vase, model no. 748, modelled as a large, swollen flower stem set with a maiden, the foliage with three Art Nouveau maidens in low relief, impressed marks, damages and old restoration, 60cm. high £120-180

328

330. A Wiener Keramik pottery figural lamp base, in the manner of Michael Powolny, modelled as a lady in full length dress, holding a cup and saucer, black painted detail on a cream ground, with frosted glass shade, stamped Austria and numbers, restoration to base of pillar, 23cm. high (figure), 45.5cm. high (overall height), (2) £250-300 331. An Arts and Crafts Van Briggle pottery vase, low compressed form, cast to the shoulder with stylised leaves, covered in a graduated turquoise green to blue vellum glaze, incised marks to base, 25cm. wide. £150-200 332. A continental porcelain Offenbach tea set for six, painted with operatic figures from Jacques Offenbach works, in shades of blue and grey, titles to the well, including La Belle Helene, Orphee aux Enfers and La Perichole, comprising six cups and saucers unsigned, 15cm. diam. (12) £120-180 333. An Italian Ars Pulchra model of a naked woman, modelled kneeling in ecstasy, glazed in colours, and a Colenbrander pottery vase painted with a parrot perched in flowers and foliage, painted factory marks, repaired damages, 26cm. high (2) £300-400

329

334. A Boch Freres La Louviere Keramis vase designed by Charles Catteau, waisted, pear shaped form, painted with fruit, in colours on a cracked white ground, a continental pottery vase modelled a woman on a painter’s palette and a Bingit Zinn Secessionist pewter decanter, shot glasses and tray printed factory marks, 19cm. high (BF vase), (10) £50-100

330

334A. An earthenware vase by Otto Lindig, hand-thrown ovoid form with everted rim, covered in a streaked silvergrey and oatmeal glaze, incised marks for Otto Lindig and his son Markus Lindig, 17.5cm. high £150-200

331

Provenance Clarice Cliff & Art Deco Woolley and Wallis Auctioneers, 11th March 2011 lot 297 Private collection.

332

334

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335

336 335. Five Metzler and Orloff porcelain figures of musicians designed by Walter Bosse, modelled as young children playing flute, violin, accordion, cello and bagpipes, painted in colours printed factory mark, minor damages, 9.5cm. high, (5) £500-800 336. A Goldscheider Pottery model of a Butterfly dancer designed by Josef Lorenzl, model no.6022, modelled standing holding her dress hem, painted in colours impressed marks, printed and painted marks, professional restoration to ankles and dress hem, 28cm. high £500-800 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 106 for comparable examples illustrated. 337. An Art Deco Limoges Cubist cat designed by Camille Tharaud, modelled seated, £200-300 glazed in colours printed marks 21cm. high Provenance Decorative Arts 1880 to the Present Day Christie’s South Kensington, September 1988.

337

338. A porcelain sculpture of two dancers probably by Royal Dux, model no.2993. modelled in exotic costume, probably based on Rudolf Nureyev, glazed in blue and white, highlighted in gilt, and a Royal Dux model of a pierrot holding a guitar, first group unmarked, second with applied factory mark, losses to guitar, 30cm. high (dancer group), (2) £120-180 339. Woman with a Borzoi a Goebels pottery wall mask, painted in colours, and two other Goebels pottery wall plaques of a woman in a beret and a woman with flowers in her hair impressed marks, 25cm. long (3) £150-250 340. Young Lovers a pottery figural group by Miklos Komlos, modelled walking arm in arm in national dress, holding flowers, glazed in colours, impressed marks, remains of original paper label, minor losses, 37cm. high £120-180

338

339 340

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342

343

341

341. A rare earthenware figural candlestick by Bjorn Wiinblad, dated 1978, modelled as a bearded man seated on the back of an elephant, their exotic headdress forming two candle sconces, painted yellow and brown on a tin-grey glaze, painted marks and signature to base, minor glaze loss to tip of tusk, 34cm. high £300-400

342. A Rosenthal porcelain plaque by Lis Muller, model no.291, painted with a lady romantically holding a rose, before open window, in colours, in ebonised wooden frame, printed marks and signature to reverse, signed to front 31 x 26cm (plaque) £150-200

343. An unusual Arabia pottery wall plate by Toini Muona, dated 1932, painted possibly with a self-portrait at the wheel, working on a low vase on the wheel, with two tall vases drying on a shelf behind and four low bowls glazed turquoise in the foreground, another female potter watching on, painted in colours painted Arabia and TM monogram, 25.5cm. diam. £300-500

344

344. A large Herman A Kahler Keramik pottery vase by Jens Thirslund, Danish, pear shaped, thickly painted with stylised abstracted flower stems in blue, turquoise and brown on a cream ground, stamped Danmark and indistinct incised monogram, chips to base, old restoration to top rim, 43.5cm. high £150-250

345. A Gambone pottery vase by Guido Gambone, dimpled, shouldered form with flaring neck, painted with geometric panel in sky blue on a white ground, painted marks to base, small chip to side of foot, 30cm. high £300-500

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‡ 346. Dorte Clara Dodo Burgner, (1907-1998) Woman in a yellow dress pencil and watercolour on paper, mounted unsigned 34 x 16cm. £120-180

‡ 347. Dorte Clara Dodo Burgner, (1907-1998) Woman in Green pencil and watercolour on paper unsigned, annotated in pencil 54 x 44cm. £120-180

346

347

‡ 348. Dorte Clara Dodo Burgner, (1907-1998) Study of a Woman pencil and watercolour on paper, and another study of a woman unsigned 45 x 36cm. (2) £150-200

‡ 349. Dorte Clara Dodo Burgner, (1907-1998) Young couple relaxing pencil and watercolour on paper, mounted unsigned 25.5 x 18.5cm. £120-180

‡ 350. Dorte Clara Dodo Burgner, (1907-1998) Young Couple Dancing (woman in a yellow cat-suit) ink and wash on paper, mounted unsigned 26 x 22.5cm £120-180

348

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‡ 351. Dorte Clara Dodo Burgner, (1907-1998) Fashion study of Five Women, circa 1926 pen and ink on board for Vogue patterns for the Michels Silk Weaving Company, signed Dodo in ink lower right 51 x 37cm.

£600-1,000

Literature Renate Krummer Dodo Life & Work, Hatje Kantz, page 76-77 for comparable examples illustrated.

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‡ 352. Dorte Clara Dodo Burgner, (1907-1998) Nude figure study charcoal on paper unsigned 58 x 42cm (sheet) £120-180

‡ 353. Dorte Clara Dodo Burgner, (1907-1998) Alhambra - Das Medium Dei Grafen Wolkonski watercolour and ink poster design unsigned, losses 48 x 37cm. (sheet) £120-180

352

353

‡ 354. Dorte Clara Dodo Burgner, (1907-1998) The Maid and The Gardener, and The Maid, 1923 pen and ink on paper, in common mount signed DW for Dodo Wolff, one titled and dated 23 to reverse, 20 x 14cm (maid) £120-180

354

‡ 355. Dorte Clara Dodo Burgner, (1907-1998) Young Lady and a suitor, pencil and watercolour on paper, mounted, with annotated sketches to reverse, signed Dodo 23 x 17.5cm. £120-180

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356

357

358

356. manner of Paul Jouvre (1878-1973) Black Panther on a Rock, lithographic print in colours, framed unsigned, 83 x 42cm. (image) £150-200

357. Rene Gruau (1909-2004) Woman in a Flowered Hat, 1987 lithograph on wove paper signed in pencil and numbered 270/300, Gruau 1987 stamp to reverse, 75 x 59cm. £150-250

358. Rene Gruau (1909-2004) La Violette (Woman in a Black Veil), 1988 lithograph on paper signed in pencil, numbered 208/300 68.5 x 54cm. £150-250

359 359. The Power and The Glory of Real Baseball a lithographic poster on paper, by the Duffy Design Group, framed, and another Vanderbilt The Heart and Soul of All-out Basketball, signed Duffy in the print 92.5 x 48.5cm (image), (2) £120-180

360. Edward McKnight Kauffer (1890-1954) Near Walthamcross by Tram, 1924 lithographic poster in colours, printed by The Banyard Press, mounted on paper signed in the print 76 x 50.5cm. £150-200

361. Edward McKnight Kauffer (1890-1954) Hadley Wood by Tram, 1924 lithograph on paper published by Vincent Brookes, mounted on paper signed and dated in the print, 76 x 50.5cm £150-200

360

361

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362. Deutsche Kunst October 1929 and October 1930, with covers designed by E Pfeifer, Architecture 1925 editions Albert Levy and six other contemporary volumes on design, (9) £120-180 363. John William Waterhouse RA (18491917) Pandora, 1896 a colour print published by the Fine Arts Publishing Co. Ltd, 1905, framed signed and dated in the print, 60.5 x 34cm. £150-200 364. Modern Power Generators Volume 1 and 2, two books with cover designs by Talwin Morris, published by Gresham Publishing Company, 1908, and The Horse volumes 1-9, with covers designed by Talwin £120-180 Morris, (11) 365. The Studio volume 1 with cover designed by C F A Voysey, 1893, 29 x 22cm. £120-180

363

362

366. Alphonse Mucha (1860-1939) La Plume, April 1898 a magazine with Art Nouveau cover, published by imp. de Vaugiraard signed Mucha in the lithograph £200-250 26 x 19cm.

364

365

367. Alphonse Mucha (1860-1939) Le Mois (no 175, 176 and 179), 1913 three magazine covers originally designed 1898, lithograph on paper, signed in the print Mucha 98, 25 x 16.5cm. (3) £200-250 368. Jules Cheret (1836-1932) Paris Illustre, lithograph in colours on paper, framed and La Commedie a lithograph by Jules Cheret, framed signed in the print Cheret £150-200 40x 30cm (Paris image), (2)

366

74

367

368

369. Edwin La Dell (1914-1970) The Tower of London, SP.6, 1946 a School Print, lithograph in colours, published by the Banyard Press, framed, and ‘Minnesota’ SP23 a School Print by Adolf Dehn signed and dated in the print 68 x 42cm. (image), (2) £120-180

369


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A PRIVATE COLLECTION OF CIRCUS POSTERS 370. Famous Nelson Family a Cole Brothers Circus poster, lithograph in colours, printed with the Nelson Family performing acrobatic feats, above attached paper date, framed unsigned, 70 x 63cm. £200-300 371. Hubert Castle a Cole Brothers Circus poster, lithograph in colours printed by Erie Litho & Ptg Company, printed with the world’s foremost artist of the silver wire, framed, printer details to the lower border, £300-400 121 x 65cm. (image)

370

372. Hagenbeck-Wallace Circus a poster, lithograph in colours, printed by Erie Litho & Ptg Company, USA, depicting acrobats, a tight-rope walker and bare-back horse rider, framed, printers details to lower border, 98 x 63cm. (image) £400-600

371

373. Sally Lou Marsh and her Kentucky Thorough-Bred a Downie Brothers Circus poster, lithograph in colours, printed by Erie Litho & Ptg Company, framed, printers details to lower border, 100 x 65cm. (image) £400-600 374. Jack Hoxie in Person a Downie Brothers Circus poster, lithograph in colours printed by Erie Litho & Ptg Company, depicting the famous Western Screen star on Scout The Wonder Horse, a rearing white stallion, framed, printers details to the lower border, 99 x 66cm. (image) £300-400 375. The Great Florenzo a Cole Brothers Circus poster, lithograph in colours printed by Erie Litho, USA, depicting Florenzo driving his car down a ramp and doing the loop the loop, framed, printers details to border, 66 x 44cm. (image) £200-300

372

374

373

375

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376. ‘Farbige Raume und Bauten’ (Colour Space and Design) by Professor Wilhelm Joker, a loose bound folio of interior designs, published by G Siegle & Co, Stuttgart, published circa 1929, 36 x 25.5cm. £120-180

377. An Art Deco watercolour of a young woman, semi-naked, painted in colours with white highlighter, in octagonal frame indistinct signature, titled in pencil to reverse 43cm. high £150-200

376

378. Erte (Romaine de Tirtoff, 1892-1990) Lady with six Gentlemen in Top hat and Tails, a modern limited edition lithographic print on paper, framed signed in pencil Erte, lower right, numbered 119/260 51 x 38.5cm (image) £150-250

379. Six Art Deco original watercolour designs on paper, probably designs for textiles, each depicting stylised flowers and foliage in colours, framed, annotated, 40 x £120-180 37cm. (image), (6)

377

378 380. No lot

381. Varci Still life with fruit, 1973, oil on canvas, framed, and two other abstract oil paintings, signed and dated 46.5 x 31cm (image), (3) £120-180

379 part

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‡ 382. Dame Elisabeth Frink RA (1930-1993) Horse and Rider limited edition wool tapestry, in colours, signed Frink lower right, label 11/30 275 x 186cm.

£3,000-5,000

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383. A pair of Arts and Crafts embroidered silk wall hangings, depicting a chinoiserie scene of a pagoda beside a pool issuing flowers and foliage and a tall tree with scrolling trunk, an exotic bird perched, on burgundy velvet ground, unsigned 269 x 60.5cm. (2) £150-250

383

383 detail

384. ‘Stones of Bath’ a large pair of Sanderson curtains designed by John Piper, printed cotton, in shades of autumnal green, brown and black, printed selvedge, 190cm (high) x 232cm (wide), (each curtain) (2) £200-300 Literature Geoffrey Rayner Artists’ Textiles in Britain 1945-1970, ACC, page 85 catalogue number 74 for a comparable example illustrated.

384

78

384 detail

385. ‘Omega’ a printed cotton textile designed by Barbara Brown for Heal’s, designed 1965, printed in shades of orange, brown and black, mounted on a stretcher, selvedge titled 121 x 102cm. £80-120

385


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FURNITURE 386. A walnut side table by Sidney Barnsley, the rectangular top inlaid with ebony and holly banding, with stepped under-carriage set with similar banding, square section legs unsigned 52 x 35.5cm, 35.5cm. high £200-300 Provenance Sidney Barnsley, Edward Barnsley to Nic Antonini (Edward Barnsley’s Grandson).

387. An oak occasional table attributed to Sidney Barnsley, rectangular plank top with four angled plank legs and low stretcher, 80.5 x 36cm, 45cm. high £500-800

386

Provenance Nic Antonini (Edward Barnsley’s grandson).

388. A pair of oak bookends by Edward Barnsley, simple arched, rectangular form, with dove tail joints unsigned 20cm. high £80-120 Provenance Edward Barnsley to Nic Antonini (Edward Barnsley’s grandson).

389. An oak coal box by Edward Barnsley, with wide dovetail joints, hinged door and metal liner, 37cm. wide, 38cm. high £200-300 Provenance Sidney Barnsley, Edward Barnsley to Nic Antonini (Edward Barnsley’s Grandson).

387

388

389

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390. A wrought iron fire trivet designed by Ernest Gimson, probably made by Alfred Bucknell, circular on tripod foot, the circular top with scroll decoration, unsigned 37cm. high £200-400 Provenance Sidney Barnsley, Beechanger (Sidney and Lucy Barnsley’s house at Sapperton) Edward Barnsley to Nic Antonini (Edward Barnsley’s grandson).

390 detail

Literature Annette Carruthers Edward Barnsley and His Workshop - Arts and Crafts in the 20th Century, page 25 for an illustration of this trivet in the fireplace at Beechanger. 391. A polished steel toasting fork designed by Ernest Gimson, made by Alfred Bucknell, with articulated fire guard, the stem with pierced heart panel, the shield with chased geometric design, pierced holes and fine rope border, unsigned, 57cm. long £300-400 Provenance Sidney Barnsley,

390

Edward Barnsley to Nic Antonini grandson).

(Edward Barnsley’s

Literature Annette Carruthers and Mary Greensted Simplicity or Splendour, Cheltenham Museum & Collection, page 59 colour plate 61 for a comparable example illustrated. 392. A polished steel brush and coal tongs designed by Ernest Gimson, made by Alfred Bucknell, the brush with heart motif and chased geometric handle, the tongs with chased decoration, unsigned, 55cm. long, (2) £200-300

391

Provenance Sidney Barnsley, Edward Barnsley to Nic Antonini (Edward Barnsley’s grandson). Literature Annette Carruthers and Mary Greensted Simplicity or Splendour, Cheltenham Museum & Collection, page 68 fig.145 catalogue number 70 for a comparable example of tongs illustrated.

392

393. A pottery beaker vase by Grace Barnsley, flaring cylindrical form, painted with cornflower stems in purple and green on a pink ground, painted monogram, 17cm. high £150-200 Provenance Sidney Barnsley, Edward Barnsley to Nic Antonini grandson).

392 detail

(Edward Barnsley’s

394. A Wedgwood Pottery bowl by Grace Barnsley, low, flaring form painted with bands of simple leaf motif in blue, highlighted with coral red on a white ground, a preserve pot and cover by Grace Barnsley, a Wedgwood side plate and three various cups impressed marks to bowl and plate all with painted monogram, 27cm. diam. (6) £200-300 Provenance Sidney Barnsley Edward Barnsley to Nic Antonini grandson).

80

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394

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395. An oak “Holland” display cabinet after a design by George Walton, on slender, tapering square section legs, the glazed twin doors with gilt metal fittings, glazed side panels and overhanging mantel, shaped internal shelf, 122cm. high, 91cm wide, 39cm deep. £500-1,000 Literature The Studio Yearbook, 1907 for an illustration of the original Holland cabinet. Karen Moon George Walton Designer & Architect, White Cockade, page 138 plate 181 for the Holland cabinet illustrated with two of Walton’s candlesticks, flanked by a pair of Brussels chairs in the Walton’s drawing room at 26 Emperor’s Gate, London. Lyon & Turnbull Scottish Design from 1860, 15th June 2011, lot 28 for a comparable, larger example.

396. A Shapland & Petter oak hall wardrobe, single hinged door with patinated copper Art Nouveau floral panel, fitted with coat rail and two shelves to interior, 186cm. high, 69cm. wide £300-500 Literature Daryl Bennett Shapland & Petter Ltd of Barnstaple, Museum of Barnstaple, page 11 figure 1.15 for a comparable two door hall robe illustrated.

397. A large Arts and Crafts Cotswold School walnut wardrobe, two panelled doors flanked by similar angled panel doors, enclosing hanging space, with rails and hooks, flanking a central section of graduated drawers and mirrored cupboard, above two base drawers on carved stretcher supports, unsigned, 180.5cm. high, 256cm wide, 58cm. deep £600-800

395

Provenance Private Wiltshire Rectory private collection.

397

396

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398

399

399 detail of signature 398. A stained wood occasional table in the manner of Josef Hoffmann, possibly manufactured by J & J Kahn, circular section top with three turned wood legs and central column, with drum shaped supports, circular base on pad feet, 47cm diam, 70cm. high £200-300 Literature Moderne Vergangenheit 1800-1900, page 63 for a reproduction from Katalog-Blatt Der Firma J & J Kohn for comparable tables.

401 400

399. A pair of Arts and Crafts oak hall chairs, possibly American, the back splat carved pierced heart motif, peg joints, the front rail with carved border, carved beetle signature to back splat, 82cm. high. £150-200 400. A walnut desk cabinet designed by Peter Waals, rectangular with drawer below hinged panel cupboard, internally fitted with single shelf, ebony handles, with dove-tail joints, unsigned, 45.5cm. high, 32cm wide, 18cm. deep, £400-600 401. An oak stool designed by Arthur Romney Green, the shaped seat with leather pad, on four flaring carved legs unsigned, back removed, repaired, 35cm. high. £150-200 402. An Art Nouveau brass mounted marquetry bed in the manner of Emile Galle, the head and foot boards inlaid with orchid flowers, with rods, unsigned, 155cm. high, 139cm. wide (4) £500-800

402

403. A Liberty & Co mahogany Moorish table, hexagonal top on turned legs with Star of David stretcher, 96cm. wide, 76cm. high £150-250 Literature Daryl Bennett Liberty’s Furniture, 1875-1915, The Birth of Modern Design, ACC, page 33 figure 1.34 for a comparable table illustrated. 404. An Anglo-Persian occasional table probably retailed by Liberty & Co, decagonal section on ten arched legs, set with marquetry geometric borders and mother of pearl, unsigned, losses to top, 65cm. high, 61cm. diam. £200-300

82

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405

406

405. A walnut dressing table designed by Edward Barnsley, shaped top with three drawers, supporting central mirror and two bands of smaller drawers, ebonised wood handles, 99cm. wide, 150 cm high £1,400-1,800 Provenance A Private collection of Edward Barnsley furniture Private collection.

406. A William Birch high-back chair designed by E. G Punnett, the back with vertical slats, inset with pewter and ebonised wood Art £500-800 Nouveau floral stem, shaped wood seat, 130cm. high Literature Decorative Arts Lyon & Turnbull, 11-12th November 2015, lot 358 page 84 for a comparable chair.

407. A large and impressive Art Nouveau mahogany display vitrine and stand in the manner of Emile Galle, the mirrored cabinet carved with foliate bud terminals, with silver fittings, later glass shelves, the base carved with similar foliate stems and two sliding shelves, £1,000-1,500 136cm. wide, 241 cm high Provenance Private collection.

407

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408. An Arts and Crafts oak desk possibly retailed by Liberty & Co, rectangular with flaring square legs, four drawers with brass furniture, 101cm. wide, 72cm. high £120-180 409. A marble topped oak wash stand possibly retailed by Liberty & Co, with tile back, red and white veined marble top, the back with Art Nouveau galleon tiles inside blue tile border, above twin door compartment with open doors (missing textile) and applied metal decorative foliate panels, 122cm. high, 76cm. wide (2) £120-180

408

410. A set of six walnut dining chairs in the manner of E.W. Godwin, slender vertical back splats, on turned legs, sprung seats, casters to front legs, 92cm. high (6) £120-180

409

411. An ebonised wood Sussex child’s chair, in the manner of Morris & Co, with turned spindle back and under-carriage, the seat upholstered with Morris & Co Crown Imperial woven cotton pad, unsigned 62.5cm. high £120-180 412. An Aesthetic Movement brass and patinated metal plant stand, the rectangular trough set with ten brass panels stamped in low relief with fruit and flower designs, 69cm. wide, 83cm. high £150-200 413. A mahogany hall chair, on turned legs, the back inset with Minton Shakespeare Series tile by John Moyr Smith, 91cm. high £120-180

411

410 part

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412

413

414. A Robert Mouseman Thompson oak calf stool, the kidney shaped seat on three flaring legs, with carved mouse signature to side of seat, 36cm. high £250-350

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A PRIVATE COLLECTION OF ROBERT ‘MOUSEMAN’ THOMPSON FURNITURE

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415 detail 415

415. A Robert Mouseman Thompson oak refectory dining table and five chairs, the rectangular table with adzed top, four chairs and one carver chair, with carved lattice panels and leather seats, carved mouse signature chairs 90cm. high, table 137 x 86cm, 73cm. high £2,000-3,000 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen 24th October 1969 for £182. 416. A Robert Mouseman Thompson oak double bed, panelled head and foot boards, carved mouse signature to foot board, 136cm. wide, 108cm high £1,000-1,500 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970. 417. A Robert Mouseman Thompson oak wardrobe, with panelled doors, patinated wrought iron furniture, carved mouse signature to leg, 168cm. high, 122cm. wide, 58cm deep £2,000-4,000 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970.

416

418. A Robert Mouseman Thompson oak floor lamp, on octagonal stepped base with carved mouse signature, 143cm. high £150-200 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1972.

86

417

418

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419 419. A Robert Mouseman Thompson oak low table, rounded rectangular top with adzed finish, on carved legs, carved with mouse signature to one leg, 91 x 37.5cm, 45cm. high £400-500

420

420. A Robert Mouseman Thompson oak small panelled corner corner cabinet, with panelled door, patinated metal furniture, carved mouse signature, 97cm. high, 48cm. deep £500-800 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970. 421. A Robert Mouseman Thompson oak dressing table, rectangular with two banks of three drawers, with central articulated mirror, panelled sides, carved mouse signature, 137cm. wide, 137cm. high £1,000-1,500 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970. 422. A Robert Mouseman Thompson oak wardrobe, with panelled doors, patinated wrought iron furniture, carved mouse signature to leg, 168cm. high, 122cm. wide, 58cm deep £2,000-3,000 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970.

421

423. A Robert Mouseman Thompson oak single bed, panelled head and foot boards, carved mouse signature to foot board, 91cm. wide, 108cm. high £300-500 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970.

423

422

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424

423A. A Robert Mouseman Thompson oak armchair, curved back with lattice panels, carved legs and carved mouse signature to leg, 80cm. high £400-600 424. A Robert Mouseman Thompson oak tea tray, model GS150, kidney shaped with carved mouse signature twice to the rim, 46.5cm. wide £150-250

423A

Provenance Purchased directly from Robert Thompson’s Craftsmen, 12th August 1970. 425. A Robert Mouseman Thompson X stool, model CT150, with leather slung seat, carved mouse, 52cm. high, 55cm wide. £400-600 Provenance Purchased directly from Robert Thompson’s Craftsmen, 6th May 1970. 426. A Robert Mouseman Thompson oak dressing table stool, model no. CT100, rectangular bowed top on four carved legs, with carved mouse signature, 41 x 27.5cm, 38cm. high £300-500 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970. 427. A Robert Mouseman Thompson octagonal coffee table, octagonal top on central column and four flaring feet, with carved mouse signature to column, 51 x 49, 47cm. high. £300-400 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1973.

425

428. A Robert Mouseman Thompson refectory coffee table, rectangular adzed top, two turned legs with central stretcher, carved mouse signature 91 x 35cm. £300-400 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970.

88

426

427

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429 429. A Robert Mouseman Thompson oak sideboard, rectangular with adzed top, two cupboards flanking central bank of three drawers, with patinated iron furniture, with carved mouse signature, 183cm. wide 79cm high £1,500-2,000

430

Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1972. 430. A Robert Mouseman Thompson oak Smoker’s chair, with slung leather back and £700-1,000 padded seat, carved mouse signature, 102cm. high Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970. 431. A Robert Mouseman Thompson oak Smoker’s chair, with slung leather back and padded seat, carved mouse signature, 102cm. high £700-1,000 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970. 432. A Robert Mouseman Thompson oak tallboy, three drawers, supporting two panelled door fitted bureau compartment, carved mouse signature to top, 126cm. high, 83cm. wide. £800-1,200 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970 for £110.

431

432 open

432

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433

434 433. An oak blanket chest by Jim Hartley in the manner of Robert Mouseman Thompson, rectangular with hinged cover and panelled sides, carved feet, a rectangular oak stool and a wall mirror by the same craftsman, unsigned, 50 x 32cm, 51cm. high (3) £100-200

434. A Robert Mouseman Thompson oak firescreen, with embroidered panel, the reticulated rectangular panel on carved frame, with carved mouse signature to foot, 67.5cm. high, 63cm. wide. £150-200

435

435. A Robert Mouseman Thompson oak fireside stool with embroidered seat pad, low rectangular section, with carved feet, unsigned, 91cm. long, 34cm deep £120-180

436. A Robert Mouseman Thompson oak floor lamp, slender flaring octagonal stem, the base with carved mouse signature, 138cm. high £150-200 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970.

437. A Robert Mouseman Thompson, low oak table rectangular adzed top, with carved legs and carved mouse signature, £300-500

437A. An oak cabinet by Jim Hartley in the manner of Robert Mouseman Thompson, rectangular section with single drawer, 72cm. high, 61cm. wide. £100-150

437

90

436

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438

439

438. A Robert Mouseman Thompson oak rocking chair, with studded leather seat, carved lattice back, carved mouse signature, 98cm. high £700-1,000 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1977. 439. A Robert Mouseman Thompson oak hall table, rectangular carved adzed top, two drawers above open shelf, carved mouse signature to leg, 106cm. wide, 86cm. deep £1,000-1,500 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970 for £58. 440. A Robert Mouseman Thompson oak chest of drawers, with adzed top, three graduated drawers below short drawers, carved mouse signature to the side, 91.4cm. wide, 91cm high, 45cm. deep. £1,000-2,000 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970 for £82.10. 441. A Robert Mouseman Thompson oak sideboard, rectangular with adzed top, two cupboards flanking central bank of three drawers, with patinated iron furniture, with carved mouse signature, 183cm. wide 79cm high £1,500-2,000 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1969 for £160.

440

442. A pair of Robert Mouseman Thompson oak bedside cabinets, with panelled doors and patinated wrought iron furniture, with carved mouse signature to sides, 70cm. high, 48cm. wide (2) £400-600 Provenance Purchased From Robert Mouseman Thompson’s Craftsmen in 1970 for £77.

441

442

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443

444

445

446

443. An Art Deco walnut wall cabinet probably by Laszlo Hoenig, the twin-hinged doors each decorated with a marquetry panel of a Bacchanalian figure seated on scroll foliage, with fitted shelf to interior, 65.5cm. wide, 41cm. high, 24cm. deep. £200-300 444. A pair of Art Deco style walnut veneer tub chairs, angled with chrome tube front legs and and bun read feet, 76cm. high, 72cm deep. (2) £150-200 445. An Art Deco patinated metal uplighter, inverted pear shape shade, narrow cylindrical stem and flat foot, 174cm. high £200-300

447

446. A Modernist Laszlo Hoenig blonde beech desk top bureau, the fall-front door with bakelite circular handle and polished brass fittings, applied label to reverse 68cm. wide, 54cm. high, 26cm. deep. £200-300 447. A Modernist burr walnut and perspex games table, with central board concealing storage compartment, 120cm. £120-180 wide, 59cm. deep

448

448. An oak and sycamore wood bunk-bed tray-table from the RMS Liner Queen Mary, slender, rectangular form with gallery and hooked retainers to the underside, stamped Crown mark to underside flanked with incised MF, 94 x 34cm. £100-150 449. A Hille set of three J occasional tables, each Modernist form with circular top, on stepped base, 58cm. high, 55cm. diam. (largest) £500-1,000

92

449


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450. A Fortnum & Mason Art Deco walnut veneer dining room suite, comprising, extending dining table and six padded black leather chairs, sideboard, footed cocktail cabinet and low table, (10) ÂŁ500-1,000 low table with drawer 92 x 43cm. cocktail cabinet 120cm. high, 84cm. wide, 55cm. deep

93


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 451 A fine Art Deco George Betjemann and Sons Macassar Ebony fitted dressing table retailed by Asprey, with ivory details and chrome furniture, the hinged top with triptych fold out mirror and two swivel compartments, with fitted glass, shagreen and ivory mounted toilet set including brushes, scent bottles, stamped Asprey, silver hallmarked GB&S London 1928-29 hallmarks, 86cm. high, 81cm. wide, 59cm. deep (closed), 154cm wide (open). ÂŁ3,000-5,000

94


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452 452. A Gordon Russell Workshops three piece bedroom suite, 1961, comprising double headboard with built in bedside cabinets, dressing table and mirror, and three drawer chest of drawers, with chrome metal furniture, applied labels, (3) headboard 229cm. wide dressing table136cm. wide, 46cm deep. chest of drawers 99cm. wide, 71cm. high £400-600 453. A Stag Furniture sideboard designed by John & Sylvia Reid, model S.201, teak with satin finish, twin cabinet with band of four drawers, with aluminium handles and slender metal feet, 137cm. wide, 70cm. high,47cm. deep. £400-600 Literature Lesley Jackson Modern British Furniture Design Since 1945, page 122 this design illustrated. 454. A G.W.Evans ebonised wood cabinet designed by Robert Heritage, model no.D.5542, designed 1954, the rectangular cabinet with sliding doors, the doors printed with architectural vignette designed by Dorothy Heritage, one side fitted with drawers, on turned ebonised legs with metal feet, and additional cabinet storage unit, unsigned, 70cm. high, 92cm wide, 35.5cm. deep. (2) £800-1,200 Literature Lesley Jackson Modern British Furniture Design Since 1945, V&A Books, page 69 catalogue number 73 for a variation of this design illustrated.

452

These Storage units were available in a number of variations sold separately with or without legs, and doors are available either plain or decorated.... Units without legs and two printed doors, £18 0 0, or one printed and one plain £16 10 0, or two plain doors, £15 0 0, with ebonized legs extra £3 10 0.

453 454

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455 detail 455 455. A Stag Furniture extending dining table designed by John & Sylvia Reid, model S210, teak with satin finish, oval on aluminium legs, seven Fritz Hansen Ant chairs, model no. 3100 designed by Arne Jacobsen and two Series 7 armchairs designed by Arne Jacobsen, some factory marks, table 151cm. long, 70cm. high, 100cm wide. (10) £1,000-1,500 Literature Lesley Jackson Modern British Furniture Design Since 1945, page 123 this design illustrated. Charlotte & Peter Fiell 1000 Chairs, Taschen page 283-285 for comparable examples of the chairs 456. Four Castelli lucite and chrome Plia folding chairs designed by Giancarlo Piretta, stamped Plia Castelli Italy 88cm. high, (4) £150-200

456 part

457

457. Richard La Trobe-Bateman (born 1938) an English oak dining table and eight chairs, the chairs commissioned in 1977, the table commissioned in 1985, the table with circular top on sleigh foot with square section cluster legs, the high-back chairs of slender slat construction with cane seats, signed and dated, table 142cm. diam, 71cm. high, chairs 135cm. high (9) £1,500-2,000 Literature Crafts, no.20 May/June 1976 page 26-27 for comparable chairs illustrated. 458. A Scandinavian teak cabinet in the manner of Stig Lindberg, the twin cupboard with fitted with shelves and two narrow drawers, above twin door cupboard, the doors carved with domestic kitchen utensils, bottles and a tea service, 173cm. high, 100cm. wide, 44cm. deep. £600-1,000

457 part 459. An Andrew Varah sycamore and ash veneered sideboard, slender form with two sets of arched twin-doors below flat rectangular top, applied paper label and inset triangular label 165cm. wide, 80cm. high, 41cm. deep. £400-600

96

458

459


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METALWARE & SCULPTURE


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460

461

462

462A

460. A pair of Gothic Revival brass candlesticks, on three claw feet, the tapering base with sunburst motif, the central column with elliptical mirrored glass panel flanked with cast foliate border, castellated drip pan, unsigned, 60cm. high, (2) £500-600 461. A Cotswold School wrought iron firescreen probably Thornton & Downer, the rectangular frame cast twist and geometric decoration, below pierced and cast foliate frieze, with central woven screen panel, £150-200 unsigned 81cm. high 462. A Glasgow School patinated brass and metal firescreen, the rectangular panel stamped in low relief with an Art Nouveau floral panel on textured ground, unsigned, 78.5cm. high £150-200

463

464

462A. A pair of Art Nouveau polished brass and wrought iron fire dogs, scrolling and pierced tripod base with polished elliptical terminal, cast 99T, 35cm. £120-180 high, (2) 463. An Arts and Crafts copper and patinated iron firescreen, the rectangular copper screen stamped in relief with a galleon at full sail on a calm sea, a fish in the foreground, the sky with three flying fish unmarked, 88cm. high £120-180

465

464. A cast iron fireplace designed to C.F.A Voysey, probably made by George Wright Ltd, cast with a panel of four crows standing on freshly ploughed furrows, later silver paint, cast foundry numbers to reverse, £1,500-2,000 102cm. high, 99cm. wide 465. A wrought iron mounted coal bin and cover, flaring cylindrical form with hammered finish, a large Arts and Crafts hammered brass charger in the style of Newlyn, square with raised rim, hammered to the well with a mythical European galleon, inside a border of scallop shells, a pair of copper candlesticks in the style of W.A.S Benson and an Arts and Crafts bowl in the manner of Della Robbia, unsigned, bowl with LR £150-200 monogram, damages, 46cm. high, (5) 466. An Arts and Crafts copper vase in the style of The Birmingham Guild of Handicrafts, the hammered cylindrical body with flaring foot and top rim, applied with scrolling Art Nouveau wrought metal handles, another Arts and Crafts copper handled vase, a wall mirror, a stamped copper plaque entitled The Tenth Exhibition of the Photographic Salon, 1902 by G Emanuel, and a collection of Arts and Crafts metalware, £120-180 30cm. high, (a lot)

98

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467. A W.A.S Benson electroplated metal jardiniere, open foliate form, unmarked 19cm. high £150-250 Literature Ian Hamerton W.A.S. Benson Arts and Crafts Luminary & Pioneer of Modern Design, ACC, page 89 plate 62 for a comparable example. 468. A W.A.S. Benson copper and wrought iron Dutch Oven, model no.779, two pierced cast circular shelves with foliate decoration, on tripod foot, semi-circular copper shield with fluted rims, unsigned, 53cm. high £200-300 Literature Ian Hamerton W.A.S. Benson Arts and Crafts Luminary & Pioneer of Modern Design, ACC, page 98, plate 76 for a comparable example. 469. A pair of cast iron and brass fire dogs designed by William Burges, and probably manufactured by Hart, Son and Peard, tripod foot, supporting tapering column and castellated knop, with stylised sunflower terminal with brass centre unsigned, 63cm. high (2) £400-600

467

468

470. A Glasgow School brass planter the design attributed to Margaret Gilmour, flaring square section, stamped in low relief with two owls perched on stylised tree boughs before a full moon, with applied loop handles, unsigned, 23cm. high, 28cm. wide £200-300 Literature Judith Miller, Arts and Crafts - Living With Arts and Crafts Style, page 150 for a double wall sconce by Margaret Gilmour with similar owls. 471. A pair of Aesthetic Movement patinated bronze and polished brass fire dogs the design attributed to Thomas Jekyll, with cast sunflower terminals, the square section body cast with simple geometric bands, rolled feet, stamped registration diamond, 26cm. high, 21.5cm deep, (2) £400-600

469

470

471

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472. A pair of A.E. Jones Arts and Crafts patinated copper and white metal candlesticks, the stepped domed foot with cylindrical stem and flaring drip and mounted with white metal floral bands, unmarked, 14cm. high (2) £200-300 473. A rare Arts and Crafts copper and white metal footed chalice bowl by William Hair Haseler, model no.2729, stepped domed foot supporting shallow, pierced cylindrical stem and flaring bowl, with applied white metal bands and hemispherical motif, £300-500 stamped marks to base, 15.5cm. high, 21cm. diam.

472

473

474. A pair of Arts and Crafts copper wall sconce in the manner of the Keswick School of Industrial Arts, rectangular back plate stamped with scrolling foliage and urn below inscription, with rectangular drip trays, unsigned, 38cm. high, (2) £120-180 475. An Arts and Crafts patinated copper umbrella and stickstand, semi-circular section, stamped in relief with Art Nouveau heart-shaped leaf panel, unmarked, 65cm. high £150-200 476. A Gorham & Co electroplated metal and ivory tea set, cast with foliate bands, comprising teapot and cover with ivory insulators, milk-jug and hinged cover, sugar basin and cover, and an additional jug, sugar and slop basin, stamped marks, 20cm. £300-500 high, (6)

474

477. A Newlyn Industrial Class patinated copper candlestick, the square section tray repousse hammered with two scaly fish and turned short handle, the sconce with similar fish decoration, Newlyn 15.5cm. wide. £150-200

475 478. A Liberty & Co English Pewter tray designed by Archibald Knox, model no. 0357, rounded rectangular section with arched handle, cast with panels of stylised ivy, and a Liberty pewter For Old Times Sake twin handled vase designed by David Veasey model no.010, stamped marks, 30cm. wide (2) £150-250

476

479. A Liberty & Co Solkets English Pewter tankard designed by Archibald Knox, model no.0334, cylindrical form cast in low relief with stylised honesty, a Liberty pewter hot-water jug and cover designed by Archibald Knox, model no.0967, and a Liberty pewter and glass butter dish, model no. 0350, stamped marks, £150-250 13.5cm. high (3) 480. A Liberty & Co English Pewter tazza designed by Archibald Knox, model no.01161, the domed base cast with stylised honesty, supporting three finned stems and a shaped, hammered bowl cast with honesty to the rim, stamped marks, 26.5cm. high (2) £150-250

477

100

478

479

480


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481

482 483

481. A pair of Liberty & Co Cymric silver sugar tongs designed by Archibald Knox, stamped marks, Birmingham 1904, 11.5cm. £150-200

482. A Liberty & Co Cymric silver milk-jug designed by Archibald Knox, compressed form with tapering cylindrical neck and applied scrolling handle, stamped marks, Birmingham 1904, 9cm. high £300-400

483. A polished pewter cup with Clutha glass liner probably retailed by Liberty & Co, model no. 0583, pierced twin-handled cup form stamped number to base, 10cm. high £600-900

484 484. An Arts and Crafts oak triptych, central mirrored panel flanked with Cotswold school painted panels depicting house vignettes inside oak leaf border, with enamelled shield unsigned 53cm. high £400-600

485. A large Newlyn Industrial Classes patinated copper charger attributed to John Mackenzie, the well repousse hammered with a herring gull wings outstretched with a fish in its beak, leaping fish in the water below, the rim with a frieze of repousse scaly fish and waterweed, apparently unmarked, 51cm. diam. £1,500-2,000 Literature Hazel Berriman Arts and Crafts in Newlyn 1890-1930, Newlyn Orion, page 17 plate 4 for an original photograph of a group of Newlyn copper, circa 1900 reproduced including a version of this charger.

485

101


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486. An Art Nouveau Urania pewter centrepiece possibly designed by Freidrich Adler, model no.1206, elliptical, waisted form with clear glass liner, the pewter cast and pierced with stylised foliate panels, stamped factory marks, numbered 1206, 31cm. wide £120-180

486

487

487. An Art Nouveau Osiris pewter vase, model no.770, swollen compressed form cast with stylised foliage decoration and four looped handles, and a Kayserzinn pewter smokers compendium model no.4401, cast with ducks, stamped Osiris 770, 24cm. wide. (2) £120-180

488. An Art Deco octagonal marquetry twin-handled tray, the well decorated with a marquetry panel of Diana the Huntress, and an Art Deco carved wood mirror frame indistinct stamped mark to reverse 41cm. wide. (2) £50-100

488 489. An Emanuel Josef Margold electroplated metal box and cover, rectangular form cast in low relief with flower sprays, stamped marks, 13cm. wide £50-100

490. A continental patinated copper and white metal cigarette box, rectangular with hinged cover, the textured ground inlaid with a running deer amongst scrolling foliage, and another patinated metal cigarette box and hinged cover, unmarked, 14.5 x 10cm. (largest), (2) £120-180

490

489

491. Sunlight and Shadow a Rowley Gallery marquetry panel, rectangular panel with landscape design, incised mount and carved border, and another similar titled Sunlit sail stamped marks to panel, applied paper label with title to reverse, 39 x 33cm. (2) £150-200

492. Heybridge a Rowley Gallery marquetry mirror, rectangular form, with rectangular marquetry panel of a cottage overlooking an estuary landscape with sailing vessels, impressed marks to panel, applied Rowley label to reverse with title, 63 x 32cm. £120-180

491

102

Provenance 20th Century Decorative Arts, Christie’s South Kensington, 1st May 1996, lot 543

492


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493. A Continental Secessionist mantel clock in the style of W.M.F., silvered metal, the open, cast body with stylised foliate panels, the circular dial with Roman numerals, indistinct stamped marks to base rim, 44.5cm. high £300-500

494. A patinated metal table lamp with glass shade, the glass domed shade graduating from pink to blue shade with acid etched signature, 44cm. high, (2) £120-180

493

494

495. An Art Deco patinated bronze mounted blue john sculpture, architectural finial form, cast in low relief with panels and swags of stylised flowers, on tapering column, unsigned, 31cm. high £600-1,000

495

496

496. An Art Deco spelter model of a seal, modelled on hind flippers balancing a spherical glass shade on its snout, on green veined marble base, etched signature to marble, 35cm. high £150-200

 497. A gilt bronze and ivory model of a Classical maiden cast and carved from a model by Leonie Boehm-Henes, modelled standing on one leg, reaching down to her raised foot on flaring, green veined marble base, signed in the cast Boehm-Henes, one finger missing, 35cm. high £1,500-2,000

497

103


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498. A pair of polished bronze models of dragons, mounted on stepped black slate base, indistinct stamped regd diamond, 30cm. wide. (2) £120-180 499. Louis Riche (1877-1949) Stretching cat gilt bronze on veined green marble base signed L Riche in the cast, 17cm. wide, 16cm. high £300-400

498

500. An Argentor electroplated metal figure of Icarus, modelled standing wearing a loincloth, holding a laurel wreath and stretched canvas wings, on stepped base, stamped marks to base, 31.5cm. high £200-300

499

501. Eastern boy with a Parasol a patinated bronze figure cast from a model by Ernest, modelled standing, holding a lotus flower parasol, on cylindrical black marble signed in the bronze Ernest, indistinct foundry seal, 37cm. high £300-500 502. Joe Descomps (1869-1950) figure of a nude woman, patinated bronze, modelled standing her arms resting behind her back, on green onyx base, signed in the cast, 25.5cm. high £500-800 503. Emmanuel Villanis (1858-1914) Saida patinated bronze, signed E Villanis and titled Saida in cast 33cm. high £150-200

500

104

501

503

504. An Art Nouveau patinated bronze bell push cast from a model by W. Lachner, modelled standing with arms raised, wearing long flowing gown, in fitted Guerre Dijon presentation box, signed in the cast 14cm. long. £200-300

502

504


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505. Demetre Chiparus (1886-1947) Friends Forever (Les Amis de Toujours) a large cold painted bronze and ivory figure, on veined marble base signed Chiparus to marble base 64cm. high, 66cm wide.

ÂŁ15,000-20,000

Literature Alberto Shayo Chiparus Master of Art Deco, ACC books, page 87 catalogue number 14 for a comparable figure illustrated. Provenance Private collection

105


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507

506

506. An Art Deco patinated spelter model of a seated dancer, in the manner of Gerda Iro Gerdago, modelled seated in exotic costume, on wooden base, unsigned, 19.5cm. high £150-200

509

508

507. An Art Nouveau patinated bronze desk seal, cast as a maiden standing, clasping a rose to her chest, another similar and a continental cloisonne enamelled copper tray, stamped S D Samel to enamel dish, seals unsigned, 9cm. high (seal), 2.5cm. £120-180 wide (dish), (3) 508. A pair of silvered bronze book ends cast from a model by C Charles, modelled as a fan-tailed dove, on veined black marble base, signed in the cast C Charles, 17.5cm. high, (2) £200-300 509. A pair of patinated metal bookends designed by H Moreau, possibly Hippolyte Moreau, each modelled as a cat looking down at a snail, on green veined marble base, signed in the cast H Moreau, 16cm. high, (2) £150-200

510

510. A patinated bronze model of an Ibex, modelled lying down, unsigned 35cm. long, 24cm. wide. £250-300 511. A patinated bronze model of a Moorish water-carrier, modelled walking, playing a pipe and holding a yoke with two strung vessels, unsigned, 30.5cm. high £150-200 512. A novelty silver model of a skier, modelled with skis somewhat parallel, wearing number 1, on marble base, stamped 925 to bottom, indistinct signature, 16cm. £120-180 high

106

511

512


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513. A patinated bronze model of a dancer cast from a model by Pierre Laurel, modelled crouching and balancing on one foot, on polished black base unsigned 35cm. high £250-350

513

514. A patinated bronze model of a dancer, modelled standing on one leg her other raised kicking out to front, her arms outstretched to balance, on veined black marble cylindrical base unsigned, 34cm. high £200-300

515. Malcolm Woodward (born 1943) Girl on a Chair, 1988 patinated bronze, signed Woodward and numbered 5/12 22cm. high £150-200

515

Provenance Royal Academy Summer Exhibition, 1988

514

516. A Hagenauer patinated bronze model of a deer, on ebonised wood base, stamped marks to base, 18.5cm. high £200-300

517. A carved wood bust of an African woman, probably Hagenauer, modelled in profile, with painted detail, unsigned, 33cm. high £250-300

516

517

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518 front & back 518. An Art Deco Ronson chrome novelty Bartender cigarette lighter and smokers compendium, modelled as a bartender shaking a cocktail behind a bar, factory marks to base, 15.5cm. wide. £200-300 This lighter was introduced circa 1936. 519. A tall Art Deco plaster bust of a flapper girl, modelled looking over her shoulder, on scrolling wave base, with applied metal hair, headband and necklace, £400-600 unmarked, chips, 79cm. high 520. A free standing plaster bust of a glamourous woman, modelled with her head resting in her hands, wearing green fingerless gloves and a ring, painted in colours impressed S.H.F, 34cm. high £200-250

520

519

108

521

521. Michele and Georgina two figural plaster busts, life size each modelled as a glamourous woman, painted in colours painted title and regd number to back, 45cm. £400-450 high, (2)


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522 523 524 522. A set of three Jielde brushed steel wall lamps designed by Jean-Louis Dormecq, the domed shades with articulated stems, 25.5cm. wide.(3) £150-200 Literature Charlotte & Peter Fiell 1000 Lights Taschen, page 450-451 for a comparable model 1200 standard light illustrated. 523. A leather stirrup table lamp in the style of Hermes, with chrome fittings unsigned, £200-300 37cm. high 524. A perspex and polished aluminium Lumitron lamp designed by Robert Welch, unmarked, 53cm. high, (2) £150-200 Literature Charlotte & Peter Fiell, Decorative Art 60s, Taschen, page 463 for the Lumitron range illustrated. 525. A large perspex and polished aluminium Lumitron lamp designed by Robert Welch, unmarked, 64cm. high, (2) £150-200 Literature Lesley Jackson The Sixties, Phaidon, page 30 for a comparable Lumitron lamp illustrated. 526. Rita Moiret Triangular Study a high-temperature enamel panel on six rectangular steel panels, mounted on wood, signed Rita Moiret, Christie’s paper label to reverse, 115 x 56cm. £300-500

525

Provenance British Decorative Arts from 1880 to the Present Day, Christie’s King Street, 31st January 1990 lot 55 Professor Luke Herrmann. ‡ 527. Pete Stevens (born 1973) a hammered asymmetrical copper vase with white metal patches, cylindrical stem with flaring conical bowl, stamped OYXO53 and makers stamp PS, 21cm. high £150-250

Provenance Bishopland Educational Trust, 10th February 2007, this vase purchased by the vendor. Literature Amanda Gane Contemporary British Crafts - The Goodison Gift to the Fitzwilliam Museum, PWP, page 202-203 for a comparable vase illustrated.

527

526

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528. A chrome and smoked glass ceiling shade, eight radiating smoked glass panels on chrome fitting, a twin-light wall shade and a frosted glass ovoid shade unsigned, 32.5cm. high (3) £120-180

529. A Russian patinated copper plaque, rectangular, stamped in relief with a young girl portrait, mounted on wood, remains of paper label to reverse, 49 x 37cm. £150-200

528 530. An Art Deco chrome tray, twinhandled rectangular form, and another similar with mirror base, unmarked 41cm. wide (2) £120-180

531. An Art Deco Jaeger LeCoultre mantle clock, rectangular form with movement to both sides, on black slate base, with presentation inscription and date 1937 to the top surface, signed Le Coultre to face, 19cm. high £150-200

529

532. A Dansk Designs teak twin handled tray designed by Jens Quistgaard, slender, swollen rectangular section with pierced handles, another smaller tray and two sets of perspex and silver servers, stamped marks, 60cm. wide (6) £120-180

533. An electroplated metal toastrack in the manner of Dr Christopher Dresser, model no.1697, of rod and ball construction on four flattened pad feet, and two modern Alessi table cruets inspired by the designs of Dr Christopher Dresser, stamped marks, 21cm. wide (toastrack), (3) £120-180

530

531

532

110

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534

534. A Dunhill novelty desk lighter, modelled as a foot long ruler, in original presentation case, given as a souvenir of the Carlton Club, 1975, inscribed to edge, stamped marks, 30.5cm. long £150-200

535

535. ‘Lyons Ink’ an enamelled metal advertising sign, printed by the Patent Enamel Company Ltd, Birmingham, 91.5 x 30.5cm. £150-200

536. An Art Deco enamelled metal travelling desk clock, with easel back, square section, enamelled with blue and yellow geometric corner panels, swiss 8 day movement, 8cm. square. £300-400

536

537. An Art Deco Limoges enamelled vase by Camille Faure, ovoid coper body enamelled in colours with stylised flowers and foliage gilt painted signature, 11cm. high £150-250

537

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538. An R.E. Stone silver porringer retailed by Wilson & Gill, elliptical shallow bowl set with two cast crown handles, stamped marks, London 1934, 15.5cm. wide. £100-150

538

539. A Charles Boyton silver wine taster, the circular shallow bowl with applied cast flower handle, stamped marks, London 1939, Charles Boyton facsimile signature, 10cm. wide £100-150

539

540. HRH The Prince of Wales and Lady Diana Spencer 1981 a silver commemorative Royal Wedding dish designed by Stuart Devlin, with pierced gilt rim, stamped marks, London 1981, 13.5cm. diam. £100-150 541. An Elkington & Co silver mug, barrel shape with cast strapwork decoration, applied angular handle, stamped marks, London 1905, 7.5cm. high, 6 troyes ounces £150-200

540

542. An A.E. Jones silver teapot, model no.67, on four square legs with round pad feet, hinged cover and body with hammered finish, stamped marks, Birmingham 1913, 13cm. high £400-500

541

543. An A.E. Jones silver milk-jug, model no.67, on four square section legs with round pad feet, the bowl with hammered finish, stamped marks, Birmingham 1911, 7cm. high £100-150

542

544. An Arts and Crafts Connell electroplated metal tazza, possibly made by A.E. Jones, hammered finish with foliate bands and central flowerhead roundel, a Roberts and Belk electroplated bottle coaster, an inkwell and five pewter pieces, stamped marks, 13.5cm. high (tazza), (8) £120-180

543

544

545

545. A Liberty & Co silver inkwell probably designed by David Veasey, model no.5723, circular section with hinged, dome cover, chased with simple tree motif, on hammered ground, with clear glass liner, stamped marks, Birmingham 1913, 10cm. diam. £250-350 546. A Christofle Gallia electroplated Swan sauce boat and ladle designed by Christian Fjerdingstad, originally designed in 1933, modelled as a stylised bird, stamped Gallia marks to ladle and side of foot, 20cm. wide (bowl). (2). £120-150

112

546 two views


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547. A large Walker & Tolhurst Arts and Crafts silver bowl probably designed by Gilbert Marks, shallow ribbed foot supporting flaring bowl repousse hammered with a frieze of flower stems, on hammered ground, stamped makers mark WWBT London 1894, 23cm. diam. 24 Troy ounces £350-450 Literature Fine Silver and Gold Boxes Bonhams, 20th June 2012 lot 77 for a comparable footed, twin-handled bowl by Walker & Tolhurst signed by Gilbert Marks and hallmarks for 1895.

547  548. A Charles Boyton silver and ivory cup and cover, the domed base supporting slender, flaring cylindrical stem, cast with foliate bands, flaring bowl with cast handles set with ivory pads, the shallow cover with carved faceted ivory finial, stamped marks, London 1936, Charles Boyton facsimile signature 28cm. high. £500-1,000

549. A Charles Boyton silver footed tazza, the domed base with tall flaring cylindrical stem cast with fruiting grapevine border, the flaring bowl flanked with two winged figural handles, stamped marks, London 1930, facsimile signature, 22.5cm. high £700-1,000 This design was personally selected by HRH Prince of Wales for the Brooklands gold plate, 1930.

548

549 detail

549

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550

552

551

550. A glass decanter and six glasses set in the style of Otto Prutscher, probably Austrian, blue flashed glass in chrome mounts, comprising, decanter and stopper, six shot glasses, unsigned, 28.5cm. high, (7) £200-250 551. A pair of silver barley-twist candlesticks, stepped, circular base supporting tapering ribbed stem and flaring bowl, stamped marks, indistinct makers mark, Birmingham 1910 19cm. high, (2) £150-200 552. An Art Deco patinated bronze desk set designed by Max Le Verrier, comprising letter rack, notepad holder and box and cover, each cast with prunus bough and birds flying, cast signature M Le Verrier, letter rack 27cm. wide. (3) £300-400

 553. An Art Deco shagreen and ivory mounted travel desk clock, octagonal, on easel back, pink stained shagreen with ivory band to edge, with Swiss eight day movement, 11.5cm. wide £300-400

553

554. An Art Deco shagreen and ivory travel desk clock, with easel back, square section green stained shagreen with ivory band to rim, 9cm. square £200-300 555. A shagreen and ivory rectangular box, with hinged cover, green stained shagreen with ivory band to rim, fitted cedar wood lining, and another smaller, unsigned, 15.5cm. wide (2) £200-300 556. A large A.E. Jones Arts and Crafts silver Winchester bowl, twin-handled flaring conical form on three cloven feet, cast in low relief with heraldic motif and inscription, with dedication and date 1941 to base, stamped marks, Birmingham 1922, 21cm. wide, 20 Troy £300-500 ounces.

554

555

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

557 558 557. A William Hutton & Sons silver casket, rectangular section with angled, hinged cover with strap hinges and rivetted corner panels, stamped marks, Sheffield 1911, 10.5cm. wide, 9cm. high £250-350

558. A William Hutton & Sons silver cruet set designed by Kate Harris, comprising mustard pot with hinged cover, pepper pot, salt and spoon, pierced form with green glass liner’s probably by James Powell & Sons, the mustard and salt with wirework Celtic knot handles, stamped marks, London 1904, 7cm. high (pepper), (3) £400-500

559

559. An A.E. Jones silver twin-handled porringer, model no.501, the shallow bowl with two pulled wirework handles with ball finial, hammered finish, stamped marks, Birmingham 1923, 19cm. wide, 85 grams £200-300

560. A Liberty & Co silver and enamel case designed by Archibald Knox, rectangular with hinged cover, cast in low relief with Celtic entrelac border enamelled green and blue, stamped marks, Birmingham 1903, 8.5 x 7cm. £300-500

560

561. A Russian silver and enamel hand mirror, the back cast in low relief with cyclamen stems, enamelled purple, stamped marks, 900, 22cm. long. £50-150

561

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562 565 563

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562. A Keswick School of Industrial Arts silver spoon, tapered, hammered bowl, straight stem and bud terminal, and a Keswick School of Industrial Arts copper caddy spoon, stamped marks, Chester 1956, 16cm. long, (2) £100-150 563. A set of four Thomas Goodfellow Aesthetic Movement silver napkin rings, in original presentation case, each chased with flying and resting cranes, a parasol and sailing junk flanking central vase of flowers stamped marks, TG London 1894 4.5cm. wide £150-200 564. A silver and moonstone bracelet double chain in the manner of the Artificers Guild, set with cast roundel panels and three moonstones, unmarked, 19cm. long £350-450

566

567 565. A continental white metal and enamel Egyptian Revival pendant, modelled as a sarcophagus, the hinged case containing an enamelled mummy figure, stamped number to interior, 3cm. long £150-250 566. A silver moonstone and lapis pendant necklace in the manner of the Artificers Guild, the pierced cast diamond shaped border decorated with flowers and foliage, set with four small moonstones, around a central lapis stone, with lapis stone drop, unsigned, 8cm. long £600-800

568

567. A silver and opal flower stem brooch in the manner of Edith Linnell, another larger, another circular brooch cast with foliate border set with rubies and a pair of clip earrings, unmarked, (5) £300-500 568. A silver and opal pendant necklace the design attributed to Rhoda Wager, pierced and cast frame of simple ivy leaves, on fancy link chain, two brooches similar, and another yellow metal pendant necklace, unmarked 4cm. long (4) £500-700 Rhoda Wager (1875-1953) was born in London and studied at the Glasgow School of Art from 1897 to 1903 before migrating to Australia. It is recorded that her work was exhibited at the New South Wales Society of Arts and Crafts in 1914.

569

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

569. A silver and chrysoprase bar brooch by Edith Linnell, with central pierced and cast foliate panel set with two stones and a seed pearl, in original presentation case, another similar and a silver mounted multi stone bar brooch, case marked Edith Linnell Art Jeweller, 8cm. wide (3) £400-600 570. A silver and amethyst ring the design attributed to Bernard Instone, cruciform shape, pierced and cast with flowers and foliage, set with central stone, another similar set with central purple stone and another similar, one stamped silver, (3) £250-350 571. A silver and opal ring the design attributed to Rhoda Wager, simple foliate frame with central opal stone, and another smaller unmarked, (2) £300-400

573

574

572. A turquoise mounted silver ring in the manner of the Artificers Guild, cast with grapevine decoration set with large turquoise stone, another set with Green stone and another smaller ring unsigned (3) £500-700 573. A continental plique a jour enamel pendant in the manner of Theodore Fahrner, enamelled in shades of blue, on a central turquoise stone, stamped Depose Silver, 4cm. long £200-300 574. A continental silver and enamel pendant probably designed by Herman Haussler for Theodore Fahrner, the heartshaped panel enamelled with a single flower stem in orange and green inside black and white border, 2.5cm. long £100-150

575

575. A George Hunt silver and enamel Mermaid clip brooch, dated 1933, tapering rectangular section enamel, inside wirework frame set with blister pearls, stamped mark, signed G Hunt 1933 to reverse of enamel, £800-1,200 7cm. high Literature George Edward Hunt The Silent World of an Arts and Crafts Jeweller Bonhams NovemberDecember 2006, page 35 catalogue number 67 for a comparable enamel.

576

576. A George Hunt silver and blister pearl bar brooch, slender rectangular bar with Celtic wire knot and applied abalone shell stamped George Hunt shield mark, 10cm. long £120-180 577. A Mont Blanc Meisterstuck rolled gold fountain pen, with engine turned decoration, 13.5cm. long £100-120

END OF SALE

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THE STUDIO POTTERY COLLECTION OF PROFESSOR LUKE HERRMANN Wednesday 13th December 2017

Dame Lucie Rie DBE A porcelain bowl with bronzed rim, glazed apple green. Estimate £20,000 - £30,000 A porcelain bowl with sgraffito decoration. Estimate £20,000 - £30,000

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


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BRITISH ART POTTERY

Thursday 14th December 2017 Entries are being accepted until 20th October

Three Doulton stoneware mice groups by George Tinworth: Play Goers Estimate £2,500 - £3,000 The Wheelwright Estimate £800 - £1,200 Crossing the Channel Estimate £2,500 - £3,000 ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 mj@woolleyandwallis.co.uk


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ENGLISH & EUROPEAN CERAMICS & GLASS Wednesday 18th October 2017

A large Jérôme Massier Majolica model of a wishing well, late 19th/early 20th century, 71.5cm high. Estimate: £400 - £600

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


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FINE SILVER & OBJECTS OF VERTU

Tuesday 24th & Wednesday 25th October 2017

By the Artificers Guild, an Arts and Crafts silver hand mirror, London 1920, applied with four Celtic motifs, and with a Chrysoprase cabochon, length 35.5cm. Estimate: £400 - £600

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


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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: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3% + VAT charge for this service. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

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.

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.

PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us.

The colours printed in the catalogue are not necessarily true.

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.

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

Mailboxes

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

Pack & Send

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

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM ASIAN ART SALES 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. ALL OTHER SALES The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter.

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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 for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

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

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. Asian Art sales: 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. All other sales: The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% 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 double symbol (††) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 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

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with our Office in advance of the sale if other methods of payment are envisaged (except cash). 12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

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


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11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 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 Asian Art sales: 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. All other sales: The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or ††. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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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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Valuations PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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

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

Contact Amanda Lawrence 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

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

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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Registered in England No. 2998482

Salisbury Salerooms

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Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU

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VAT No: 631 9832 29 TESCO

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

Due to the one-way system of Salisbury, please follow the red route when driving from Salt Lane to Castle Street. 127


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WOO L LE Y & WA L LI S Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Design

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 17th October 2017 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. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. ID is required for all first time bidders.

Signature

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

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www.woolleyandwallis.co.uk


Auction Calendar FURNITURE, WORKS OF ART & CLOCKS 4th October 2017 10th January 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk 20TH CENTURY DESIGN 17th October 2017 – Design 13th December 2017 – The Studio Pottery Collection of Professor Luke Herrmann 14th December 2017 – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 18th October 2017 – English & European Ceramics & Glass 20th February 2018 – Fine Porcelain & Pottery Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk SILVER 24th & 25th October 2017 – Fine Silver & Vertu 23rd & 24th January 2018 – Silver & Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 26th October 2017 – Fine Jewellery 25th January 2018 – Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk ASIAN ART 14th & 15th November 2017 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Jeremy Morgan +44 (0) 7812 601098 • jm@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk ARMS & ARMOUR, MEDALS & COINS AND MILITARIA 22nd November 2017 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk PAINTINGS 29th November 2017 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 21st February 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk


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Woolley & Wallis  

Design | Tuesday 17 October 2017

Woolley & Wallis  

Design | Tuesday 17 October 2017

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