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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

Clarice Cliff Art Deco & Design

Wednesday 21st March 2018


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Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 329477

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Marta Olszewska

424506 424506 424591

CHINESE PAINTINGS Freya Yuan-Richards

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

424509 424598

MARKETING Ilona Pichler Tamzin Corbett

424590 424590

ACCOUNTS Janice Clift (Office Manager)

424500

424589 GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Fleur Field

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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

411854 339161 411854

SALEROOM MANAGER David Jordan

424500

JAPANESE ART Alex Aguilar Doméracki

424583

CASTLEGATE MANAGER Matt Hill

446970

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

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469

PAINTINGS Victor Fauvelle Jo Butler Hollie Grubb

424503 424592 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey WATCHES Adrian Hailwood

339752

424500

BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

COMPANY SECRETARY Natalie Milsted FCCA

424599

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

07775 788500

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS


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CLARICE CLIFF, ART DECO & DESIGN Wednesday 21st March 2018 at 10.30am VIEWING TIMES Saturday 17th March Monday 19th March Tuesday 20th March Wednesday 21st March

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

ENQUIRIES

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

Zoe Smith 01722 424505 zs@woolleyandwallis.co.uk

COLLECTION OF LOTS Please note that all lots will be cleared from the saleroom back to Castlegate on Monday 26th March. If you are collecting items on or after this date please contact the department to arrange in advance. Thereafter, collection will be from our new DESIGN DEPARTMENT OFFICES Unit 1B Castlegate Business Park, Old Sarum, Salisbury SP4 6QX. Our Castlegate address details and map are at the back of this catalogue. All accounts to be settled prior to collection. Payment is still made at Castle Street. ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a ‡ symbol which sell for more than 1000 are subject to the levy, payable by the bidder. Please refer to page 123 for full details. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 20th March. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 14 Back cover: Lot 214 Inside cover: Lot 155 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 20th March. Please note there is a 3% +VAT surcharge for using this service.


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CLARICE CLIFF 1. ‘Crocus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between yellow and brown bands, a Goldstone Marigold Conical sugar sifter and another Conical sugar sifter by Clarice Cliff, printed factory marks, restored tip of crocus cone, 14cm. high (3) £150-200 2. ‘Crocus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between yellow and brown bands, printed factory marks, restored, 14cm. high £120-180 3. ‘Waverly’ a Clarice Cliff Conical sugar sifter, painted in colours, and a Bizarre vase painted in colours, printed factory marks, chips, 14cm. high (2) £150-200

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Literature Leonard Griffin & Louis K and Susan Meisel Clarice Cliff The Bizarre Affair Abrams, page 59 for a similar Lynton shape ribbed vase believed to be an experimental piece. ‘Crocus’ a Clarice Cliff Bizarre 4. Conical sugar sifter, painted in colours between yellow and brown bands, printed factory marks, 14cm. high £150-200 5. ‘Delecia Citrus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours on a running Delecia ground, printed factory mark, 14cm. high £300-350 6. ‘Secrets’ a Clarice Cliff Bon Jour sugar sifter, painted in colours printed factory marks, 12.5cm. high £300-350

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7. ‘Seven Colour Secrets’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours between orange and black bands, printed factory marks, 14cm. high £300-500

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8. ‘Orange Roof Cottage’ a Clarice Cliff Conical sugar sifter, painted in colours between yellow, orange and black bands, printed factory marks, professional restoration, 14cm. high £300-500

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9. ‘May Avenue’ a rare Clarice Cliff Bizarre Conical sugar sifter, painted in colours between black and blue bands, printed factory marks, minor professional restoration to tip, 14cm. high £2,500-3,000

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10. ‘Forest Glen’ a Clarice Cliff singlehandled Lotus jug, painted in colours on a running Delecia glaze, printed factory marks, 29cm. high £1,500-2,000

10 both sides

11. ‘Rudyard’ a Clarice Cliff Bizarre single-handled Lotus Jug, painted in colours between pink, green and blue bands, printed factory marks, light star hairline to base, minor restoration to blue band of top rim, 29cm. high £700-1,000

11 both sides

12. ‘Cubist’ a Clarice Cliff Bizarre single-handled Isis vase, painted in colours between orange and black borders, printed factory marks, 24.5cm. high £2,000-3,000 Provenance Private collection of Clarice Cliff

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13. ‘Age of Jazz’ a rare Clarice Cliff Bizarre table centrepiece, model no.436, modelled as a Jazz piano player and a banjo player, painted in shades of red and black, printed factory mark, professional restoration to piano,13.5cm. high £1,000-2,000 Literature Age of Jazz British Art Deco Ceramics, National Museums Liverpool, page 23 catalogue number 1 for a comparable figure group, illustrated.

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14. ‘Age of Jazz’ a rare Clarice Cliff Bizarre table centrepiece, model no.434, modelled as two pairs of dancers, painted in colours, printed factory marks, 21.5cm. diam. £3,000-5,000 Literature Age of Jazz British Art Deco Ceramics, National Museums Liverpool, page 23 catalogue number 1 for a comparable figure group, illustrated.

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16 part

15. ‘Secrets’ a Clarice Cliff Bizarre Bon Jour milk jug, painted in colours, and a Bon Jour preserve pot and cover painted with bands, printed factory marks, 6cm. high (jug), (2) £150-200 16. ‘Crocus’ a Clarice Cliff Bizarre teapot stand, painted in colours inside a yellow band, a Crocus ashtray, a Chloris stepped bowl, a Hippo pipe holder, a Rabbit dish and a collection of Clarice Cliff including My Garden and Celtic Harvest, printed factory marks, 16.5cm. diam. (17) £150-200 17. ‘Bubbles’ a rare Clarice Cliff Elephant napkin ring, painted in shades of Coral red and black, printed factory mark, 8cm. wide. £200-300

17 18. ‘Ravel’ a rare Clarice Cliff Bizarre Sardine dish and cover, painted in colours printed factory mark, repaired handle, 13.5cm.wide (2) £120-180 19. ‘Melon’ a Clarice Cliff Duck egg cruet set, comprising tray, painted in colours inside orange band, and four Bizarre egg cups painted with a broad orange band, printed marks, impressed date code, restored ankles, 14cm. high, (5) £150-200 Catalogue Notes The Duck egg tray has the impressed date mark for 1929.

19A. ‘Crocus’ a Clarice Cliff Bizarre Duck egg cruet set, comprising tray and six egg cups, all painted in colours printed factory marks, hairline to one egg cup, 14cm. high (7) £150-200

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20. ‘Grotesque Mask’ a rare Bizarre mask designed by Ron Birks, covered in a Clouvre glaze with enamel red details, printed factory marks, minor professional restoration to lower rim, 28.5cm. high £2,500-3,000 Provenance The Barry Jones Collection of Clarice Cliff, Christie’s South Kensington, 25th February 2000 lot 370. Sold with a copy of the Christie’s auction catalogue. Private collection.

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21. ‘Red Trees and House’ a Clarice Cliff Fantasque Bizarre Bowness jardiniere, painted in colours between coral reds printed factory marks, professional restoration to Coral red band at base, 21cm. high £400-600

22. ‘Red Trees and House’ a pair of Clarice Cliff Fantasque Bizarre Elton candlesticks, painted in colours between red and black bands, restoration to base of one, 30cm. high (2) £1,000-1,500

23. ‘Orange Bridgewater’ a Clarice Cliff Bizarre Daffodil bowl, shape no. 175, painted in colours with orange and yellow flanges, printed factory marks, professional restoration, 32.5cm. wide £300-500

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24. ‘Branch and Squares’ a Clarice Cliff Bizarre Globe tea cup saucer and side plate, painted in colours inside yellow, blue and black bands, printed factory marks, 17.5cm. diam. (3) £150-200 Provenance Clarice Cliff Centenary Exhibition, The Art of Bizarre, Wedgwood, 1999. Private collection.

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25. ‘Feather and Leaves’ a Clarice Cliff Fantasque Bizarre Athens jug, painted in colours between orange and black bands, printed factory mark, small chip to foot, 16.5cm. high £120-180

26. ‘Broth’ a Clarice Cliff Bizarre Globe cup, saucer and side plate, painted in colours printed factory marks, professional restoration to cup, 17.5cm. diam. (3) £150-200 Provenance Clarice Cliff, Christie’s South Kensington, 13th November 1998, lot 145. Private collection.

27. ‘May Avenue’ a rare Clarice Cliff Bizarre Eton jug, painted in colours, printed factory mark, 14.5cm. high £3,000-4,000

28. ‘May Avenue’ a rare Clarice Cliff Bizarre Daffodil preserve pot and cover, painted in colours between blue and black bands, printed factory marks, 13cm. high £1,000-1,500

28 both sides

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29 both sides 29. ‘Applique Red Tree’ a Clarice Cliff Bizarre Mei Ping vase, painted in colours between red and black bands, printed and painted marks, 15.5cm. high £2,000-3,000 Provenance Private collection of Clarice Cliff. 30. ‘Inspiration Caprice’ a Clarice Cliff Mei Ping vase, painted in colours on a turquoise blue ground, printed and painted marks, 23cm. high £800-1,200 ‘Delecia Citrus’ a Clarice Cliff Bizarre Mei Ping 31. vase, painted in colours printed factory marks, small chip to foot rim, 15.5cm. high £150-200

30 both sides

32. ‘Sunrise’ a pair of Clarice Cliff Fantasque Bizarre Mei Ping vases, retailed by Lawley’s, painted in colours between orange, green and yellow bands, printed factory marks, Lawleys Mark, professional restoration to bands of one vase, 22.5cm. high, (2) £1,500-2,000

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32 pair

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33. A Wilkinson Tahiti 194 vase designed by John Butler, pattern no. 8488, painted with a band of chrysanthemum flowers in colours on a mottled ground, impressed model no. and painted pattern mark, minor paint flakes, 28.5cm. high £120-180

34. ‘Melon’ a Clarice Cliff vase, painted in colours between orange and black bands, printed factory marks, minor paint frits to top rim, 28.5cm. high £800-1,200

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34 35. ‘Circles and Squares’ a Clarice Cliff Fantasque Bizarre 358 vase, painted in colours between blue, orange and green bands, printed factory marks, restored top rim, 20cm. high £300-500

36. ‘Umbrellas and Rain’ a Clarice Cliff Fantasque Bizarre 365 vase, painted in colours between orange, yellow and blue bands, printed factory marks, professional restoration to orange band on top rim, 21cm. high £400-600

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‘Anemone’ a Clarice Cliff 615 vase, 37. ribbed flaring form, painted in colours printed factory marks, missing flower rose, 17cm. high £120-180 Provenance Clarice Cliff, Christie’s South Kensington, 26th May 2000, lot 14.

38. ‘Rudyard’ a Clarice Cliff Bizarre 120 vase, painted in colours between pink, green and blue bands, printed factory marks, professional restoration to top rim, 26cm. high £400-600

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39. ‘Sunray’ a Clarice Cliff Bizarre single-handled Lotus Jug, painted in colours between orange, yellow and black bands, printed factory marks, 29cm. high £2,500-3,500 40. ‘Football’ a Clarice Cliff Bizarre Hiawatha bowl, painted in colours printed factory marks, wear to paint work, 25cm. diam. £200-400 41. ‘House and Bridge’ a Clarice Cliff Fantasque Bizarre bowl, painted in colours, the interior with black, red, orange and yellow bands, printed factory marks, 23.5cm. diam. £300-500 ‘Rudyard’ a Clarice Cliff Fantasque Bizarre bowl, 42. painted in colours with blue, green and pink bands to interior, printed factory mark, wear to interior, 21.5cm. diam. £120-180

40 43. ‘Feather and Leaves’ a Clarice Cliff Fantasque Bizarre Hiawatha bowl, painted in colours printed factory marks, £120-180 restored, 23cm. diam.

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44. ‘Rudyard’ a Clarice Cliff Bizarre Biarritz plate, painted in colours to well and rim, printed factory mark, 23cm. wide £200-300

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Provenance Clarice Cliff & Art Deco, Woolley and Wallis, 2nd April 2003 lot 531.

45. ‘Pebbles’ a Clarice Cliff Fantasque Bizarre side plate, painted in colours inside an orange band, a Patina Tree side plate and a Cherry Blossom side plate printed factory marks, wear to band, 14.5cm. diam. (3) £150-200 Provenance The Barry Jones Collection of Clarice Cliff, Christie’s South Kensington, lot 4 (Patina Tree plate)

46. ‘Keyhole’ a Clarice Cliff Bizarre plate, painted in colours inside a yellow band, printed factory marks, 23cm. diam. £150-200

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47. ‘Latona Dahlia’ a Clarice Cliff Bizarre wall plaque, painted in colours on a Latona ground, printed and painted marks, minor £1,000-1,500 professional over-painting to blue, 33cm. diam.

48. ‘Blue Luxor’ a Clarice Cliff Bizarre Sandwich set for four, comprising tray and four octagonal side plates, in colours inside yellow and orange bands, printed factory marks, wear to bands, 29.5cm. wide (5) £400-600

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49. ‘Umbrellas’ a Clarice Cliff Fantasque Bizarre wall plate, painted in colours inside a black band, printed factory marks, minor paint wear, 26cm. diam. £300-500

50. ‘Applique Palermo’ a Clarice Cliff Applique Bizarre Hiawatha bowl, painted in colours inside yellow, black and red bands, printed factory mark, professional restoration to black band, 28cm. diam. £700-1,000

51. ‘Moonlight’ a rare Clarice Cliff Bizarre charger, painted in colours inside green and yellow bands, printed factory marks, 45.5cm. high £2,000-3,000 Provenance Private collection.

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52 52. A Clarice Cliff Biarritz dinner service, each painted with a simple flower stem in red, mushroom and black, comprising three graduated platters, two tureen and covers, gravy boat, six bowls and saucers, six dinner and entree plates, two side plates, printed factory marks, 34.5cm. wide (largest platter) (34) £200-300 Catalogue notes The set has the 1936 impressed date.

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53. ‘Circus - Art in Industry’ a Clarice Cliff Bizarre tureen and cover designed by Dame Laura Knight, for the Art in Industry exhibition,1934, the domed cover modelled with two clowns forming a finial, the tureen with acrobats as handles, the well printed and painted with two Circus horses, printed factory marks, restored, 28.5cm. diam. £250-300 Provenance Clarice Cliff, Art Deco & 20th Century Design, Woolley and Wallis, 20th April 2016 lot 1038. 54. ‘Tralee’ a Clarice Cliff Bizarre Lynton teapot and cover, painted in colours printed factory marks, professional restoration to rim of pot, 13cm. high £250-300

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55. ‘Alton’ a Clarice Cliff Bizarre Stamford teapot and cover, painted in colours printed factory marks, 12cm. high. £800-1,200 56. ‘Rhodanthe’ a Clarice Cliff Bizarre Bon Jour Bachelor tea set, comprising teapot and cover, Stamford milk-jug and sugar basin, one cup, saucer and side plate, painted in colours printed factory marks, cover repaired corner, 13cm. high (7) £400-500

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57 57. ‘Blue Chintz’ a Clarice Cliff Bizarre large Conical tea set for two, painted in colours, comprising large Conical teapot and cover, milk-jug and sugar basin, two cups, saucers and a side plate printed factory marks, restoration to rim of pot and milk-jug 15cm. high (9) £800-1,200

58. ‘Seven Colour Secrets’ a Clarice Cliff Fantasque Bizarre Stamford Bachelor tea set for one, painted in colours, comprising teapot and cover, milk-jug and sugar basin, one cup, saucer and a side plate, printed factory marks, professional restoration to inside of cup and top rim of sugar, 12.5cm. high (7) £1,500-2,000

59. ‘Green Hydrangea’ a Clarice Cliff Bizarre Daffodil tea trio, painted in colours, comprising teapot and cover, milk-jug and sugar basin, printed factory marks, repair to inner rim of pot, 13cm. high (4) £400-500

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60. ‘Orange Chintz’ a Clarice Cliff Fantasque Bizarre Stamford tea trio, comprising teapot and cover, milk-jug and sugar basin, painted in colours, printed factory marks, 12cm. high (3) £1,200-1,800

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CERAMICS 61. A Shelley Vogue shape tea set for six, pattern no.11739, comprising milk-jug and sugar basin, six cups and saucers, and five side plates and a sandwich plate, printed and painted in red and black with simple floral band, the triangular filled handles with similar spray, and four Clarice Cliff Conical coffee cans and nine saucers printed and painted marks, damages, 24cm. wide (sandwich plate) (33) £120-180

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62. A Shelley Pottery Green Blocks Eve cake plate designed by Eric Slater, pattern no. P11785, printed and painted in green, black and silver with a geometric panel, and four other Art Deco Shelley cake plates, printed and painted marks, 24.5cm. wide (5) £150-200

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63. A Shelley Pottery Eve cake plate designed by Eric Slater, pattern no. 11755, printed and painted with berries and foliage in shades of red, black, green and blue, and four other Shelley Pottery cake plates, printed and painted marks, 25cm. wide (5) £150-200

64. A Shelley Pottery Yellow Blocks Eve cake plate designed by Eric Slater, pattern no. 12288, and four other Shelley Pottery cake plates printed and painted marks, 25cm. wide, (5) £150-200 Literature Andrew Casey 20th Century Ceramic Designers in Britain, Antique Collector’s Club, page 150 plate 164 for a comparable set in the Orange Blocks pattern.

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A Shelley Pottery Blue Blocks Eve 65. cake plate designed by Eric Slater, pattern no. W12557. printed and painted in blue, black and grey with geometric panels, and four other Shelley Pottery cake plates printed and painted marks, 24.5cm. wide (5) £150-200

66. A Shelley Pottery Eve cake plate designed by Eric Slater, pattern no. 11749, printed and painted with floral sprays in green and blue, highlighted in gilt, and four other Shelley Pottery cake plates printed and painted marks, 25cm. wide, (5) £150-200

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67. A Wemyss pot and cover, with stand, painted in colours, another jar and stand with matched cover and a side plate painted with fruiting and flowering blackberry stems, and a Royal Copenhagen vase painted with a yacht at sea, impressed marks, damages, 17cm. high (8) £150-200


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68. ‘Bifrost’ a Wedgwood Fairyland Lustre Malfrey vase and cover designed by Daisy Makeig-Jones, printed and painted in colours, highlighted in gilt, printed and painted marks 22.5cm. high £4,000-5,000

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69. A Wedgwood Fairyland Lustre Malfrey vase and cover designed by Daisy Makeig-Jones, printed, and painted in gilt and black on a red lustre ground printed and painted marks, 22.5cm. high £1,500-2,000

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70. A Wedgwood Dolphin plate designed by Laurence Whistler, printed with a classical dolphin to the well, the rim with a border of starfish and shell vignette, a Wedgwood Harvest Festival platter designed by Eric Ravilious, two Wedgwood plates designed by Richard Guyatt, a Foley plate designed by Graham Sutherland, a Wedgwood cup and saucer designed by Marcel Goupy, and nine other items, printed marks, 27cm. diam. (18) £150-200 Provenance Wedgwood Exhibition, 1982, Richard Dennis Gallery catalogue number 251 (Marcel Goupy)

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Literature Maureen Batkin Wedgwood Ceramics Richard Dennis Publications, page 173 plate 406 for an example of the Dolphin plate illustrated.

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71. ‘Outlines of Grandeur’ a set of six Wedgwood plates designed by Laurence Whistler, printed in black, the rim with red ribbons, comprising New Delhi, St Paul’s Cathedral, Tintern Abbey, Holyroodhouse, Clifton Suspension Bridge, and Stonehenge, printed factory marks, 25.5cm. diam. (6) £600-800

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Literature Maureen Batkin Wedgwood Ceramics 18461959, Richard Dennis Publications, page 166 plate 402. 72. A Wedgwood Pottery earthenware desk set designed by Keith Murray, comprising crescent-shaped tray, powder box and cover and two candlesticks, all covered in a Matt Green glaze, impressed marks and facsimile signature, one candlestick re-stuck, 24cm. wide (tray), (5) £120-180

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73. A Susie Cooper jug, incised with a running ibex, covered in a matt white glaze, and five other Susie Cooper vases incised signature, 21.5cm. high (6) £120-180 74. 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) £120-180

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

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75. Harry Parr (1882-1966) a Chelsea Cheyne model of a crinoline lady, dated 1922, modelled standing in elaborate yellow dress holding a red rose, glazed in colours, highlighted in gilt, on ebonised wood base, incised H Parr 1922 Chelsea, minor glaze chip to base rim, 20.5cm. high £200-250 Literature The Cheyne Book of Chelsea China and Pottery, plate 42 for a comparable figure. A Carter’s Poole Pottery Noah’s Art Series 76. four tile Nursery panel designed by Phyllis Butler, screen-printed and painted with a monkey running from the deluge, in colours on a pale yellow ground, mounted on card marks concealed, 30.5cm. square £200-300 Catalogue notes These tiles form part of a larger group of nursery tiles produced for children’s wards at hospitals including The Kent and Sussex Hospital, Tunbridge Wells in 1935.

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77. A Carter’s Poole Pottery Noah’s Art Series four tile Nursery panel designed by Phyllis Butler, screen-printed and painted with a Rhino dressed and walking on hind legs, in colours on a yellow ground, mounted on card, marks concealed 30.5cm. square £200-300 78. A Carter’s Poole Pottery Noah’s Art Series six tile Nursery panel designed by Phyllis Butler, on Pilkington’s blanks, screen-printed and painted with a monkey riding an ostrich away from the deluge, in colours on a yellow ground, impressed P mark, painted B numbers, chip to one tile, 53.5 x 30.5cm. (6) £300-500

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79. A Carter Stabler & Adams Poole Pottery vase by Eileen Prangnell, pattern EB, painted with flowers and foliage in colours on white ground, impressed mark, painted artist cipher, 17cm. high £120-180 80. 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 two vases, impressed and painted marks, 11.5cm. high (4) £120-180 81. A Carter Stabler and Adams Poole Pottery Fuchsia vase by Eileen Prangnell, pattern YO, ovoid with loop handles, painted in colours with flowers and foliage on a white ground, impressed marks, £120-180 painted artist cipher, 17cm. high 82. A Poole Pottery Plane Ware vase, shape no. 181, flaring cylindrical form on shallow base, spray glazed cream, the foot and applied stepped flanges glazed yellow impressed and printed marks, incised 181, hairline to foot rim, 16cm. high £120-180 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis page 70 & 71 for comparable examples 83. A Poole Pottery vase by Anne Hatchard, shape 966, pattern BR, shouldered cylindrical form, painted with stylised flowers and foliage in green, grey, black and brown on a white ground, impressed and incised marks, painted artist cipher, 24.5cm. high £300-500

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CONTINENTAL CERAMICS

84. Le Pigeon S’Envole a ceramic bird sculpture by Jacques Adnet, on stepped base, covered in a white glaze, signed Adnet to the base, 49m. high £200-300

85. A pottery figure the design attributed to Katshutte, modelled as a dancer holding the hem of her flowing pink dress, with brass base and lamp fitting, base concealed, 32cm. high (figure) £400-600

86. ‘Flamenco Dancers’ a large Katshutte Pottery dancer group, modelled as a young couple dancing together, in colours printed factory marks, minor professional restoration, 46cm. high £300-500

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87. ‘Dopo Lo Studio’ a Lenci Pottery figure designed by Abele Jacopi, a young lady modelled seated eating an apple and gazing downwards towards an open book, painted marks, impressed AJA monogram, minor glaze frits, 28cm. high £2,500-3,000 Literature Alfonso Panzetta Le Ceramiche Lenci, Umberto Allemandi & C., page 223 catalogue number 726 for this model.

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88. ‘Madonna del Vento’ a Lenci Pottery figure, tall slender statue, painted in colours painted factory marks, minor chips, 41cm. high £500-1,000 Literature Alfonso Panzetta Le Ceramiche Lenci, Umberto Allemandi & C., page 187 catalogue number 487 for a comparable example illustrated.

90

89. ‘Girl with Urn’ a Bigi Torino pottery figure, painted in colours and highlighted with gilt, painted marks, original retail label, small chip to base rim, 52cm. high £300-400

A pair of Spiga Italian pottery wall plaques, model 90. no. 413a and 411a, each modelled in low relief with skiers on the piste, in colours painted marks, minor chips, 28 x 23.5cm. £400-600 Catalogue notes These Spiga pottery plaques were made in Albisola not far from the Lenci factory in Torino.

91. A rare Goldscheider Pottery model of a woman dancing, model no. 8758, modelled standing on one leg arms outstretched to balance, wearing short dress painted with bell flowers, on circular base with spray of lily of the valley flowers, in colours impressed and printed marks, minor professional restoration to one hand and foot 38cm. high £1,500-2,000 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 151 this figure illustrated. 91

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93

92

92. A set of twelve Royal Copenhagen Zodiac plates designed by Nils Thorrson, each decorated with a star sign, in colours on a white ground, printed and painted marks, Sagittarius broken and museum restored, 23.5cm. diam. £200-300

93. A Keralouve Art Deco style vase, shouldered cylindrical form, enamelled with a herd of elephants below a band of foliage in red and orange on a white ground, printed factory marks, 28.5cm. high £150-250

94

A stoneware pottery figure of a child by Hans Syborg, 94. modelled seated putting on a sock, on circular base, glazed oatmeal and blue-green, painted marks, to base, 19cm. high £50-100

95. A Primavera earthenware vase, ovoid glazed blue graduating to turquoise painted and incised marks, 10cm high £120-180

95

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96

GLASS

97

96. An electric blue clear and frosted glass ceiling shade, shallow bowl form, cast in low relief with stylised flowerhead roundel and geometric border, with brass chains, unsigned, 35cm. diam. £120-180 97. A large Sabino opalescent glass bowl, footed form, modelled in low relief with thistle flowers and foliage, cast marks to well, 35cm. diam. £120-180 98. An amber glass liqueur decanter and six glasses, tapering, faceted section with flaring triangular faceted stopper, six shot glasses on faceted feet, unsigned, 25cm. high (8) £150-200

98

Catalogue notes This was given as a wedding present in 1937, by repute. 99. A frosted glass and chrome cocktail shaker and five glasses, the shaker cylindrical frosted glass decorated with silver grid design, stepped chrome strainer and cover, the five £150-200 glasses cylindrical foot with flaring bowl, unsigned, 23.5cm. high (6) Provenance Purchased by the vendor in the late 1970s from Camden Passage, London. 100. A set of four Vedar enamelled glass large goblets, two printed and enamelled with maidens on a terrace with peacocks, the other two with a frieze of cherubs and flower garlands, cherub glass signed, 19cm. high (4) £200-300 101. A Monart glass vase, shape HB, cylindrical form with trilobed, pulled top rim, mottled purple glass with whorls and aventurine inclusions, cased in clear, and another Monart glass vase unsigned, 24cm. high (2) £200-400 Literature Ian Turner, Alison Clarke,& Frank Andrews, Ysart Glass, plate 31 for a comparable shape illustrated.

99

102. A Steven’s and William glass vase designed by Keith Murray, ovoid with collar neck on applied foot, pale pink graduating to clear with air bubble inclusions, cased in clear unsigned, 23cm. high £150-200 103. A James Powell & Sons Whitefriars Sapphire blue ribbon trailed glass bowl probably designed by Barnaby Powell, a smaller Ruby glass bowl and two other Whitefriars glass pieces, unsigned 29cm. diam. (4) £120-180

100

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101

Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 1213 for comparable examples illustrated.

102

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105

104

LALIQUE GLASS 104. ‘Bison’ no. 1196 a Lalique clear and frosted glass paperweight designed by Rene Lalique, etched R. Lalique France to base, 12cm. long. £150-200 This design was introduced in 1931.

106 105. ‘Taureau Sacre’ a Lalique frosted glass paperweight designed by Rene Lalique, etched Rotterdam Lloyd, Royal Dutch Mail, R. Lalique France to base, 9cm. long. £150-200 This design was introduced in 1938.

106. ‘St Christopher’ no. 1142 a Lalique clear and frosted glass car mascot designed by Rene Lalique, with remains of sepia staining, intaglio R Lalique France, 12cm. high £800-1,200

107. ‘Tete de Coq’ no.1137 a Lalique clear and frosted glass car mascot designed by Rene Lalique, moulded Lalique France 17.5cm. high £1,200-1,800

107

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108 109

108. ‘Oeillets’ no. 422 a Lalique opalescent glass flaring bowl designed by Rene Lalique, stencil R Lalique France, 36cm. diam. £1,000-1,500

109. ‘Pinsons’ no. 10-386 a Lalique clear and frosted glass bowl designed by Rene Lalique, with silvered bronze base and scrolling twin-handles, unsigned, 23.5cm. diam. 19cm. high £200-300 110

110. ‘Calypso’ no. 413 a Lalique opalescent glass bowl designed by Rene Lalique, stencil R Lalique France 35cm. diam. £1,500-2,000

111. ‘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) £150-200

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112

113

112. ‘Eucalyptus’ no. 936 a Lalique opalescent glass vase designed by Rene Lalique, intaglio moulded R Lalique mark, 16.5cm. high £1,200-1,800

113. ‘Oleron’ no. 1008 a Lalique opalescent glass vase designed by Rene Lalique, etched R Lalique France to base rim, 8.8cm. high £800-1,200

114. ‘Druide’ no. 937 a Lalique opalescent glass vase designed by Rene Lalique, moulded R Lalique signature, 19cm. high £800-1,200

114

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115

116

115. ‘Cactus’ no. 10-3019 twelve Lalique glass desert plates designed by Rene Lalique, stencil marks R Lalique, 22cm. diam. (12) £500-800 This design was introduced in 1933.

116. ‘Paquerette’ no.10-3029 three Lalique frosted glass plates designed by Rene Lalique, with blue-green staining, decorated with a band of marguerite flowerheads stencil R Lalique mark, 15.5cm. square (3) £200-300

117 117. ‘Sirene avec Bouchon Figurine’ no. 883 a Lalique frosted glass bottle stopper designed by Rene Lalique, sepia staining, £200-300 unmarked, small chips to base rim, 12.5cm. high. This design was introduced in 1920. Literature Felix Marcillhac Rene Lalique 1806-1945 page 179 for an illustration of the bottle and stopper.

118. ‘Sirene’ no.831 a Lalique frosted glass figure designed by Rene Lalique, etched R Lalique France to base 10.5cm. high £1,000-1,500

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119

120

119. ‘Rampillon’ no.991 a Lalique clear and frosted glass vase designed by Rene Lalique, moulded R Lalique 13cm. high £200-300

120. ‘Ondines’ an unusual Lalique opalescent glass bowl with inverted rim designed by Rene Lalique, cast in low relief, etched Lalique signature 18cm. diam. £1,000-1,500

121. ‘Coquilles’ a pair of Lalique opalescent glass ceiling shades designed by Rene Lalique, with glass Saturn rings etched R Lalique France marks to centre, 19cm diam. (bowl) 45cm diam. (Saturn rings). (2) £800-1,200

121

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DODO BURGNER ARTWORK

‡ 122. Dorte Clara Dodo Burgner (1907-1998) Study of a Naked Woman 1925 charcoal on paper, dated 17 X 25 62 x 47cm (sheet) £120-180

122

123

‡ 123. Dorte Clara Dodo Burgner (1907-1998) Woman in a Green Coat pencil and wash on paper unsigned 54.5 x 44cm (sheet) £120-180

‡ 124. Dorte Clara Dodo Burgner (1907-1998) Woman in a Black Cape pencil and watercolour on paper unsigned 45 x 36cm. (sheet) £120-180

124

125

‡ 125. Dorte Clara Dodo Burgner (1907-1998) Woman in a Black Hat watercolour on paper, mounted annotated in pencil 45 x 32cm. £150-200

‡ 126. Dorte Clara Dodo Burgner (1907-1998) Woman in a Floral Dress an ink on card fashion design, unsigned, 51 x 36.5cm. (sheet) £120-180

‡ 127. Dorte Clara Dodo Burgner (1907-1998) Girl in a Pink Dress charcoal and watercolour on paper, mounted annotated 16 X 26 43 x 32cm. £150-200

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126

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‡ 128. Dorte Clara Dodo Burgner (1907-1998) Woman in a Pink Dress watercolour on paper, mounted signed in pencil and annotated 21.5 x 16.5cm.

£120-180

‡ 129. Dorte Clara Dodo Burgner (1907-1998) Circussleute (Circus People) watercolour and pencil on paper, mounted signed DW ( for Dodo Wolff) 21 x 17.5cm. (image)

£120-180

‡ 130. Dorte Clara Dodo Burgner (1907-1998) Riding lesson watercolour on paper, mounted signed Dodo top right and annotated 34 x 26.5cm.

£120-180

‡ 131. Dorte Clara Dodo Burgner (1907-1998) Fashion studies, couple at the theatre, three pen and ink design in common mount, unsigned 16.5 x 7.5cm. (largest)

£150-200

128

129

130

131

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133 132

133A

WORKS OF ART

 132. A 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 £150-250  133. A shagreen and ivory travel desk clock, with easel back, square section green stained shagreen with ivory band to rim, 9cm. square £150-200

134

 133A. A shagreen and cedar wood cigarette box, rectangular form, another smaller with hinged cover, another with ivory edging a cigarette case and a powder compact similar, unsigned, 15.5cm. wide (5) £200-400  134. 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) £150-200

135. A pair of large silk embroidered curtains, each on salmon pink ground with metallic silk embroidered geometric waves and circles, lined 205 x 220cm (approx), (2) £120-180 136. ‘Nouvelles Devantures et Agencements de Magasins’ by G Henriot, a folio of lithographic plates of shop fronts and displays, 34 x 25.5cm. £200-300 137. ‘La Ferronnerie Moderne 4eme Serie’ editions D’art Charles Moreau, a folio of lithographic plate designs, £300-400 138. Umberto Brunelleschi (1879-1949) Lady with doves and attendant, a pochoir print on paper, framed signed in the print, signed and numbered in pencil to lower border, 59 x 49cm.

135 detail

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137

138

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139 139. A Georg Jensen silver bowl by Sigvard Bernadotte, model no.990A, shallow bowl, cast to the well with a flowerhead design, stamped marks to the foot rim, 17.5cm. diam. £200-300  140. 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 £400-600

141. A Limoges enamel vase, shouldered form decorated with sprays of £120-180 flowers signed in the enamel, losses, 15.5cm. high 142. A Modernist glass and chrome table lamp the design attributed to La Maison Desny, offset square plates of glass on chrome stem with mirrored glass base, unsigned 13cm. high £600-1,000

140

141

142

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143. An Art Deco patinated metal uplighter, inverted pear shape shade, narrow cylindrical stem and flat foot, 174cm. high £150-200

144. A Heal’s style oak bookshelf and cupboard, slender square section, the cupboard with hinged door and brass handle, unsigned, 66cm. high £120-180

144

145. An ebonised wood table, the rectangular top on D shaped support and tapering rectangular foot, with glass cover, unsigned, 122cm. wide, 85cm. high, 46cm. deep. £800-1,200

146. A Pair of Chinese rosewood chairs from the Chinese Restaurant at the British Empire Exhibition, Wembley 1924, the backs with inset polished white marble panels, applied metal label to the back, 96cm. high £200-400

143 145

146 detail

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SCULPTURE

147. J D Guirande Thyrse Dancer a silvered bronze model of a dancing woman, modelled as a woman dancing, holding a thyrse branch, on veined flaring black marble base, signed in the cast to the dress, 67cm. high ÂŁ1,500-2,500

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148. A tall patinated plaster model of Mephistopheles cast from a model by Jacques Louis Gautier, on flaring square base, titled and numbered BCM/0020 59cm. high £150-200

149. A plaster sculpture of musician and dancer, dated 1929, the base incised with a band of musical notes, indistinct signature to base dated 1929, losses to base, 51cm. high £150-200

148

149

150. Joe Descomps (1869-1950) Three Graces a terracotta sculpture signed in the base, restored neck to one, 25.5cm. high £300-500

151. Andre Lavrillier (1885-1958) Leda & the Swan, a bronze plaque cast in low relief, and an Art Nouveau bronze inkwell signed in the cast lower left, 10 x 6cm. (2) £120-180

150

151

152. Franz Bergmann (1861-1936) exotic dancer, a patinated and cold painted bronze model with hinged skirt, signed in the cast Nam Greb, 14.5cm. high £350-450

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 153. Ferdinand Preiss (1882-1943) Russian Dancer a bronze and ivory figure on polished black slate base, signed and foundry mark in the cast 31.5cm. high £2,000-3,000

Literature Bryan Catley Art Deco and other Figures, Antique Collector’s Club, page 279 for a comparable example illustrated. Albert Shayo Ferdinand Preiss, Art Deco Sculptor, ACC, page 158 for a comparable example. Provenance Private collection.

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 154. Ferdinand Preiss (1882-1943) Moor Boy (Oriental waiter in a turban) a patinated bronze and ivory figure on stepped onyx base and ivory feet and metal lamp fittings, incised F Preiss to base 14cm. high (figure) 44cm. high (lamp base) ÂŁ800-1,200

Literature Bryan Catley Art Deco & Other Figures, Antique Collector’s Club, page 268 for an example illustrated. Albert Shayo Ferdinand Preiss, Art Deco Sculptor, ACC, page 122 for a comparable example.

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 155. Ferdinand Preiss (1882-1943) Javelin Thrower a cold painted bronze and ivory figure on shaped polished black slate and green veined onyx base, incised F Preiss to base 39cm. wide £16,000-20,000

Literature Albert Shayo Ferdinand Preiss, Art Deco Sculptor, ACC, page 142 for a comparable example. Provenance An Important Private Collection of Art Deco Figures, Sotheby’s London 2nd May 2007 lot 203 page 10. Private collection.

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156

157

158

 156. Peleska Lady standing a bronze and ivory figure, on green veined marble base, signed in the cast to the base Peleska RM, 18.5cm. high £500-1,000

157. A Hagenauer bronze model of a naked male athlete, modelled standing holding a ball above his head, on circular base, stamped marks to base, 27cm. high £800-1,200

 158. Marcel Bouraine (1886-1948) Bird on a perch bronze and ivory on black polished marble base, signed in the cast a Bouraine 24cm. high

159. Claire Jeanne Roberte Colinet (1880-1950) The Juggler patinated bronze on veined polished marble base unsigned, 32.5cm. high

159

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£500-800

£800-1,200


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160. Josef Lorenzl (1892-1950) Woman holding a disc, patinated bronze figure on green onyx desk base with two pen holders, signed Lorenzl 21cm. high (figure) 36cm. wide (base) £400-600 160

161. A copper and chromed metal clock garniture, the central clock with four faceted copper columns supporting slate and marble pediment and silvered metal panther, square section clock with Arabic numerals, flanked with two copper urn spill vases, 39cm. high, 29cm. wide (3) £800-1,200

162. George Maxim (1895-1940) Woman with Hounds, a verdi gris patinated metal sculpture on stepped onyx base, scratched signature to base, 62cm. wide. £800-1,200

161

162

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 163. Professor Otto Poertzel (1876-1963) Golfer a patinated bronze and ivory figure on green onyx base signed in the cast Prof Poertzel 23.5cm. high ÂŁ3,000-5,000

Literature Albert Shayo Statuettes of the Art Deco Period, ACC, page 203 for a comparable example.

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DESIGN

CERAMICS 164. Two William De Morgan Merton Abbey Period BBB tiles, each painted in blue, aubergine and green on a white ground, a William De Morgan Mongolian tile, another similar, thirteen Art Nouveau tiles and a collection of impressed marks, losses, 15.5cm. square (17) £150-200 Provenance The Michael and Renate Lancaster collection.

164 part

165

166

167

165. A Pilkington’s Royal Lancastrian vase by William S Mycock, modelled by E.T. Radford, ovoid with collar rim, painted with a frieze of swans swimming on calm water, a sun rising in the distance, cypress trees in the foreground, in shades of ruby and golden lustre on a blue ground, impressed marks, painted artist cipher and incised E.T.R monogram, 17cm. high £500-800

166. A Royal Doulton stoneware oil lamp, with polished brass foot, fittings and glass flume, the stoneware body with a band of applied decoration between applied foliate borders, in blue, brown and ochre, cast Hinks & Son marks to metal base, 39cm. high £150-200

167. A Doulton Lambeth stoneware vase by Hannah Barlow, dated 1882, shouldered, tapering cylindrical form, incised with a broad band of donkeys resting, between bands of geometric decoration, glazed blue, ochre and brown on a buff ground, impressed marks, incised £250-350 monogram, 28.5cm. high

168. ‘Play Goers’ a rare Doulton Lambeth mouse group by George Tinworth, modelled as a mouse orchestrating a punch and judy show, three mice watch on as one peeps through the curtain at the back, the tent flanked with a mouse playing a base drum and a mouse holding a plate, glazed in ochre and blue, incised title, impressed Doulton mark, incised GT monogram, 13cm. high £3,000-4,000

168

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169. A Sunflower Pottery jug by Sir Edmund Elton, dated 1916 with a cast portrait roundel of Kitchener, glazed streaked green and blue, a Sunflower Pottery tobacco jar and cover by Sir Edmund Elton, and a Sunflower Pottery vase, painted Elton, 15cm. high (3) £120-180

170. A Sunflower Pottery vase designed by Sir Edmund Elton, ovoid with flaring cylindrical neck, slip decorated with foliage in blue and green on a streaked blue and green ground, another similar and a tall Sunflower pottery vase covered in a green and blue marbled glaze, and a Sunflower Pottery ewer and a vase, painted marks, restored chip to top rim of small vase, 18.5cm. high, (5) £150-200

169

A Sunflower Pottery ewer by Sir 171. Edmund Elton, ovoid with flaring knopped neck, and pinched top rim, slip decorated with fruiting and flowering bough in blue and green on a streaked green ground, and another Sunflower Pottery vase covered in an olive green glaze, painted Elton, minor glaze frits to main ewer, 23cm. high (2) £120-180

172. 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) £120-180

170

173. A large Cobridge Stoneware highfired vase by Susan Smith, shouldered form with flaring neck, covered in a controlled, streaked sang de boeuf glaze over silver grey, impressed marks, signed Susan Smith, 45cm. high £120-180

171

172

174. A Burleigh Ware Persian charger designed by Charlotte Rhead, pattern 4013, tubeline decorated with a Persian flower to the well, the rim with a frieze of flowers and foliage, in colours on a pale lemon and white ground, printed factory mark, painted facsimile Rhead signature, 35.5cm. diam. £300-500 Literature Andrew Casey 20th Century Ceramic Designers in Britain, Antique Collector’s Club, page 52 plate 40 for a comparable Persian charger illustrated.

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173

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177

175

175. A model of a seated monkey probably Bernard Moore, modelled seated and covered in a white glaze unsigned, 10cm. high £120-180 Literature Aileen Dawson, Bernard Moore Master Potter 1850-1935, Richard Dennis, page 42 for an example in a flambe glaze illustrated.

176. Two Bernard Moore flambe rabbits, each covered in a red flambe glaze with blue patches, applied glass eyes, BM monograms, 7.5cm. high (2) £200-250

178

A Bernard Moore flambe Diakokan figure, covered 177. in a red flambe glaze, BM monogram, 6cm. high £120-180

178. A Bernard Moore flambe Gazeka figure, covered in a red flambe glaze with amber splashes, BM monogram 14.5cm. high £120-180 Literature Aileen Dawson Bernard Moore Master Potter 1850-1935, Richard Dennis, page 47 figure 25 for a comparable example.

An impressive pair of Bernard Moore vases by 179. Hilda Lindop, tall, tapering form with knopped cylindrical neck, painted with a ferocious oriental dragon before clouds, flying above an elaborate parapet, Bernard Moore mark, painted artist monogram, 52cm. high (2) £4,000-5,000 Literature Aileen Dawson, Bernard Moore Master Potter1850-1935, Richard Dennis, page 68 for a comparable vase illustrated.

179 pair

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MOORCROFT POTTERY


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180

180. ‘Hazledene’ a Japanese copy of a Moorcroft Pottery vase, glazed in shades of green and yellow, a Gesso Faience cup and saucer designed by Harry Barnard, a purple lustre acorn pepper pot, a small bowl, two small egg pepper pots and a cover, and a collection of Moorcroft reference material, impressed marks, 10.5cm. high (a lot) £150-200 Catalogue notes This vase appeared in the Moorcroft Collector’s Club magazine as one to watch out for. 181. ‘Cornflower’ a James Macintyre & Co vase designed by William Moorcroft, slender baluster form, tubeline decorated with Art Nouveau flower panels in blue, green and yellow on a white ground, printed factory mark, painted green signature, minor professional restoration to top rim, 23cm. high. £200-300

181

182. ‘Blue Poppy’ a James Macintyre & Co Florian Ware baluster vase designed by William Moorcroft, tubeline decorated with flower stems in blue and green on a white ground, printed factory mark, painted green signature 22.5cm. high £400-600

182

183. ‘Iris’ a James Macintyre & Co Florian Ware baluster vase designed by William Moorcroft, painted in shades of blue, yellow and lime green on a white ground, printed factory mark, painted green signature, 17.5cm. high £300-500 184. ‘Peacock Feathers’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, shouldered form, tubeline decorated with Art Nouveau peacock feathers in blue, yellow and lime green on a white ground, printed factory mark, painted green monogram, 10cm. high £300-500

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184

185

185. ‘Cornflower’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, ovoid with everted solifleur neck, tubeline decorated with panels of cornflowers in yellow, blue and lime green on a white ground, printed factory mark, painted £250-300 green monogram, 9cm. high


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186. ‘Peacock Feathers’ a Moorcroft Pottery sugar basin designed by William Moorcroft, twin-handled form, painted with Art Nouveau peacock feathers in blue and green on a celadon ground, painted green signature, 7.5cm. high £150-250

187

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

188. ‘Wisteria’ a James Macintyre & Co twin-handled vase designed by William Moorcroft, dated 1913, waisted cylindrical form, painted in shades of purple and green on a white ground, printed factory mark, painted green signature, 20.5cm. high £1,500-2,000

188

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

189

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190. ‘Cornflower’ a James Macintyre & Co vesta designed by William Moorcroft, painted in shades of red and green on a sand ground, and another Macintyre vesta designed by William Moorcroft printed factory marks, first signed in green, 6cm. high, (2) £200-300

190

191

191. ‘Anemone’ a James Macintyre & Co tobacco jar and cover designed by William Moorcroft, compressed form with screw cover, tubeline decorated with panels of flower stems in red, purple and green on a sand ground, printed factory mark, cover repaired, 10cm. high, 14.5cm. wide. £250-350 ‘Big Poppy’ a Moorcroft Pottery 192. solifleur vase designed by William Moorcroft, ovoid with slender neck, painted in shades of red, purple and green on a blue ground, impressed marks, painted green signature, 9.5cm. high £150-200 193. ‘Big Poppy’ a Moorcroft Pottery bowl designed by William Moorcroft, footed, circular form with inverted rim, tubelined decorated in red, ochre and green on a blue ground, impressed marks, painted blue signature, stress hairline to underside of foot, 21cm. diam. £300-500 194. ‘Moonlit Blue’ a Moorcroft Pottery solifleur vase designed by William Moorcroft, ovoid with slightly flaring cylindrical neck and white metal rim, painted in shades of blue, and green on a deep blue ground, impressed marks, 9.5cm. high £150-200

192 193

195. ‘Moonlit Blue’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with cylindrical neck, painted in shades of blue, green and yellow on a deep blue ground, impressed marks, painted blue signature, professional restoration to neck, 12.5cm. high £150-250 196. ‘Moonlit Blue’ a Moorcroft Pottery dish designed by William Moorcroft, circular with inverted rim, painted in shades of blue and green on a deep blue ground, impressed factory marks, 11cm. diam. £150-200

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195

196


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197. ‘Hazledene’ a Moorcroft Pottery vase designed by William Moorcroft probably retailed by Liberty & Co, dated 1913, slender cylindrical form with swollen base and everted top rim, painted with tall trees in a landscape in green and blue on a celadon green ground, impressed marks, painted green signature and date, tiny glaze frits to top rim, 25.5cm. high £1,000-1,500

198. ‘Hazledene’ a Moorcroft Pottery vase designed by William Moorcroft and retailed by Liberty & Co, tapering cylindrical body with flaring neck, painted in shades of green, blue and yellow, painted green signature, printed Liberty mark, 15.5cm. high £700-900 Literature Moorcroft Pottery Richard Dennis/Fine Art Society, 1973, page 60-61 catalogue number 184, this vase illustrated. Purchased by the present vendor at the exhibition.

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199 two views

199. ‘Eventide’ a Moorcroft Pottery bowl designed by William Moorcroft, painted in shades of ochre, green and blue under a partial flambe, impressed marks, painted blue signature, 25cm. diam. £700-1,000

200. ‘Eventide’ a Moorcroft Pottery plate designed by William Moorcroft, painted with trees in a landscape in shades of ochre, green and blue under a partial flambe glaze impressed marks, painted blue signature, 18.5cm. diam. £250-300

200

201

201. ‘Black Peacock Feather’ a rare Moorcroft Pottery baluster vase designed by William Moorcroft, tubeline painted in white with Art Nouveau peacock feathers in green and blue on a black ground, impressed factory marks, minor professional restoration to top rim, 16cm. high £700-900 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 119 plate 3 for three similar examples dated circa 1918.

202. ‘Flambe Leaf and Blackberry’ a Moorcroft Pottery plate designed by William Moorcroft, painted in colours under a rich flambe glaze painted blue signature, 22cm. diam. £300-400

203. ‘Flambe Leaf and Berry’ a Moorcroft Pottery small baluster vase designed by William Moorcroft, painted in colours on a blue ground, under a flambe glaze, impressed factory marks, small bruise £150-200 to top rim, 9.5cm. high

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203


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205

206

204. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, slightly swollen cylindrical form with everted top rim, painted in colours on a green ground, impressed marks, painted blue signature, 18cm. high £1,000-1,500

205. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with waisted cylindrical neck, painted in shades of red, purple and yellow on a green ground, impressed £500-700 marks, painted green signature, 12.5cm. high

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

207

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

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

208

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209. ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, compressed ovoid form, painted in shades of purple and green on a blue ground, impressed marks, painted green signature, 12cm. high £200-300

210 210. ‘Pansy’ a rare Moorcroft Pottery stone designed by William Moorcroft, oval, painted in shades of purple and yellow, painted green signature, 5cm. wide. £120-180

209

Catalogue notes These stones were manufactured to be mounted as jewellery (brooches) or to adorn boxes.

211. ‘Pansy’ a Moorcroft Pottery bowl designed by William Moorcroft, with electroplated rim, painted in shades of purple, blue and green impressed marks, painted green signature, 21cm. diam. £300-400

211

212

212. ‘Wisteria’ a Moorcroft Pottery sugar basin designed by William Moorcroft, painted in shades of purple, yellow, green and blue impressed marks, £120-180 restored, 7cm. high

213. ‘Tall Trees Landscape’ a Moorcroft Pottery vase designed by William Moorcroft, tubeline decorated with tall trees in green and ochre and pale pink flambe, impressed marks, painted green signature, bruise to foot rim, 23.5cm. high £400-600

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213


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214. ‘Fish’ a Moorcroft Pottery bowl designed by William Moorcroft, glazed in matt green and buff highlighted in flambe, impressed marks, painted green signature, stress hairline to rim, 26.5cm. diam. £300-500 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 104 plate 1 and 2 for comparable examples illustrated. 215. ‘Fish’ a Moorcroft Pottery dish designed by William Moorcroft, circular with inverted rim, painted in matt green and ochre with two fish swimming amongst waterweed, impressed marks, 10.5cm. diam. £150-200 216. ‘Fish’ a Moorcroft Pottery vase designed by William Moorcroft, pear shaped, painted with fish swimming amongst waterweed in matt green and blue on a buff ground impressed marks, painted blue signature, cracked, 18cm. high £300-500

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217. ‘Pomegranate’ a rare Moorcroft Pottery coffee pot and cover designed by William Moorcroft, tall, slender form with over-slung handle, tubeline decorated with pomegranates to the body and cover in red, purple and green on a pale celadon green ground, impressed mark, painted green signature, minor loss to end of spout, 25cm. high £500-800

217

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

218

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219. ‘Chrysanthemum or Revived Cornflower’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with tall swollen neck and everted top rim, painted in shades of red, purple and ochre on a mottled green ground, painted green signature, 28cm. high £1,500-2,000

219

220. ‘Chrysanthemum or Revived Cornflower’ a Moorcroft Pottery twin-handled vase designed by William Moorcroft, tapering cylindrical form, painted in shades of red, purple and ochre on a green £800-1,200 ground, painted green signature, 25.5cm. high

220

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221

222

223

224 part

221. ‘Cornflower’ an unusual James Macintyre & Co circular box and cover designed by William Moorcroft, painted in shades of pink, purple and green on a celadon ground, printed factory mark, painted green signature, professional restoration to base, 14cm. diam. £200-300

222. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, painted in shades of pink, purple, ochre and green on a blue ground, two Moorcroft pin dishes, a cover and a Royal Stanley Pomegranate pattern vase, impressed marks, main vase missing cover, 11.5cm. high, (5) £120-180

223. ‘Pomegranate’ a Moorcroft Pottery inkwell with electroplated cover designed by William Moorcroft, painted in colours on a blue ground, and a Moorcroft Pottery ‘Pomegranate’ ashtray, painted green mark, 12cm. diam. (2) £150-200

224. ‘Flambe Leaf and Berry’ a Moorcroft Pottery vase, ovoid with cylindrical neck, painted in colours under a light flambe glaze, a ‘Frilled Orchid’ vase and fifteen other Moorcroft Pottery items painted blue signature, 13cm. high (17) £300-500

225. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, baluster form, painted in shades of red, purple, ochre and blue on a green ground, impressed factory marks, painted green signature, professional restoration to foot, 22cm. high £250-350

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225


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226. ‘Dawn’ a Moorcroft Pottery solifleur vase designed by William Moorcroft, ovoid with cylindrical neck and everted rim, painted with a band of trees in a landscape below fishscale and chevron bands, in matt blue and cream, painted blue signature, 23.5cm. high £1,200-1,800

226 227. ‘Dawn’ a Moorcroft Pottery vase designed by William Moorcroft, baluster form, painted with a band of trees in a landscape between chevron borders, in blue and cream, painted blue signature, 23cm. high £1,200-1,800

228. ‘Waratah’ a Moorcroft Pottery footed bowl designed by William Moorcroft, painted in colours on a dark blue ground, painted blue signature 22cm. diam. £500-1,000

227

228 two views

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229. ‘Eighteenth Century’ a James Macintyre & Co twin-handled vase designed by William Moorcroft, retailed by A La Paix, Paris, painted in colours and highlighted in gilt on a white ground, printed factory marks, painted green signature, printed retail mark, 20.5cm. high £400-600 230. ‘Wisteria’ a tall Moorcroft baluster vase designed by William Moorcroft, made for Liberty & Co, painted with trailing flowers in pink, purple and green on a cream ground, printed factory mark, painted green signature, professional restoration to base, 30cm. high £500-800

229

231. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery vase, baluster form, painted in colours on a graduated sand to blue ground, impressed marks, painted blue signature, 16.5cm. high £500-800

230

232. ‘Eventide’ a Moorcroft Pottery bowl designed by William Moorcroft, painted in shades of blue, green and sand, highlighted in flambe, impressed marks, £300-500 painted blue signature, 25.5cm. diam. 233. ‘Peacock Feather’ a Moorcroft Pottery vase designed by Sally Tuffin, retailed by Liberty & Co, shouldered form, tubeline decorated in green, ochre and white on a green ground, 31cm. high £300-350

231

234. ‘Claremont’ a Moorcroft bowl designed by William Moorcroft, retailed by Liberty & Co, cylindrical form with inverted top rim, painted in shades of red, blue and cream on a streaked green ground, and a Moorcroft Pottery Flamminian Ware vase designed by William Moorcroft and retailed by Liberty, painted green signature, printed Liberty mark, second vase smashed and repaired, 25cm. diam. (2) £800-1,200

232

233

234

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235

MORRIS WARE

236

237 part

238

235. A pair of Hancock & Sons Morrisware vases designed by George Cartlidge, pattern C15-1, compressed form with tapering neck with knopped rim, tubeline decorated with bell flowers in purple and green on a mottled green ground, printed and painted factory marks, painted facsimile signature, 24.5cm. high, (2) £300-500 Provenance Private collection of Morrisware 236. Two Hancock & Sons Morrisware vases designed by George Cartlidge, pattern C2, slender solifleur bottle form, painted with clover flowers in green and purple on a mottled green and a mottled blue ground printed and painted factory marks, facsimile signatures, 25.5cm. high, (2) £200-300

239

240

Provenance Private collection of Morrisware 237. A Hancock & Sons Morrisware vase designed by George Cartlidge, C18-1, compressed form with tapering neck with knopped rim, tubeline decorated with bell flowers in purple and green on a mottled green ground, another identical and a Morrisware vase designed by Cartlidge pattern C8-11, Printed and painted marks, painted facsimile signature, last two vases smashed and repaired damages, 24.5cm. high (3) £200-400 Provenance Private collection of Morrisware 238. Two Hancock & Sons Morrisware bowls designed by George Cartlidge, pattern C5-11 and C5-17, each painted with flowers in purple and green on mottled blue and green ground, printed and painted marks, painted facsimile signature, glaze frit to rim of one, 12cm. diam. (2) £120-180 Provenance Private collection of Morrisware 239. A Hancock & Sons Morrisware Pot Pourri vase designed by George Cartlidge, pattern C56-5, shouldered, tapering cylindrical form, tubeline decorated with flowers and foliage and inscribed Essences of Past Summers, in purple and green on a mottled blue ground, printed and painted marks, painted facsimile signature 20cm. high £300-400

241

Provenance Private collection of Morrisware 240. A Hancock & Sons Morrisware vase designed by George Cartlidge, pattern C15-8, swollen drum form, tubeline decorated with flower stems in purple and green on a mottled blue ground printed and painted marks, painted facsimile signature, 23.5cm. high £300-500 Provenance Private collection of Morrisware 241. A Hancock & Sons Morrisware vase designed by George Cartlidge, pattern C28-2. ovoid with tall cylindrical neck and everted rim, tubeline decorated with bell flowers in purple and green on a mottled blue ground, printed and painted marks, painted facsimile signature, 36.5cm. high £300-400 Provenance Private collection of Morrisware 242. A Hancock & Sons Morrisware vase designed by George Cartlidge, pattern C27-28, shouldered cylindrical form with everted rim, tubeline decorated with rhododendron flower in purple, blue and green on a lime green ground, printed and painted marks, facsimile signature, 31cm. high £300-500 Provenance Private collection of Morrisware

242

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DENNIS CHINA WORKS 243. ‘Rhino after Durer’ a Dennis China Works vase designed by Sally Tuffin, dated 1999, barrel form, tubeline decorated in blue and purple on a pale celadon ground, impressed and painted marks, no.26, 18cm. high £200-300

243

244

244. ‘Tiger’ a Dennis China Works vase designed by Sally Tuffin, dated 2006, painted in colours impressed and printed marks, painted no.2, 19cm. high £150-250

245. ‘Butterfly’ a Dennis China Works box and cover designed by Sally Tuffin, dated 2006, potted by Rory Mcleod, circular section tubeline decorated in colours on a black ground, impressed and painted marks, no.10, 15cm. diam. (2) £120-180

245

246. ‘Datura’ a large Dennis China Works vase designed by Sally Tuffin, dated 2004, potted by Rory Mcleod, tubeline decorated on a black ground, impressed and painted marks, no.9, 40.5cm. high £250-350

247. ‘Moonlight Hare’ a Dennis China Works vase designed by Sally Tuffin, dated 2005, potted by Rory McLeod, tubeline decorated on a graduated blue ground impressed and painted marks, no.10, 34.5cm. high £300-400

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246

247


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248. ‘Passion Flower’ a Dennis China Works vase designed by Sally Tuffin, dated 2003, potted by Rory McLeod, cylindrical form, tubelined in colours on a graduated blue and pink ground, impressed and painted marks, no.3, 29.5cm. high £120-180

249. ‘Poppy’ a Dennis China Works Trial vase designed by Sally Tuffin, dated 1997, with impressed inscription Here is the Flower of Dreams for Thee, painted in colours on a graduating celadon to brown ground, impressed and painted marks, painted trial, 18.5cm. high £120-180

248

249

250

251

250. ‘Penguin’ a large Dennis China Works candlestick designed by Sally Tuffin, dated 2006, potted by Rory McLeod, tubeline decorated and painted in colours impressed and painted marks, no.2, 25.5cm. high £200-400

251. ‘Opera of the Winds’ a Dennis China Works Trial vase designed by Sally Tuffin, dated 2009, thrown by Rory McLeod, stepped vase tubeline decorated with figures after Margaret Macdonald Mackintosh, in black with platinum, on a white ground impressed and painted marks, 30cm. high £120-180

252. ‘Papyrus’ a Dennis China Works Trial Egyptian Flute vase designed by Sally Tuffin, dated 2001, thrown by Rory McLeod, painted in shades of black and grey impressed and painted marks, Trial 2, 19cm. high £120-180

253. ‘Ladybird Checks’ a Dennis China Works Trial vase designed by Sally Tuffin, dated 2012, ovoid with tapering neck, applied with ladybirds, painted in black and white, highlighted in red impressed and painted marks, 19cm. high £120-150

252

253

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254

255

POOLE POTTERY 254. A Carter’s Poole Pottery lustre vase, ovoid with collar neck, covered in a rich deep golden-green lustre glaze, and a Carter, Stabler & Adams lustre octagonal pot, incised marks, 12.5cm. high £120-180

257 256

255. A Carter’s Poole Pottery lustre dish, covered in a rich, deep red lustre glaze, and two shouldered lustre Carter, Stabler & Adams vases, impressed marks, damages to one vase, 14cm. diam. (3) £120-180 256. A rare Carter’s Poole Pottery lustre bowl, footed form, covered in a streaked blue crystalline glaze, impressed Carter’s Poole mark, 17cm. diam. £120-180 257. 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 Potted by Harold Stabler 1915, 27cm. high £120-180 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. 258. A Carter’s Poole Pottery lustre vase, 1906, waisted cylindrical form, covered in a streaked green lustre glaze, incised mark dated 1906, firing crack to base, 32cm. high £250-300 259. A tall Carter’s Poole Pottery lustre vase, dated 1904, slightly swollen cylindrical form, covered in a golden lustre glaze incised marks, firing crack to base, 39.5cm. high £300-500

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258

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260. A Poole Pottery Delphis charger by Jean Millership, shape no.5, painted with three abstract roundels in blue black and turquoise on a vivid red ground printed and painted factory marks, 36.5cm. diam. £120-150 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 123 this actual charger illustrated.

261. A Poole Pottery Atlantis vase by Alan White, compressed ovoid form, incised with abstracted lines, glazed white, two others similar with orange highlights and another similar, impressed mark, incised monogram, 12cm. diam. (4) £120-180

262. A Poole Pottery Studio vase probably designed by Robert Jefferson, compressed form with flaring neck, decorated with bubble designs in green on a white ground, another similar and a small lamp base, printed Studio mark, 9cm. high, (3) £120-180

260

262 261

263. A pottery flat fish by Guy Sydenham, modelled with striations of coloured clay, incised fins and eye, and five Poole Atlantis pebble vases, incised GS monogram 20cm. wide (6) £120-180

263

264. A Poole Pottery Atlantis vase by Guy Sydenham, tapering form with flaring broad rim, incised with bands of zig-zag decoration, glazed white and black on a terracotta ground, another glazed green and a bowl by Guy Sydenham internally painted impressed marks, incised monogram, 17cm. high, (3) £120-180

264

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265

266

267

265. A Poole Pottery Studio vase presented to Dame Evelyn Sharp in 1963, low, footed cylindrical form, incised with vertical decoration glazed turquoise, black and white, and three Poole Pottery Studio vases, printed TV mark, painted inscription, 20cm. diam. (4) £150-200 266. A Poole Pottery Studio vase, shouldered, barrel form, painted with a band in green on a white ground, a Poole Pottery Studio flaring vase and three footed vases impressed Poole Studio mark, 15cm. high (5) £120-180 267. A Poole Pottery Atlantis pebble vase by Jennie Haigh, compressed ovoid form incised with radiating dashes, glazed brown, four others similar and an Atlantis vase, impressed and incised marks, 12cm. diam. (6) £120-180 268. A Poole Pottery Studio vase designed by Robert Jefferson, thrown by Guy Sydenham, swollen form with tapering neck and everted top rim, glazed white, resist decorated with black round panels painted with white enamel abstract decoration, printed Poole Studio TV mark, 31cm. high £500-800 Provenance Cottee’s Auctioneers, 14th November 2015 lot 313 Private collection.

268

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Literature Poole Pottery in the 1960s Nicolaus Boston & New Century, 4-13 February 1993, page 19 catalogue 31 for a comparable vase by Robert Jefferson and Guy Sydenham.


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269. A Richard Parkinson Pottery row of school girls designed by Susan Parkinson, painted in blue-black, impressed mark, 24cm. wide. £120-180 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 4 and 5 for a comparable example illustrated front and back.

269

270. A Richard Parkinson Pottery model of Pigtails schoolgirl designed by Susan Parkinson, model no. 41, decorated in blue and black, impressed seal mark to base, 19.5cm. high £150-250 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 35 for an example illustrated. 271. A Richard Parkinson Pottery triangular plate designed by Susan Parkinson, painted in blue-black with a school girl, unmarked, 15.5cm. wide £120-180

271 270

Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 38 for a comparable example 272. A Richard Parkinson Pottery schoolboy money-box designed by Susan Parkinson, painted in blue-black, impressed mark to base, 16cm. high £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 64 for a comparable example.

272

273

273. A Richard Parkinson Pottery Haystack Hair girl designed by Susan Parkinson, painted in blue-black, impressed marks, 19cm. high £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 35 for a comparable example. 274. A Richard Parkinson Pottery sculpture of three men designed by Susan Parkinson, each modelled in suits and reading the paper, one newspaper entitled Times, decorated in blue impressed marks, 26cm. wide. £200-300

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275 two views

276

275. A Richard Parkinson Pottery model of a hand in glove designed by Susan Parkinson, model no.90, painted with chess pieces on a chequered ground in blue impressed marks, repaired, 35cm. high £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 106. This sculpture was cast from a mould formed for making rubber gloves.

276. ‘Sir Winston Churchill’ a rare Richard Parkinson Pottery bust designed by Susan Parkinson, bisque porcelain with blue glazed socle, unmarked, 22cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 82 for an example illustrated. This bust was the final production model.

277. A large Richard Parkinson Pottery model of a policeman designed by Susan Parkinson, model no.85, resist decorated in blue impressed factory marks, 32cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 46 for a contemporary picture of a policeman being decorated at the pottery, circa 1958. A finished example illustrated on the cover.

277

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278. Dame Margot Fonteyn as Ondine a Briglin Pottery figure designed by Susan Parkinson, painted in blue-grey, incised marks, no.24, 30cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 71 for a comparable example. 279. Vivien Leigh as Cleopatra a Briglin Pottery figure designed by Susan Parkinson, painted in blue-black, incised £400-600 marks, no.90, 31cm. high Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 68 for a comparable example illustrated.

278

279

280. Sir Laurence Olivier as Henry V a Briglin Pottery figure designed by Susan Parkinson, painted in blue-black, incised marks, no.91, 31cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 66-67 for a comparable example illustrated. 281. Sir John Gielgud as Hamlet a Briglin Pottery figure designed by Susan Parkinson, painted in black, incised marks, no.44, 32.5cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 69 for a comparable example.

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282

283

282. Vivien Leigh as Cleopatra a Briglin Pottery figure designed by Susan Parkinson, painted in blue-black, incised marks, no.48, 31cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 68 for a comparable example illustrated. 283. Sir Laurence Olivier as Henry V a Briglin Pottery figure designed by Susan Parkinson, painted in blue-black, incised marks, £400-600 no.97, 31cm. high Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 66-67 for a comparable example illustrated. 284. Paul Robeson as Othello a Briglin Pottery figure designed by Susan Parkinson, painted in blue-black, incised marks and numbered 24, 33.5cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 72 for a comparable example. It is believed only about 6 of these figures were actually produced.

284

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285. A Richard Parkinson Pottery Cavalier bust designed by Susan Parkinson, painted in blue-black, impressed marks, 34cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 61 for a comparable example. 286. A Richard Parkinson Pottery model of a Judge designed by Susan Parkinson, model no. 87, glazed in blue impressed marks, bruise to face and crack, 32cm. high £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 55 for a comparable example.

285

286 287. A Richard Parkinson Pottery bust of a barrister designed by Susan Parkinson, model no.86, decorated in blue, impressed marks, 32cm. high £300-500 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 60 for a comparable example. 288. A Richard Parkinson Pottery bust of a barrister designed by Susan Parkinson, model no.86, decorated in blue, unmarked, 32cm. high £300-500 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 60 for a comparable example.

287

288

289. A pair of Richard Parkinson Pottery Classical heads designed by Susan Parkinson, model number 42 and 43, painted in blue and black, female figure stamped factory mark to base, 18.5cm. high (2) £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 32 for a comparable example 290. A Richard Parkinson Pottery Greek Head bust designed by Susan Parkinson, model no.67, painted in blue-grey, impressed factory mark 32cm. high £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 59 for a comparable example.

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291. A Richard Parkinson Pottery golfer designed by Susan Parkinson, model no.70, painted in shades of blue-grey impressed marks 39cm. high £400-600 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 107 for a comparable example

292. A Richard Parkinson Pottery tennis player designed by Susan Parkinson, modelled standing holding a racket and two balls, painted detail in blue impressed marks, 19.5cm. high £120-180

291 both sides

293. A Richard Parkinson pottery model of a woman knitting designed by Susan Parkinson, modelled seated, painted in blueblack, impressed mark to foot, 18cm. high £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 75 for a comparable example

292

293

294. A large Richard Parkinson Pottery model of Eve designed by Susan Parkinson, painted in dark black-blue, impressed triangle mark to base, minor frit chips to base, 40cm. high £300-500

294

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295. A Richard Parkinson Pottery chorus of birds designed by Susan Parkinson, painted in blue and black, one painted and incised SP, impressed marks, 32cm. wide. £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 103 for a comparable example

295

296. A pair of Richard Parkinson Pottery hens designed by Susan Parkinson, painted in grey, impressed marks, 25cm. high (2) £200-300 297. A Richard Parkinson Pottery cock and hen designed by Susan Parkinson, painted in shades of grey, impressed marks, 30cm. high (2) £200-400

296

297

Literature Richard Parkinson Porcelain catalogue these figures illustrated on the front cover. Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 23 for a comparable example 298. A Richard Parkinson Pottery bull designed by Susan Parkinson, painted in blue and black, a money pig and a money bear impressed marks, 18cm. wide, (3) £120-180

298

299. A Richard Parkinson Pottery model of a large bird designed by Susan Parkinson, painted in blue-black, and eight smaller Parkinson Pottery birds, impressed marks, 17cm. high, (9) £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 47 for a comparable example of the large bird. 300. A Richard Parkinson Pottery owl designed by Susan Parkinson, painted in blue-black, an owl on a nest and another owl, three mice, a pig and a squirrel, some impressed marks, 7.5cm. high, (8) £120-180 301. A Richard Parkinson Pottery owl designed by Susan Parkinson, painted in rust, printed mark to base, 22cm. high £150-200

299

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302. A Richard Parkinson Pottery model of two seated cats designed by Susan Parkinson, with painted decoration, one with a fish skeleton visible in its stomach, impressed mark to foot 27cm. high £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 104 for a comparable example illustrated. 303. A Richard Parkinson money cat designed by Susan Parkinson, painted in blue-black, a model of a cat and a cat salt and pepper cruet impressed marks, 11.5cm. wide (4) £120-180 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 73 for a comparable money cat.

302

304. A Richard Parkinson Pottery model of a Peke designed by Susan Parkinson, painted in blue-black, and two Parkinson Pottery seated dogs impressed marks, 8cm. long (Peke) (3) £120-180 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 77 for a comparable Peke. 305. A pair of Richard Parkinson Lion and Unicorn figures designed by Susan Parkinson, painted in blue, unmarked, chips to feet, 22.5cm. wide (2) £150-250

303

304

Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page for a comparable example with ER and crown decoration submitted to COID to be approved as Coronation souvenirs in 1952. 306. Two Richard Parkinson Pottery sheep models designed by Susan Parkinson, model no.8, one glazed matt bluegrey the other gloss, impressed factory P to gloss model, repaired foot, 27cm. diam. (2) £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 21 for a comparable example.

305

307. ‘Beetle’ a pair of Richard Parkinson Pottery French Bulldogs designed by Susan Parkinson, painted in resist in blue on a white ground, impressed marks to foot, one repaired 21.5cm. high £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 34 and also on the cover for examples illustrated. Beetle was Susan’s French bulldog.

306

307

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308. A Richard Parkinson Pottery Knight plate from the Chess Series designed by Susan Parkinson, painted in blue-grey, impressed factory marks, stress cracks, 33.5cm. diam. £200-400

309. A Richard Parkinson Pottery Queen wall plate from the Chess Series designed by Susan Parkinson, painted in blue-black, unmarked 21.5cm. diam. £150-200

308

309 310. A Richard Parkinson Pottery Rook large charger from the Chess Series designed by Susan Parkinson, painted with a large bird to the well in blue-black impressed marks, 33.5cm. diam. £300-500 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page for a comparable example

310

311

311. A Richard Parkinson Pottery Bishop plate from the Chess Series designed by Susan Parkinson, painted in black, impressed marks, 21.5cm. diam. £200-250

312. Two Richard Parkinson Pottery Knight and Pawn plates from the Chess Series designed by Susan Parkinson, painted in blue-black, impressed marks, chip to rim of pawn plate, 22cm. diam. (2) £200-250 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 57 for a comparable Pawn example

312

313. A Richard Parkinson Pottery plate designed by Susan Parkinson, painted in blue-black with two naked women, unmarked, 21.5cm. diam. £150-200

314. A Richard Parkinson Pottery plate designed by Susan Parkinson, painted in blue-black with a classical maiden standing between two Ionic pillars, impressed marks, 21.5cm. diam. £150-200

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316

315. A Richard Parkinson Pottery King plate from the Chess Series designed by Susan Parkinson, painted in black, impressed factory marks, 21.5cm. diam. £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 56 for a comparable example shown in detail.

316. A Richard Parkinson Pottery Knight charger from the Chess Series designed by Susan Parkinson, painted in blue-black impressed marks, firing crack to rim, 33.5cm. diam. £200-400

317 A Richard Parkinson Pottery Rook (castle) plate from the 317. Chess Series designed by Susan Parkinson, painted in blue-black, unmarked, 21.5cm. diam. £200-300

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318. A Richard Parkinson Pottery Three Piping Woman figure designed by Susan Parkinson, glazed in blue-grey impressed factory marks to base £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 104 for a comparable. 319. A Richard Parkinson Pottery mermaid designed by Susan Parkinson, painted in blue-black, unmarked, 11cm. high £120-180 320. A Richard Parkinson Pottery King Canute money-box designed by Susan Parkinson, painted blue decoration, impressed factory mark, 12.5cm. high £120-180 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 74 for a comparable example.

318

321. A Richard Parkinson Pottery policeman bottle stopper designed by Susan Parkinson, another Cavalry Officer bottle stopper originally designed by Guy Neale, four cruet bottles, four Champagne glasses, a fish dish and a 1961 reversible dish various marks 10cm. long (policeman), (12) £150-200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 62 for a comparable example of the Cavalry Officer and Policeman.

319

320 322. A Richard Parkinson Pottery leaf dish designed by Susan Parkinson, painted in blue impressed marks, 28.5cm. diam. £120-180 323. Eighteen various Richard Parkinson Pottery tankards designed by Susan Parkinson, various sizes painted in blue-black with pillar frieze decoration, impressed marks, damages, 12cm. high, (tallest), (18) £120-180 324. Six Richard Parkinson Pottery storage jars and covers designed by Susan Parkinson, each painted with geometric patterns in blue and black unmarked, damages to one, 17cm. high (tallest), (12) £200-400

321

Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 108 for three comparable examples.

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CERAMICS 325. A large Fulham Pottery flower vase designed by Constance Spry, slender fluted form with twin scroll handles, and another smaller flower vase, and ‘Winter and Spring Flowers’, Favourite Flowers’ and ‘Summer and Autumn Flowers’ three books written by Constance Spry, published by J.M. Dent, 1951 impressed marks to vase, 66cm. wide. (5) £250-300 Provenance The late Countess of Feversham Private collection.

325 part

326. A Carltonware Guinness advertising bar figure, modelled as a toucan standing beside a pint of Guinness, the base inscribed How Grand to be a Toucan, glazed in colours printed factory marks, 22.5cm. high £120-180

326

327. A Midwinter Quite Contrary Fashion coffee set for six designed by Jessie Tait, printed with an atomic design, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed factory marks, 19cm. high (16) £120-180 Literature Stephen Jenkins Midwinter Pottery a Revolution in British Tableware, Richard Dennis Publications, page 57 for comparable examples illustrated. 328. Canterbury Tales a set of nine Rye Pottery pilgrim figures, each modelled as a mounted character from Geoffrey Chaucer, comprising the friar, the merchant, the miller, the knight, the pardoner, the doctor of physic, the nun’s prioress, the squire and Geoffrey Chaucer, painted in colours printed factory marks, crack to Chaucer figure, 31.5cm. high (tallest, Geoffrey Chaucer) (9) £200-300

327

329. A pottery model of a hawk perched on a rock the design attributed to David Sharp, covered in a vivid orange glaze, three Rye Pottery toby jugs and a collection of Rye and Iden pottery, various marks, (a lot) £150-200

328

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331

330

STUDIO POTTERY

330. A collection of twenty five reference books on ceramics and studio pottery £100-200 331. Upchurch Pottery (1909-1963) a tall twin-handled stoneware vase, covered in a streaked blue, pink and turquoise glaze to the foot, another smaller, an Upchurch vase covered in a streaked strawberry pink glaze and seven other Upchurch Pottery items incised Upchurch, firing chips and faults to foot rim, of main vase, various impressed and incised marks, to other items, 32.5cm. high (10) £150-250

332

Provenance Private collection. 332. George J Cox (1884-1946) a Mortlake Pottery vase and cover, dated 1912, shouldered form with three lug handles, the cover with tall pegasus finial, glazed white and mottled blue with red highlights, incised monogram, Mortlake and date 1912, 21cm. high (2) £500-800 333. Reginald Fairfax Wells (1877-1951) a Coldrum Pottery vase, shouldered form, covered in a streaked mustard yellow glaze and Audrey Blackman Opus 19 Going to the Encaecia Dinner, 1986 a porcelain figural sculpture, impressed Coldrum mark, and RFM inside Y mark, three small glaze chips to top rim, glaze chips to base rim, 17cm. high (2) £120-180

333

Provenance Paul Rice Gallery, November 2008. ‡ 334. Joyce Bidder (1906-1999) Sea Urchins, 1933, a glazed earthenware figure group on wooden base, signed in the cast, paper label to base, 21cm. high £250-350 Provenance Decorative Arts Christie’s South Kensington, 24th September 1986. ‡ 335. Daisy Borne (1906-1998) Lucinda & Kittens, a pottery bust on wooden base, glazed in colours paper label to base, 11cm. high £120-180

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‡ 336. Norah Braden (1901-2001) a stoneware footed bowl, covered with mottled white running glaze resist decorated with chevron panels in deep brown, the exterior running pale green over white incised NB monogram to base, 20.5cm. diam. £500-1,000 Provenance Contemporary Ceramics, Christie’s London, 20th November 1989 lot 77. (from the collection of the artist) Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 26th September -8th November 2009, catalogue number 14.

‡ 337. Heber Mathews (1907-1959) a stoneware footed bowl, the gentle flaring bowl with carved ribs to the rim, glazed grey on an oatmeal ground painted HM monogram, 15cm. high £200-300

336

‡ 338. William Staite Murray (1881-1962) a footed stoneware unomi, painted with geometric designs in rust over translucent grey glaze, impressed pentagon mark, 7cm. high. £200-250

‡ 339. Katharine Pleydell-Bouverie (1895-1985) a stoneware cheese bell, slightly fluted form, covered in a pale celadon unsigned 20cm. high £50-100

337

338

Provenance The Contents of Kilmington Manor, Warminster, Phillips 1st May 1985 lot no. 3.

‡ 340. Katharine Pleydell-Bouverie (1895-1985) a stoneware beaker vase, incised with lotus flower design, covered to the foot with a celadon glaze impressed seal mark 15.5cm. high £150-200 Provenance British Decorative Arts from 1880 to the Present Day Christie’s King Street.

339

340

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341 part

341. David Leach OBE (1911-2005) a tin-glaze jug and four coffee cans and saucers, four Lowerdown Pottery porcelain tea cups by David Leach covered in a celadon glaze, and an unusual pottery teapot and cover incised and painted with grape motif, painted L mark, a large Lowerdown Pottery Medieval jug by Jeremy Leach, a celadon footed bowl by Margaret Frith and two other pieces of studio pottery various marks, 35cm. high (Medieval jug) (18) £150-200 Provenance David Leach Private collection 342. Iskandar Jaill (born 1940) a stoneware vase and cover, shouldered ovoid form, the flat cover with applied scroll finial, decorated in resist with a green glaze, impressed seal mark, 24.5cm. high (2) £80-120 Provenance David Leach Private collection

342

343

‡ 343. 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 £120-150 ‡ 344. David Lloyd Jones (1928-1994) a stoneware vase, tapering cylindrical form with stepped shoulder and everted top rim, covered to the foot with a translucent speckled brown glaze, impressed seal mark, 27.5cm. high £200-300 ‡ 345. Malcolm Pepper (1937-1980) a stoneware vase, shouldered form, painted with panels of stylised grasses, in blue on a silver grey ground, unsigned, 26cm. high £250-300 Provenance 20th Century Design Woolley and Wallis 30th June 2009 lot 315.

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‡ 346. David Leach OBE (1911-2005) attributed a Lowerdown Pottery stoneware Foxglove caddy and cover, painted in tenmoku and blue on an oatmeal ground, and a stoneware unomi by Robert Fishman, impressed Lowerdown mark, 11.5cm. high (2) £120-180 ‡ 347. David Leach OBE (1911-2005), attributed a Lowerdown Pottery vase, slightly swollen cylindrical form with inverted top rim, resist decorated with columns and painted iron red spots, on a celadon ground impressed Lowerdown mark, 15cm. high £120-180 ‡ 348. David Leach OBE (1911-2005) a stoneware Foxglove pattern vase made with Jeremy Leach, footed pear shaped vase resist decorated in Dolomite over tenmoku, another Foxglove cylinder vase and a collection of ephemera and personal effects from David Leach including diaries, impressed DL and JL seal marks 17cm. high (a lot) £150-200

346

347

Provenance David Leach private collection ‡ 349. David Leach OBE (1911-2005) a stoneware Willow vase made with Jeremy Leach, ovoid with collar rim, resist decorated with Dolomite glaze over tenmoku, and another David Leach Willow vase with a tenmoku glaze impressed seal marks, paper NFS label, 22cm. high (2) £150-200

348

Provenance David Leach Private collection ‡ 350. David Leach OBE (1911-2005) a tall stoneware cider jar with wooden tap and cover, slightly swollen cylindrical form, with cylindrical offset neck and strap cross handle, covered in a mottled ash glaze impressed seal mark, 46cm. high £350-450 Provenance Purchased directly from David Leach Private collection Emmanuel Cooper and Kathy Niblett David Leach Richard Dennis Publications, page 101 catalogue number 91 this actual piece illustrated.

349

350

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‡ 351. John Piper (1903-1992) a stoneware platter probably made at Fawley Bottom, dated 1970, painted with a reclining female nude, in black and yellow on a cream ground painted JP and 70 to reverse, small chip to rim, 59 x 39.5cm. £800-1,200 Provenance Private collection.

351

352

‡ 352. John Piper (1903-1992) Beach Girls II, 1982, a Fulham Pottery platter with applied slip figure, painted with blue spots, painted title, signature and date 50cm. wide. £800-1,200 Provenance British Decorative Arts from 1880 to the Present Day Christie’s King Street, 31st January 1990, lot 314. ‡ 353. Quentin Bell (1910-1966) Woman Lifting Dress a painted plaster figure, modelled standing in a long dress, actively taking off a garment, incised QB to base, 41.5cm. high £700-1,000 Literature Quentin Bell, A Man of Many Arts The Charleston Trust 1999, page 8 for a comparable figure.

354 ‡ 354. Quentin Bell (1910-1966) a Fulham Pottery plaque, modelled in relief with a portrait of a lady with flowing blonde hair, in colours highlighted in gilt, mounted on board, impressed bell monogram and factory marks 23cm. diam. £600-800 Provenance Christie’s Interiors, Christie’s South Kensington, 22nd June 2010 lot 579 (part). ‡ 355. Quentin Bell (1910-1966) a Fulham Pottery plate, painted with a seated woman portrait, in colours unsigned, 27cm. diam. £400-600

355

Provenance Christie’s Interiors, Christie’s South Kensington, 22nd June 2010 lot 579 (part). ‡ 356. Bruce McLean (born 1944) a Fulham Pottery plate, incised and painted with a diver entering the pool, in colours on a cream ground, painted signature and FP for Fulham Pottery, 30cm. diam. £250-300 Provenance British Decorative Arts from 1880 to the Present Day, Christie’s King Street, 31st January 1990, lot 313.

353

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357

358

A PRIVATE COLLECTION OF DAVID LEACH & WALTER KEELER

359

‡ 357. David Leach OBE (1911-2005) a Lowerdown Pottery cut-sided stoneware teapot and cover, covered in a tenmoku glaze, with bamboo handle, impressed seal mark, 17cm. high (2) £150-200 Provenance Harlequin Gallery 2015 private collection of Walter Keeler and David Leach. ‡ 358. David Leach OBE (1911-2005) a Lowerdown Pottery cut-sided porcelain teapot and cover, covered in a reduced copper red glaze, with bamboo handle impressed seal mark, 15cm. high (2) £150-200

360

Provenance private collection of Walter Keeler and David Leach. ‡ 359. David Leach OBE (1911-2005) a Lowerdown Pottery porcelain Foxglove teapot and cover, painted in tenmoku and blue on a white Dolomite glaze, impressed seal mark, 15cm. high (2) £150-200 ‡ 360. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware teapot and cover, painted with bands in blue and iron red spots, with bamboo handle, impressed seal marks, 11cm. high £150-200 Literature Emmanuel Cooper and Kathy Niblett David Leach, Richard Dennis Publications, page 86 plate 39 for a comparable pot.

361

Provenance Gallery Nine, Bath 2014 private collection of Walter Keeler and David Leach. ‡ 361. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware Foxglove teapot and cover, painted in blue, tenmoku and iron red on a celadon ground, with bamboo handle, impressed seal mark, 11cm. high (2) £150-200 Provenance private collection of Walter Keeler and David Leach. ‡ 362. David Leach OBE (1911-2005), attributed a Lowerdown Pottery porcelain bowl, flaring form painted with trailed design in blue with iron red dots, on a white Dolomite ground impressed seal mark to base, 16.5cm. diam. £120-150

362

Literature Emmanuel Cooper and Kathy Niblett David Leach Richard Dennis Publications, page 105 plates 99-102 for similar bowls illustrated. Provenance private collection of Walter Keeler and David Leach. ‡ 363. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware teapot and cover, painted in blue and iron red with motif on a celadon ground, with bamboo handle, impressed seal marks, 14cm. high (2) £150-200 Provenance private collection of Walter Keeler and David Leach.

363

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‡ 364. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware vase, square section, decorated in resist with a hatched panel in tenmoku under Dolomite, a cut sided vase by David Leach and a jug impressed seal mark, (3) £120-180 Provenance private collection of Walter Keeler and David Leach. ‡ 365. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware vase, ovoid form with collar neck, covered with a running tenmoku glaze to the foot, the collar rim picked out with a white Dolomite glaze, and another ovoid vase by David Leach impressed seal mark, 21cm. high (2) £120-180

364

Provenance private collection of Walter Keeler and David Leach. ‡ 366. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware bottle vase, with knopped neck, covered in a mottled Dolomite glaze over tenmoku, impressed seal mark, 31cm. high £120-180

365

Provenance private collection of Walter Keeler and David Leach. ‡ 367. David Leach OBE (1911-2005) a Lowerdown Pottery cut-sided stoneware footed bowl, covered in a rich tenmoku glaze, and a cut-sided vase by David Leach, impressed seal marks, vase has wax repair by the artist to the side, 14.5cm. high 20cm diam. (bowl), (2) £150-200 Provenance private collection of Walter Keeler and David Leach. ‡ 368. David Leach OBE (1911-2005) a Lowerdown Pottery cut-sided porcelain bowl, footed form, covered in a celadon glaze, and another cut-sided bowl by David Leach impressed seal marks, 13cm. high (2) £120-180 Provenance private collection of Walter Keeler and David Leach.

366

367

‡ 369. David Leach OBE (1911-2005) a Lowerdown Pottery cut-sided stoneware footed bowl, covered in a tenmoku glaze impressed seal marks, 15.5cm. high £120-150 Literature Emmanuel Cooper & Kathy Niblett David Leach, Richard Dennis Publications, page 95 plates 74-76 for comparable stoneware bowls. Provenance private collection of Walter Keeler and David Leach.

368

369

‡ 370. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware Foxglove vase, compressed cylindrical form, resist decorated in tenmoku, and another smaller decorated with hatch motif, impressed seal marks, 25cm. high (2) £120-180 Literature Emmanuel Cooper & Kathy Niblett David Leach, Richard Dennis Publications, page 106 plates 104-105 for similar decoration. Provenance private collection of Walter Keeler and David Leach. ‡ 371. David Leach OBE (1911-2005) a Lowerdown Pottery cut-sided stoneware vase, covered in a rich tenmoku glaze, impressed seal mark, applied paper label to base, 21cm. high £150-250 Provenance private collection of Walter Keeler and David Leach.

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‡ 372. David Leach OBE (1911-2005) a Lowerdown Pottery bottle vase, shouldered form with everted rim, incised with brush-stroke panels, under a rich tenmoku glaze, impressed seal mark 27.5cm. high £120-180 Provenance private collection of Walter Keeler and David Leach. ‡ 373. David Leach OBE (1911-2005) a Lowerdown Pottery Willow vase, shouldered form, resist decorated in tenmoku, impressed seal mark, applied exhibition number 67, 32.5cm. high £150-200 Provenance private collection of Walter Keeler and David Leach. ‡ 374. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware bottle vase, flat sides with cylindrical neck and everted rim, incised decoration covered in a rich tenmoku glaze, impressed seal marks, 29cm. high £150-200

372

373

Provenance private collection of Walter Keeler and David Leach. ‡ 375. David Leach OBE (1911-2005) a large Lowerdown Pottery stoneware Willow vase, shouldered form, resist decorated with a willow tree in tenmoku impressed seal mark to base, 34.5cm. high £200-400 Provenance private collection of Walter Keeler and David Leach. ‡ 376. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware Foxglove vase, painted in tenmoku, blue and iron red on an oatmeal ground, impressed seal marks, 21cm. high £150-200

375 374

Provenance private collection of Walter Keeler and David Leach. ‡ 377. David Leach OBE (1911-2005) a Lowerdown Pottery stoneware Foxglove jar, compressed ovoid form with collar neck, resist decorated in tenmoku and Dolomite glazes, impressed seal mark, 17cm. high £120-180 Literature Emmanuel Cooper and Kathy Niblett, David Leach, Richard Dennis Publications, page 105 plate 103 for a comparable vase illustrated.

377

Provenance private collection of Walter Keeler and David Leach.

376 ‡ 378. David Leach OBE (1911-2005) a large Lowerdown Pottery stoneware Foxglove footed bowl, resist decorated in ochre glaze, impressed seal mark, applied exhibition number label, 31cm. diam. £120-180 Provenance private collection of Walter Keeler and David Leach.

378

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WALTER KEELER ‡ 379. Walter Keeler (born 1942) a salt-glazed stoneware teapot and cover, tapering form with loop handles and spout, and compressed ovoid cover, glazed blue, impressed seal mark, 14cm. high £200-300 Provenance private collection of Walter Keeler and David Leach.

379

‡ 380. Walter Keeler (born 1942) a salt-glazed teapot and cover, with angled cover, broad tube spout, handle and U shaped finial, glazed blue impressed seal mark, 14.5. cm. high £200-300 Provenance private collection of Walter Keeler and David Leach.

‡ 381. Walter Keeler (born 1942) a salt-glazed stoneware teapot and cover, drum form with long tube spout with scroll support, conical cover with scroll finial, glazed blue, impressed seal mark, 19.5cm. high £400-600 Provenance private collection of Walter Keeler and David Leach.

380

‡ 382. Walter Keeler (born 1942) a salt-glazed stoneware teapot, the angled cylindrical body with applied strap handle and curved tube spout, glazed blue impressed seal mark to side 15cm. high £150-200 Provenance private collection of Walter Keeler and David Leach.

‡ 383. Walter Keeler (born 1942) a salt-glazed stoneware angled teapot and cover, with tube spout, handle and finial, glazed blue impressed seal mark, 14.5cm. high £150-250 Provenance private collection of Walter Keeler and David Leach.

381

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‡ 384. Walter Keeler (born 1942) a salt-glazed stoneware dish, circular with twin loop handles, glazed green and blue impressed seal mark to underside, 37cm. wide. £150-250 Provenance private collection of Walter Keeler and David Leach. ‡ 385. Walter Keeler (born 1942) a salt-glaze stoneware pedestal, fluted foot supporting flaring top, covered in a blue glaze impressed seal mark to side, 19cm. diam. £120-180 Provenance private collection of Walter Keeler and David Leach. ‡ 386. Walter Keeler (born 1942) a salt-glaze stoneware tall jug, angled cylinder form, with applied strap handle, covered in a blue glaze impressed seal mark to side, 31cm. high £150-250

384

Provenance private collection of Walter Keeler and David Leach. ‡ 387. Walter Keeler (born 1942) a salt-glazed stoneware jug, angled form, covered in a blue glaze, and another similar impressed seal mark, 17.5cm. high (2) £150-200 Provenance private collection of Walter Keeler and David Leach. ‡ 388. Walter Keeler (born 1942) a salt-glaze stoneware storage jar and cover, cylindrical form, the cover with looped finial, and another angled storage jar and cover by Walter Keeler stamped seal mark, 22.5cm. high (2) £120-180

385

386

Provenance private collection of Walter Keeler and David Leach. ‡ 389. Walter Keeler (born 1942) a salt-glazed stoneware pourer, angled form, covered in a blue glaze, a mug and a waisted cylindrical mug similar, impressed seal mark, 10.5cm. high (3) £120-180 Provenance private collection of Walter Keeler and David Leach.

387

388

‡ 390. Walter Keeler (born 1942) a salt-glazed stoneware jug, cylindrical form with loop handle, covered in a blue glaze, and a plate by Walter Keeler, impressed seal marks, 12.5cm. high (jug), (2) £120-180 Provenance private collection of Walter Keeler and David Leach.

389

390

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391

391. Peter Beard (born 1951) a stoneware vessel with irregular rim, wax resist decorated with turquoise stripes on lavender ground, a Trevor Corser jug, a Sandy Brown plate, Tessa Fuchs bowl a Keith Munro vase, three stoneware jugs by Richard Batterham and five other items impressed PFB seal, some damages 19cm. wide (13) £150-200

392

Provenance Peter Beard New Ground, Contemporary Ceramics Centre, Great Russell Street, London 2014 (Peter Beard) The Michael and Renate Lancaster collection. 392. Waistel Cooper (1921-2003) a stoneware vase, shouldered form with narrow solifleur neck, painted vertical line decoration, a low flaring organic sculpture by Sheila Fournier, a bottle vase by Robert ‘Bob’ Waddell, Gordonstoun School, 1963, and a collection of studio pottery impressed seal marks, chip to Cooper vase, 25.5cm. diam. (a £150-200 lot)

393

393. Tim Andrews (born in 1960) a Raku humbug vase, the shoulder decorated with black and white geometric design, another Tim Andrews burnished raku vase, two covered pots and two vases, impressed seal marks, 15cm. high (6) £150-200 ‡ 394. Peter Beard (born 1951) a tall stoneware vase, flaring cylindrical form with fluted top rim, glazed blue and metal oxide impressed seal mark, 48.5cm. high £300-500 ‡ 395. Robin Welch (born 1936) a stoneware vase, tall compressed cylindrical form incised with geometric panels in purple, rust and blue with lime green highlights, impressed seal mark to base, 41cm. high £120-180 Provenance The Michael and Renate Lancaster collection.

94

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396 ‡ 396. John Maltby (born 1936) a stoneware cup form, painted with geometric design in colours, a small cut-sided teapot and cover with wire handle by John Maltby and a beaker vase painted Maltby signature to cup form, 12cm. high (3) £120-180 Provenance The Michael and Renate Lancaster collection.

‡ 397. John Maltby (born 1936) a large spade vase, painted to one side with a half moon above a church, the reverse with dripped glaze decorations, in coral red, ochre and brown, outlined in white painted Maltby to base, smashed and £150-200 re-stuck, 25cm. high Provenance The Michael and Renate Lancaster collection.

‡ 398. John Maltby (born 1936) a stoneware pedestal dish, painted with abstract sailing yachts and boats in iron red and white on an ochre ground, painted Maltby mark, 23cm. wide £150-250 Provenance The Michael and Renate Lancaster collection. 397

398 two views

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‡ 399. Sophie MacCarthy an earthenware charger painted with a naked maiden before lemons and berried foliage, in colours incised signature 40cm. diam. £200-300 ‡ 400. Sophie MacCarthy an earthenware charger, decorated with a mermaid swimming below a large fish, in colours, incised signature to reverse 34.5cm. diam. £200-300 ‡ 401. Eric James Mellon (1925-2014) a stoneware bowl, dated 1952, painted with a naked woman riding side-saddle on a horse, above an embracing couple, in blue and brown on a cream ground, painted signature and dated 1952, 33cm. diam. £150-200

400

399

‡ 402. Kaffe Fassett A Highland Stoneware vase, ovoid with everted top rim, painted with a frieze of apples, in red and green on a blue ground, printed factory mark, painted signature 21cm. high £120-180 ‡ 403. Jane Staniland a freeform platter, painted to the front with a portrait of Chris, the reverse with a portrait of a woman, with metallic glazes, painted JS monogram, 50cm. wide. £150-200

401

402 ‡ 404. Roger Cockram (born 1947) a stoneware vase with pierced rim incised with a shoal of leaping fish, glazed in colours incised signature, 31cm. high £120-180 ‡ 405. Marianne de Trey CBE (1913-2016) a reduction fired porcelain vase, shouldered form with cylindrical neck and everted top rim, painted with red geometric decoration, and a footed bowl by Marianne de Trey, sold with a copy of Marianne de Trey Richard Dennis Publications, 2007 impressed seal mark, 16.5cm. high (3) £120-180 Literature Marianne De Trey Richard Dennis Publications, 2007 page 40 this actual vase illustrated.

403

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406 two views

405A two views

‡ 405A. John Ward (born 1938) a hand-built stoneware bowl with everted rim, incised textured decoration, covered in a black glaze, impressed seal mark, 19.5cm. diam. £400-600 Provenance Private collection ‡ 406. James Tower RA (1919-1988) a footed dish, painted in resist with geometric panels, painted Tower 54 to foot, 22.5cm. wide £400-600

407

‡ 407. Nicholas Vergette (1923-1974) a tin-glaze stoneware model of a cat, resist decorated in shades of grey unsigned, tail broken and re-glued 33cm. wide £120-180 Literature Tanya Harrod, The Crafts in Britain in the 20th Century, Yale Press, page 268 plate 279 for a related cat by Vergette exhibited at the Studio Club, Swallow Street in 1953. Provenance The Michael and Renate Lancaster collection. ‡ 408. Ewen Henderson (1934-2000) a vase with applied porcelain slips, unsigned, 29.5cm. high

£400-600

Provenance The Michael and Renate Lancaster collection.

408

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409

410

‡ 409. Walter Keeler (born 1942) a salt-glazed stoneware dish with applied twin scrolled handles, glazed blue and green, and a salt-glazed stoneware jug by Walter Keeler, impressed seal mark to both, 22.5cm. wide (dish) (2) £120-180 Provenance The Michael collection.

411

412

and

Renate

Lancaster

‡ 410. Emmanuel Cooper (1938-2012) a shallow footed bowl, painted with pink triangles on an off-white ground, with blue highlights impressed seal mark, 22cm. diam. £180-220 Provenance Purchased at an Aids charity auction by the vendor. ‡ 411. Liz Beckenham urn, a slender twin-handled vase painted with swirls in grey and white on a rust ground, incised signature to base, 22.5cm. high £120-180 ‡ 412. Liz Beckenham a tall flattened vase form, incised and painted with yellow and blue columns, incised signature to base, 38cm. high £150-200

413

414

‡ 413. Duncan Ross (born 1943) a burnished earthenware vase, decorated with geometric design, incised monogram to base, 17cm. high £150-200 ‡ 414. Duncan Ross (born 1943) a burnished earthenware vase, decorated with geometric panels, incised monogram, 16cm. high £150-200 ‡ 415. Duncan Ross (born 1943) a burnished earthenware vase, with geometric decoration, incised monogram to base, 18.5cm. high £150-200 ‡ 416. Duncan Ross (born 1943) a burnished earthenware vase, decorated with geometric panels, incised monogram to base, 21.5cm. high £150-200

98

415

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418

417

‡ 417. Rupert Spira (born 1960) a set of six large and eight smaller shallow stoneware bowls, each covered in a translucent blue glaze, impressed seal mark, minor chips, 31cm. diam, (largest bowl) (14) £200-300

‡ 418. Abdo Nagi (1941-2001) a large flaring porcelain footed bowl, covered in a blue and grey hare’s fur glaze, with bronzed rim, impressed seal mark, 34cm. diam. 15cm. high £400-600

‡ 419. Alan Caiger-Smith (born 1930) an Aldermaston Pottery reduction fired lustre earthenware vase, dated 1999, the ovoid body with flaring neck, painted in red and golden yellow on a grey ground, painted marks and date code, 39cm. high £300-500

‡ 420. David Hamilton (born 1940) a stoneware vase, 1972, square section with irregular top rim, painted with panels in iron oxide on an oatmeal ground impressed monogram and date, sold with a letter from the potter, 52cm. high £150-200 Literature Manual of Pottery and Ceramics, Thames & Hudson, 1974 page 153 this vase illustrated. David Hamilton was professor in the Department of Ceramics and Glass at the Royal College of Art.

419

420

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‡ 421. Kate Malone (born 1959) Whirlpool, a massive earthenware jug, dated 1989, modelled in relief, glazed in shades of red, yellow, and green-blue incised signature and date to base, 34cm. high £1,000-1,500 Provenance The Crafts Council Shop, Victoria & Albert Museum.

421 ‡ 422. Robi Renzi, Renzi & Reale Non Era Giugno, Baroque Rains, 2002 a unique surrealist ceramic sculpture, with applied decoration, glazed white incised signature, date and title, Milano, minor losses 62cm. high £1,500-2,000

‡ 423. Dame Lucie Rie DBE (1902-1995) and Hans Coper (1920-1981) a set of five tea cups and six saucers, each covered in an off white glaze, impressed seal marks, one cup with a hairline crack, largest saucer 15.5cm. wide (11) £1,000-1,500 Provenance purchased directly from Lucie Rie at Albion Mews by the present vendor’s family. Literature John Houston & David Cripps, Lucie Rie, Crafts Council, page 90 catalogue number 225 for a comparable cup and saucer illustrated and dated circa 1955.

422

423

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‡ 424. Dame Lucie Rie DBE (1902-1995) a stoneware bottle vase with flaring rim, the ovoid body with incised deep fluted, waisted cylindrical neck supporting broad undulating flaring rim, covered in a pitted oatmeal glaze with iron spots, impressed seal mark, 26cm. high £5,000-8,000 Literature Tony Birks, Lucie Rie, Marston House, page 135 for a comparable vase, dated circa 1976.

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‥ 425. Dame Lucie Rie DBE (1902-1995) a flaring porcelain bowl, covered to the foot with a pale blue and buff banded glaze, impressed seal mark, 21.5cm. diam, 11cm. high £2,000-3,000

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‡ 426. 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. £16,000-20,000 Provenance Private collection Literature Tony Birks Hans Coper Collins, page 95 for a comparable bowl illustrated with a geometric bird feature, also page 97 for another bowl similar. Victoria & Albert Museum number C15-2016 for a comparable bird bowl.

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GLASS 427. A James Powell & Son Whitefriars glass inkwell with silver cover, blue glass internally decorated with aventurine, dimpled form, the hammered silver cover of tapering form with applied ball finial, stamped marks, JP&S London 1913, 10.5cm. high (2) £400-600 428. A large Whitefriars Pewter glass Drunken Bricklayer vase designed by Geoffrey Baxter, unsigned, 33.5cm. high £600-800

427

428

429

Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 140 plate 160 for comparable examples illustrated. ‡ 429. Siddy Langley (born 1955) a solifleur glass vase dated 1984 with pulled rim, black glass with coral red striations, cased in clear, etched signature and date 15cm. high £80-120 430. Wayne D Filan a glass vase dated 1970, elliptical section, shouldered form with knopped neck, yellow glass graduating to clear with swirls, another glass vase in the style of Sam Herman and a bottle vase with incised thread decoration, incised Wayne D Filan 1970 London, 20cm. high (3) £120-180

430

Provenance The Michael and Renate Lancaster collection. 431. A Mdina Glass vase, dated 1977, polished square section with pulled solifleur neck, striated blue, ochre and green glass cased in clear, a Mdina bottle and stopper, another taller bottle and four other Mdina glass items, a studio vase by Sung Woh at the Royal College of Art, 1995, two Whitefriars Knobbly vases designed by Geoffrey Baxter and four other glass items, etched indistinct signature, Mdina and date, 18cm. high (14) £200-400

431

‡ 432. 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) £200-300 Provenance Bruton Gallery Limited, Bruton Somerset Private collection. ‡ 433. 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. £300-400 Provenance Visions of Light, exhibition catalogue number 16 Bruton Gallery Ltd private collection.

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434

435

434. An Art Nouveau Galle cameo glass vase designed by Emile Galle, flaring conical form with inverted rim, purple and yellow glass cased in brown with poppy flowers, cameo Galle signature 15cm. high £800-1,200 435. An Art Nouveau Galle cameo glass vase designed by Emile Galle, flaring form with inverted rim, orange glass cased in purple, cameo decorated with periwinkle flowers cameo Galle signature, 13cm. high £1,200-1,800 436. An Art Nouveau Daum Nancy enamelled glass box and cover, circular, enamelled with Joli Bois blossom sprays in pink, green and yellow, acid etched Daum Nancy signature, 10.5cm. diam, 6cm. high (2) £800-1,200

436

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437 part

438

439

440

437. A pair of Austrian iridescent glass vases probably Palme Koenig, tapering, ribbed cylindrical form with everted and fluted top rim, and a collection of Austrian iridescent glass unsigned, 27cm. high, (a lot) £150-200 438. A Meteor Suite wine glass designed by Koloman Moser, with purple glass bowl on clear glass stem, unsigned, 20cm. high £300-400 Literature Das Glas Des Jugenstils, Vienna 1973, page 414 for a comparable glass illustrated. A Murano glass dish, leaf shaped with pinched top 439. rim, alternate yellow, green and white canes, cased in clear, and a glass vase unsigned, 19.5cm. wide, (2) £120-180

441

442 440. A Murano glass model of a duck possibly by Seguso, mottled green glass body with applied clear glass feet and clear glass bill with aventurine inclusions, a Murano glass bird sculpture, a Wedgwood curved glass fish sculpture designed by Ronald Stennett-Willson and a clear glass model of a lion, unmarked, 31cm wide (duck), (4) £120-180 441. A Hadeland glass Atlantic vase designed by Willy Johansson, moulded cylindrical form with everted top rim, thick clear glass with air bubble inclusions, an Orrefors glass dish possibly by Vicki Lindstrand, two Orrefors opalescent glass dishes and an Orrefors smoked grey glass dish, £120-180 etched Hadeland WJ mark, 26cm. high (5) 442. 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) £150-200 443. A Venini Veronese glass vase designed by Vittorio Zecchin, the swollen body on knopped stem and shallow foot, with narrow flaring neck, spiralling white canes cased in clear acid-etched Venini Murano Italia mark, 27.5cm. high £1,200-1,500 Literature Venini Catalogue Raisonne 1921-1986, Skira, page 58 plate 1 for an example of this shape illustrated.

106

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CERAMICS

444

444. 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

445

445. A St Clement pottery oyster service for twelve, large circular platter and twelve plates, each plate and platter modelled with a recess for an oyster shell and central recess for a lemon, glazed in colours, impressed marks, 37cm. diam. (platter), 25cm. diam. (plate), (13) £50-100

446. A pottery wall plaque after Andrea Della Robbia, circular cast in relief with infant in blue drape, based on the panel at Ospedale degli Innocenti, Florence, the rim with fruit and foliage border, in colours painted SAOS made in Italy, damaged and repaired, 41cm. diam. £100-200

446

447. A Zsolnay Pecs Persian bottle vase, the pear shaped body supporting knopped solifleur neck, painted with columns of alternating flower and berried stems, in blue, green and red on a cream ground, printed factory marks, repaired neck, chip to top rim, 23cm. high £80-120

447

448. An Art Nouveau Rorstrand Dragonfly coffee set for six designed by Alf Wallender, retailed by Mappin & Webb, cast in low relief with dragonfly handles, glazed purple and pink on a white ground, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers, printed factory marks, hairline to sugar basin, 21cm. high (16) £300-500

448

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449. A De Porceleyne Fles Delft Moorish pottery vase, ovoid form, painted with scrolling flowers and foliage in ruby on a white ground, another smaller decorated with butterflies and a wall plate, and two Dutch tiles one decorated with a peacock perched on a wall painted marks, 8cm. high (5) £120-180 Literature De Porceleyne Fes History of a National Product, cat no.108 for a comparable albarello vase and cat no. 119 for a comparable tile.

450

450. 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. £120-180

449 part

452

451. A large French Iznik-style charger, painted with stylized tulips radiating from a central flowerhead, and a lustre charger, tubeline decorated with a scrolling foliate design, blue script mark to the underside, 36.5cm diam. (2) £150-200 452. A Galle tin-glaze pottery basket and cover by Emile Galle, modelled as an exotic bird, the wings scrolling back to form a loop handle, painted with sprays of flowers in colours, highlighted in gilt, painted factory marks, Emile Galle signature to cover, minor glaze chips, 24cm. high (2) £120-180

451

453. A stoneware model of a young boy by Walter Bosse, modelled standing beside a red bag, glazed in colours unsigned, loss to red bag, 18cm. high £120-180 454. An Upsala Ekeby stoneware vase by Ingrid Atterberg, model no. 2316, swollen cylindrical form painted with geometric design in blue and black with mottled white impressed mark to base, artist monogram, 39.5cm. high £200-300

454

453

455. A Vallauris satin-glaze earthenware tea set designed by Marcel Giraud, comprising teapot and cover, milk-jug, sugar bowl and cover six cups and saucers crackled cream glaze with gilt highlights to handles and finial, impressed marks, teapot 30cm. wide. (17) £300-400 Literature Decorative Arts & Design From 1870 Sotheby’s Olympia, 14th October 2005, page 125 lot 304 for a comparable set.

108

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459

458 456

457

456. A pottery centrepiece by Bjorn Wiinblad, dated 1979, tapering cylindrical stem, the flaring bowl with modelled face and trumpet flower hair, painted blue decoration, painted marks to base, 30cm. high £150-250

457. A Palshus ceramic lampbase designed by Per LinnemannSchmidt, tapering cylindrical form covered in a streaked mushroom glaze, a small Palshaus beaker vase by Glostrup Julen and a shallow bowl similar impressed marks, 36.5cm. high (3) £250-350

460

458. 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. £120-180

459. A Gustavsberg porcelain model of a horse designed by Stig Lindberg, signed Stig and hand monogram, 16cm. wide £300-500

461 460. A Rorstrand Pottery Picknick tray designed by Marianne Westman, designed in 1956, model no.33, printed and painted with a fish, vegetables and flowers, and a Rorstrand Pottery Granada twin-handled tureen and cover, printed factory marks 42.5cm. wide. (3) £120-180

461. A Pol Chambost Modernist jug, model no.833, ovoid with flaring and pinched top rim, applied scroll handle, glazed yellow to interior, the exterior matt black, incised marks to base, 25cm. high £200-300 Literature Pol Chambost Sculptor - Ceramicist 1906-1983 Somogy, page 76 for a comparable form.

462. A Gambone pottery lamp base, ovoid with cylindrical neck, painted with a band of geometric decoration in coral red on a crazed white ground, painted marks, 46cm. high £500-600

462

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WORKS ON PAPER 463. ‘The Studio Yearbooks’ 19061923 and 1925 nineteen volumes, various bindings (19) £400-600 464. ‘The Studio’ volumes 1-5, in original green bindings, volumes 1 and 2 with cover designed by C.F.A Voysey, (5) £300-400

463

465. A collection of ceramics and design reference books, including books on Ruskin Pottery, The Martin Brothers, William De Morgan, Worcester Porcelain, New Hall, tiles, Wedgwood and Ceramic Design, (a lot) £150-200

464

466. The Decorative Arts Society Journals, volumes, 10, 11, 14, 15, 17, 20, 22, 24, 28, 31, 32, 34, 36 and 41 (14) £50-100

465

467. ‘Ball Der Stadt Wien 1909’ with illustration by Remigius Geyling, published by Druck A Berger, Vienna £200-300

466

468. 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) £150-200

467

469. 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, 121 x 65cm. (image) £150-200

468

470. Hagenbeck-Wallace Circus a poster, lithograph in colours, printed by Erie Litho & Ptg Company, USA, depicting acrobats, a tight-rope walker and bareback horse rider, framed, printers details to lower border, 98 x 63cm. (image) £150-200 471. 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) £150-200

469

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472. Jules Cheret (1836-1932) Pippermint Get, 1899 Les Maitres de l’Affiche lithographic print on paper, framed signed and dated in the print, 51 x 45cm (frame) £120-180 473. Jules Cheret (1836-1932) Quinquina Dubonnet, 1895 a lithographic poster, printed by Imprimerie Chaix, framed signed in the print 56 x 37.5cm (image), 77 x 57cm (frame) £200-300 Provenance Purchased from Sotheby’s London in the 1980s by the present vendor. 474. Jules Alexandre Grun (1868-1938) Oula Menent Ils? (PL103) and La Pepinier, (PL159) two Le Maitre de L’affiche lithographs on paper, framed signed in the print 53 x 41cm (frame), (2) £200-300

472

473

‡ 474A. Audrey Cooper (1919-1993) Woodland Fungi gouache on board, framed signed Audrey Cooper lower centre, 75 x 55cm. (image) £150-200 475. Anonymous Sleeping Sailors pen and ink wash on paper, framed unsigned, titled lower right 27 x 21cm. (image) £150-250

474

474A

475

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475A. Arthur Rackham (1867-1939) The Fairies of the Serpentine, 1906 and The Fairies Have their Tiffs with the Birds, 1906 two modern prints, framed signed and dated in the print 35 x 23.5cm (largest print), (2) £120-180 476. Hans Thoma, (1839-1924) Arenlide, (pan playing a Pipe) 1920 etching on paper, framed signed with monogram and date, annotated in pencil 16.5 x 11cm (image) £150-200

475A

476

‡ 477. Jessie Bayes (1876-1970) Lo The Winter is Past an illuminated text, watercolour on paper with gold heightening, framed, and St George and the Dragon an illuminated text by Jessie Bayes signed lower right, 17.5 x 12.5cm (sheet), (2) £200-400 478. Sir William Nicholson (1872-1949) D is for Dandy, I is for Idiot lithograph on paper, framed unsigned 24 x 19cm (image) £120-180 479. Carl Larsson (1853-1919) Ett Hem (a Home) eight photographic prints, reproduced 1972, framed signed with CL monogram to the margin in the print, 45.5 x 30.5cm. (image), (8) £150-200

477

‡ 480. Henry Bardon (1921-1990) Rock outcrop landscape, 1968 (probably for The Sleeping Beauty or Cosi Fan Tutte) an acrylic on board set design, framed, and another entitled A Midsummer Nights Dream, signed Bardon and dated 68 35 x 25.5cm. (2) £150-200 Catalogue Notes Henry Bardon designed the set for The Sleeping Beauty and also Cosi Fan Tutte in 1968 for the production at Covent Garden.

478

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479

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481

481. The Magnificent Seven three extremely large film posters, featuring Denzel Washington, Ethan Hawke and Byung-hun Lee, laminated paper, framed, 235 x 164cm (3) £150-200

482. 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

482

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483

484

FURNITURE

485

‡ 483. Mackenzie Thorpe (born 1956) The Best Car in the World, 1996 photolithographic print on paper, signed, titled and numbered in pencil, original certificate, 538/600 36.5 x 23.5cm (image) £150-200

486

‡ 484. Mackenzie Thorpe (born 1956) Interflora, 1999 a photolithograpic print on paper, mounted signed, titled and numbered in pencil, 114/850, original certificate 51 x 43cm. £200-300 ‡ 485. Mackenzie Thorpe (born 1956) High on the Land, photolithographic print on paper, mounted signed, titled and numbered in pencil, 108/850, original certificate 51 x 36cm. £200-300 486. Elizabeth II Coronation a pair of limed oak chairs manufactured by W Hands & Sons Ltd, 1953, with faded blue velvet bearing ER II monogram beneath a crown, with applied number to back 134 and 135, with original invitation, stamped Coronation to base, 85cm. high (2) £400-600 Literature The London Sale, Christie’s South Kensington, 3rd September 2012 lot 110 for a comparable pair of chairs. Provenance Mr & Mrs Charles Royle, thence by descent. 487. A continental Secessionist limed and ebonised oak extending dining table and six chairs, the round top table with one leaf, on solid tapering legs and floor height stretcher, 125cm diam. (closed), 79cm. high. 96cm. high (chairs) £500-800

114

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488

489

488. 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 £400-600 Provenance Private Wiltshire Rectory private collection. 489. A Liberty & Co oak corner cupboard, architectural form, the panelled door below glazed door upper compartment, with patinated metal furniture, applied ivorine label, 197cm. high, 83cm. wide. £500-1,000 Literature Daryl Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 272 figure 7.63 for a comparable corner cabinet glazed to both compartments.

490

491

490. A continental Secessionist oak armchair, with rattan seat, the back inlaid with pewter and ivory Secessionist flower design, 79cm. high £150-200 491. An Anglo-Persian stool probably retailed by Liberty & Co, square section, square section legs with turned feet, pierced undercarriage set with mashrabiya panels and turned columns, £120-180 padded seat, unsigned, 47cm. high, 40cm. wide 492. An Arts and Crafts copper firescreen with patinated metal frame, the panel stamped with Art Nouveau waterlily design, and another smaller screen, unsigned, 79cm. high (tallest), (2) £200-300

492

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493. An Arkana Tulip table designed by Eero Saarinen, polished aluminium stem supporting circular laminated wood top, cast Arkana mark to base, 136cm. diam., 74cm. high £120-180 494. An Arkana Tulip table designed by Eero Saarinen, enamelled metal base supporting round, laminated wood top, cast Arkana mark to base, 74.5cm. diam., 66cm. high £120-180

493

494 495. A set of six stacking chairs designed by Hans Brattrud, the bentwood slat seats on chrome frame, unsigned, 93cm. high £400-600 496. A Heal’s oak veneer occasional table, square section top, unsigned, 74cm. square, 34cm. high £120-180 Provenance The Michael and Renate Lancaster collection. 497. An Ercol Windsor Contemporary beech three piece suite designed by Lucian Ercolani, comprising two seat sofa and two en suite armchairs, no label, 176cm. wide, 75cm. high, (3) £500-800 Literature Leslie Jackson Ercol Furniture in the Making, Richard Dennis Publications, page 63 for this range illustrated in a contemporary advert from 1956.

495

Provenance Private collection

496

497

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

498. An Andrew Varah exotic wood veneer drop-leaf dining table, designed by Andrew Varah, on eight legs, each end with a drawer, unsigned, 130cm. diam, 76cm. high £300-400 499. An Andrew Varah exotic wood veneer sideboard, designed by Andrew Varah, twin-drawer above shelved cabinet, above chrome rail, applied Andrew Varah label, 120cm. wide, 80cm. high, 50cm. deep. £200-400 500. An Andrew Varah exotic wood veneer drinks cabinet, designed by Andrew Varah, with chrome rail to base, unsigned, 87cm. wide, 80cm. high, 30cm. deep, £200-400

498

499

500

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METALWARE 501. An Arts and Crafts patinated metal and copper fire screen, the scrolling frame supporting central roundel panel stamped with a peacock, another Arts and Crafts metal and copper fire screen and a pair of fire dogs, unsigned, 82cm. high (4) £120-180 502. An Arts and Crafts copper mounted fire screen and matched fire-dogs, the patinated metal frame supporting rectangular copper panel, stamped with Art Nouveau foliate design, unsigned, 75cm. high (3) £120-180 503. 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

501

504. An Arts and Crafts copper wall mirror, rectangular, stamped in low relief with a frieze of acorns and oak leaf foliage, with bevelled mirror, unsigned 59.5 x 52cm. £500-800 Provenance Decorative Arts, Phillips, sale no.302, lot 259.

502

503

505. 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, an Art Nouveau Osiris pewter vase, model no. 770 and a Kayserzinn pewter smokers compendium, model no. 4401, stamped marks, 30cm. wide (4) £120-180

505

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504


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

506

507

506. An Art Nouveau silver photograph frame, on wooden mount with easel back, cast in low relief with wild rose flowers on sinuous and thorny stems, set with turquoise eyes, unmarked, 13.5cm. high £200-300

507. A pair of silver mounted photograph frames, on wooden mount with easel back, stamped in low relief with a fairy riding across the water in an egg boat, being pulled by two swans, stamped redg marks, 25cm. high (2) £2,000-2,500 508 508. A pair of John Millward Banks silver photograph frames, each stamped in low relief with an Edwardian golfer playing a shot whilst his caddy watches on, a bag of clubs resting top right, on wooden frame with easel back, stamped marks, JMB Birmingham 1904 and 1905 (2) £2,000-2,500

509. An Arts and Crafts Albert Jackson silver photograph frame, stamped in low relief with stylised flowers and foliage on sinuous stems, on wooden frame with easel back, stamped marks, AJ Birmingham 1903, 22.5cm. high £600-900

509

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510

511

510. An Austrian silver bowl, the faceted bowl with hammered finish, stamped marks, for 1922, 21cm. diam. £300-500 Provenance K Barlow Decorative Arts, London 1989 Private collection

512

511. An Art Nouveau W.M.F pewter tray, modelled as a woman rising from the centre of two foliate dishes, stamped marks to centre of base, 22cm. high £150-200

512. An Art Nouveau W.M.F twinhandled pewter centrepiece, cast in low relief with Art Nouveau maidens amidst scrolling foliage, the handles pierced berried foliage, a polished pewter dish modelled as Leda and the Swan inside a clam shell, and a pair of WMF Art Nouveau spill vases with glass liners, stamped marks, centrepiece missing glass liner, 44cm. wide, (4) £120-180

513. An Art Nouveau W.M.F pewter and glass claret jug, tapering green glass body inside pewter mount cast with Art Nouveau maidens to the base, tall floriform handle and pierced foliate stopper, stamped marks to foot, 38cm. high £300-500

513

514. A large Art Nouveau W.M.F electroplated table mirror, model no.131, rectangular on easel back, cast in relief with an Art Nouveau maiden amongst flowers and foliage, gazing into the mirror, bevelled glass, cast mark to back, stamped marks to foot, 37cm. high £1,000-1,500

514

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515

516

517

515. Joseph (Gustave) Cheret (1838-1894) Idylle three patinated bronze panels, in common wooden frame, signed in the cast 68 x 51cm. £1,000-1,500 516. A pair of Liberty English Pewter spill vases, model no.0821, flaring cylindrical form, cast in low relief with simple flower stems, a Keswick School of Industrial Arts copper tray and an Arts and Crafts silver vase by Docker & Burn Ltd, stamped marks, silver vase Birmingham 1923, 15cm. high (Liberty vases), (4) £150-200

518

519

517. A pair of Art Nouveau Blanche Poccard patinated metal vases, twinhandled form on red marble base, cast in low relief with pine cones on a bough, signed in the cast 30.5cm. high (2) £200-300 518. A William Hutton & Son silver wine bottle coaster, possibly designed by Kate Harris, cylindrical form applied twin-handles, cast in low relief with fish roundels, stamped marks, Sheffield 1905, 17cm. high £200-300 Provenance K Barlow Decorative Arts, London 1987 Private collection 519. A continental Art Nouveau polished brass mantle clock, square section face with raised Arabic numerals, above pierced decorative band, stepped rectangular base unsigned, 15.5cm. high £150-200 520. A Marius Hamer plique a jour enamel and silver dish, decorated with radiating panels of flowers inside chevron border, and central red guilloche enamel roundel stamped marks to base, 10.5cm. diam. £800-1,200

520

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522 521 part

521. 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) £120-180 522. A Venini chrome metal and glass ceiling chandelier, four rows of radiating arms supporting faceted glass panels, 56cm. diam. £150-250 Provenance Christie’s Interiors Christie’s South Kensington, 8th February 2011 lot 407 private collection

523

523. A pair of Foscarini Murano Bubble lamps designed by Valerio Bottin, central chromed metal supporting perspex bubble shades 43cm. diam. (2) £600-800 524. 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. £200-300 Provenance British Decorative Arts from 1880 to the Present Day, Christie’s, London, 31st January 1990 lot 55 Professor Luke Herrmann. 525. A laminated birch plywood dish designed by Tapio Wirkkala, slender leaf shaped form, later TW monogram etched to base, 59cm. wide £400-600

525

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524


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527

526 526. Oscar Nemon (1906-1985) Sigmund Freud, a grey fibreglass maquette signed and titled to base in the casting Freud Statue Committee, Nemon 24cm. high £120-180 527. A Bramah stainless steel four piece tea set designed by Eric Clements, with black plastic handles and finials, comprising teapot and hinged cover, milk-jug and sugar basin, hot-water pot and hinged cover, stamped marks and some original paper labels, 12cm. high (tea pot), (4) £120-180 A set of six silver napkin rings in the manner of H.G. 528. Murphy, each cast with a stylised animal, comprising deer, horse, fish, lion, cockatoo and a Kookaburra, unsigned 7.5cm. wide. (6) £120-180

528

529. An Ottaviani silver mounted rosewood cigar box, rectangular with hinged cover, the silver plaque cast in low relief with a man smoking a pipe, next to a table with two bottles and a brandy balloon glass, signed in the cast Ottaviani, stamped 925, 24 x 10.5cm. £300-400

529

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530

530. A Rachel Gogerly enamelled silver link bracelet, circles of green enamel with circular links, a pair of en suite earrings and another pair of Rachel Gogerly enamelled earrings modelled as star flowers, all in fitted presentation cases, cases signed, 18cm. wide (bracelet), (3) £150-200

531

531. A James Fenton silver and enamel link bracelet, each rectangular panel with blue and green enamel decoration, stamped marks, Birmingham 1908, 16cm long. £150-200 532. A Georg Jensen silver ring designed by Vivianna Torun Bulow-Hube, set with moonstone, seven other rings an enamelled brooch and a Charles Horner silver and enamel Art Nouveau necklace, stamped marks Torun, size O, (10) £150-200 Provenance The Michael collection.

and

Renate

Lancaster

533. A Georg Jensen Carnival silver two-piece ring set, model no. 263, each streamlined form set with moonstone and garnet terminals, stamped marks, 2.5cm. £200-300 wide, size N, (2)

532

END OF SALE

533 two views

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ARTS & CRAFTS

Wednesday 20th June 2018 Entries are now being accepted for this sale

A rare Martin Brothers stoneware Toby jar and cover. Estimate: £12,000 - £18,000

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


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FURNITURE, WORKS OF ART & CLOCKS Wednesday 11th April 2018

‘Diana’, patinated bronze by Danish sculptor Axel Poulsen, signed and dated 1942, 62.3cm x 34cm. Estimate: £1,000 - £1,500

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


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FINE SILVER & OBJECTS OF VERTU

Tuesday 24th & Wednesday 25th April 2018

A pair of James II silver candlesticks, probably by Thomas Dymock, London 1685. Estimate: £10,000 - £15,000

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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FINE JEWELLERY & WATCHES Thursday 26th April 2018

An Art Deco brooch by Georges Fouquet, set with turquoise and onyx on ivory. Signed and numbered. Estimate: £20,000 - £30,000

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


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ENGLISH & EUROPEAN CERAMICS & GLASS Wednesday 2nd May 2018 Closing date for entries, 16th March

A rare German ruby glass bottle by Johann Friedrich Böttger, c.1720, with silver gilt mounts. Estimate: £2,800 - £3,500

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

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


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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard 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. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol () indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

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


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

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

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


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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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


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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.

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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.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

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


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WOO L LE Y & WA L LI S Absentee Bid Form Clarice Cliff, Art Deco & Design

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 21st March 2018 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. 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 20TH CENTURY DESIGN 21st March 2018 – Clarice Cliff, Art Deco & Design 20th June 2018 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk PAINTINGS 7th March - 2018 – Old Masters, British & European Paintings Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 2nd May 2018 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 11th April 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk SILVER 24th & 25th April 2018 – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 26th April 2018 – Fine Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk WATCHES 26th April 2018 – Fine Jewellery & Watches Adrian Hailwood +44 (0) 7775 788500 • ah@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 3rd May 2018 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 22nd & 23rd May 2018 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0)1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 19th September 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk


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Woolley & Wallis  

Clarice Cliff, Art Deco & Design | Wednesday 21 March 2018

Woolley & Wallis  

Clarice Cliff, Art Deco & Design | Wednesday 21 March 2018