Woolley & Wallis

CLARICE CLIFF, ART DECO & DESIGN Wednesday 18th March 2020

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

20TH CENTURY DESIGN

VALUATIONS FOR INSURANCE & PROBATE

Michael Jeffery Zoe Smith

424505 446955

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

424509 424598 424509

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

424506 +44 (0)7812 601098 424571 424591

MARKETING Sally Trench Megan Corbett

446959 446960

ACCOUNTS CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

Janice Clift (Office Manager) 424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

424507 446964

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

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

411854 339161 446974

CASTLE GATE RECEPTION Sally Litherland

BOARD OF DIRECTORS JAPANESE ART Alexandra Aguilar Sarah Lopez-Ferreiro

424583 424591

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

424595 424504 424586

341469 446980

ASSOCIATE DIRECTORS

446961 446962 446970

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

PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Natalie Milsted FCCA Managing Director Paul Viney ASFAV Non-Executive Director

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

John Axford MRICS ASFAV Chairman Clive Stewart-Lockhart FRICS FRSA Deputy Chairman

JEWELLERY

339752 446980

424500

424500

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CLARICE CLIFF, ART DECO & DESIGN Wednesday 18th March 2020 at 10.00am at our Castle Street Salerooms, SP1 3SU

VIEWING Saturday 14th March Monday 16th March Tuesday 17th March Wednesday 18th March

10.00am – 1.00pm 10.00am – 3.00pm 10.00am – 3.00pm 9.00am – 10.00am

ENQUIRIES

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

LIVE Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 17th March BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 17th March CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults COLLECTION OF LOTS Please note that all lots will be cleared from the saleroom back to Castle Gate on Thursday 19th & Friday 20th March If you are collecting items on or after this date please contact the department to arrange in advance From Monday 23rd March, collection will be from our Castle Gate Office Unit 1B Castle Gate Business Park Old Sarum, Salisbury SP4 6QX Our Castle Gate address details and map are at the back of this catalogue All accounts to be settled prior to collection Payment is still made at Castle Street

ILLUSTRATIONS

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Front cover: lots 17, 14 & 10 Back cover: lot 276 Inside front cover: lots 205 & 206

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 169 for full details.

Catalogue £12.00 (£15.00 by post)

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CLARICE CLIFF

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

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‘Coral Firs’ a Clarice Cliff Bizarre Biarritz soup bowl and cover, painted in colours, a ‘Summerhouse’ breakfast bowl, an Original Bizarre conical jug and a small collection of Clarice Cliff and modern Wedgwood including an Age of Jazz table centrepiece, printed factory marks, 16.5cm. wide (25) £120-180 Provenance The Pamela Harding Collection.

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‘Rhodanthe’ a Clarice Cliff Bizarre plate, painted in colours, a ‘Rhodanthe’ Biarritz plate, a Secrets plate and three other Clarice Cliff plates printed factory marks, 21.5cm. diam. (6) £120-180 Provenance The Pamela Harding Collection.

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‘Ravel’ a Clarice Cliff Bizarre part service, comprising sandwich tray and four octagonal side plates, milk-jug and sugar basin, four coffee cans and saucers and a cream jug, painted in colours printed factory marks, 30cm wide (tray), (16) £150-200

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‘Tralee’ a Clarice Cliff Bizarre side plate, painted in colours, and a Wemyss Ware Cherry pattern side plate printed factory marks, 16.5cm. diam. £120-180 Provenance Clarice Cliff & Art Deco, Woolley and Wallis Auctioneer’s 28th April 2004 lot 116 (Tralee) 5.

‘Orange Hydrangea’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours, an Orange Hydrangea Lynton milk-jug, and a ‘Capri’ dish, printed factory mark, 14cm. high (3) £120-180 Provenance The Pamela Harding Collection.

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‘Delecia Citrus’ a Clarice Cliff Bizarre cigarette and match holder, painted in colours, a Clarice Cliff ‘Delecia Citrus’ Stamford milk-jug, an ‘Autumn’ pattern preserve pot and cover and a Conical salt, printed factory marks, 6.5cm. high, (5) £120-180 Provenance The Pamela Harding Collection.

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‘Blue Chintz’ a Clarice Cliff Fantasque Bizarre Beehive honeypot and cover, painted in colours printed factory marks, 10cm. high £200-300 8.

‘Melon’ a Clarice Cliff Fantasque Bizarre Beehive Honey pot and cover, painted in colours, ‘Celtic Harvest’ a Clarice Cliff jug, another smaller, a preserve pot and cover, two My Garden vases and three other Clarice Cliff moulded ware items, printed factory marks, 9cm. high (11) £120-180 9.

‘Farmhouse’ a Clarice Cliff Fantasque Bizarre Conical jug, painted in colours, printed factory marks, 14.5cm. high £300-500

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10. ‘Applique Orange Lugano’ a Clarice Cliff Bizarre Conical jug, painted in colours between red and black bands, printed and painted marks, 13.5cm. high £400-600 11. ‘Mountain’ a Clarice Cliff Bizarre Cylindrical preserve pot and cover, painted in colours printed factory marks, small bruise to foot rim, 9.5cm. high (2) £150-200 Provenance The Pamela Harding Collection.

12. ‘Coral Firs’ a Clarice Cliff Bizarre Cylindrical preserve pot and cover, painted in colours, and a `Delecia Citrus` Cylindrical preserve pot and cover, printed factory marks, Coral Firs cover restored, 9cm. high, (4) £150-200 Provenance The Pamela Harding Collection.

13. ‘Windbells’ a Clarice Cliff Fantasque Bizarre Beehive Honey pot and cover, painted in colours, and a Clarice Cliff ‘Summerhouse’ Cylindrical preserve pot and cover, printed factory marks, small chip to wing of finial, 7.5cm. high (4) £150-200

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Provenance The Pamela Harding Collection.

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14. ‘Tennis’ a rare Clarice Cliff Fantasque Bizarre Isis vase, painted in colours printed factory marks, 24.5cm. high £3,000-4,000 Provenance The David and Theresa Latham Collection of Clarice Cliff.

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15. ‘Nasturtium’ a Clarice Cliff Bizarre Stamford tea for two, painted in colours, comprising, teapot and cover, milk-jug and sugar basin, two cups, saucers and a side plate printed factory mark, two fine small hairlines to one cup,, 12cm. high (9) £800-1,200

16. ‘Secrets’ a large Clarice Cliff Bizarre Bon Jour tea set for six, painted in colours, comprising; large tea pot and cover, milk-jug and sugar basin, six cups, saucers, side plates and two sandwich plates, a Hereford biscuit barrel and cover and a cylindrical preserve pot and cover, printed factory marks, 16cm. high (28) £2,000-3,000

Provenance The Pamela Harding Collection.

Catalogue notes This set has the impressed date mark for 1934.

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17. ‘Applique Blue Lucerne’ a Clarice Cliff Bizarre single-handled Lotus jug, painted in colours between black bands, printed factory marks, 29cm. high £8,000-12,000

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18. ‘Clouvre Tulip’ a Clarice Cliff Bizarre Conical candlestick, painted in colours on a mottled blue Clouvre ground, printed marks, 11.5cm. diam. £200-300 Provenance The Pamela Harding Collection.

19. ‘Latona Tree’ a Clarice Cliff Bizarre 358 vase, painted in colours on a Latona ground, printed and painted marks, 21cm. high £500-1,000 20. ‘Inspiration Lily’ a rare Clarice Cliff goblet vase, painted in vivid colours on a turquoise ground, painted mark to base potted by Clarice Cliff for Dora Rose March 24 1930, 16.5cm high £600-1,000

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21. ‘Castellated Circle’ a rare Clarice Cliff Fantasque Bizarre Double Conical bowl, shape no.380, retailed by Lawleys, painted to the inside of the top bowl and the exterior of the lower bowl in colours between green, yellow and orange bands, printed factory marks, restored 18cm. high £500-800

22. ‘Green Erin’ a Clarice Cliff Bizarre Conical bowl with pastille feet, painted in colours printed factory marks, restored, 23.5cm. diam. £150-200 23. ‘Oranges’ a rare Clarice Cliff Bizarre Double Conical bowl, shape 380, painted to the inside of the top bowl and exterior of lower bowl between orange bands, printed factory mark, 18cm. high £1,000-1,500

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24. ‘Crocus’ a Clarice Cliff Bizarre Heath fern pot, painted in colours above green and brown bands, and a collection of Clarice Cliff ‘Crocus’ comprising two dessert bowls, globe cup and saucer, cylindrical preserve pot, two jugs, egg cup, peanut dish, four side plates, a shaped side plate, a Gayday pepper pot and six other various items printed factory marks, 7.5cm. high (23) £120-180 26

25. ‘Crocus’ a Clarice Cliff Bizarre Beehive Preserve pot and cover, painted in colours, a jug, a serving bowl and six dessert bowls in the same pattern and a Clarice Cliff moulded vase, printed factory marks, 10cm. high (11) £150-200

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26. ‘Original Bizarre’ a Clarice Cliff sandwich plate, painted with an orange star to the well with green outline, band of blue diamonds inside yellow, orange and green bands, a Woodland plate, a Yellow Rose platter and another plate printed red mark, chip to Woodland plate, 23cm. diam. (4) £120-180 27. ‘Blue Chintz’ a Clarice Cliff Bizarre plate, painted in colours, a Clarice Cliff ‘Double V’ jug and a dish printed factory mark, 22.5cm. diam. (3) £120-180 Provenance The Pamela Harding Collection.

28. ‘Nemesia’ a Clarice Cliff Bizarre Odilon shape dinner service, printed and painted in colours, comprising five graduated platters, two large Odilon tureens and covers, one small Odilon tureen and cover, six dinner, seven entree and eight side plates, a sandwich plate, and a matched ladle, printed factory marks, wear and minor damages, 41.5cm. wide (largest platter), (34) £120-180 Provenance The Pamela Harding Collection.

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29. ‘Gay Day’ a Clarice Cliff Bizarre Tankard coffee set for six, painted in colours, comprising; coffee pot and cover, milk-jug and sugar basin, six cans and saucers, and a Clarice Cliff Gay Day Stamford teapot and cover printed factory marks, minor restoration and damages, 17cm. high (coffee pot), (18) £300-500

30. ‘Orange Trees and House’ a Clarice Cliff Fantasque Bizarre Stamford tea set for one, comprising teapot and cover, milk-jug and sugar basin, one cup, saucer and side plate, painted in colours inside red and black bands, printed factory marks, hairline to sugar basin, minor nicks, 12.5cm. high (teapot) (7) £1,000-1,500 Provenance Ted Few. A private collection of Clarice Cliff.

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31. ‘Rhodanthe’ a Clarice Cliff trumpet vase, shape no.702, painted in colours printed mark, 30.5cm. high £150-200

32. ‘Rhodanthe’ a Clarice Cliff Bizarre 362 vase, painted in colours, printed factory marks, 20.5cm. high £250-300

33. ‘Rhodanthe’ a Clarice Cliff Bizarre single-handled Isis vase, painted in colours printed factory mark, 24.5cm. high £250-300

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34. ‘Rhodanthe’ a Clarice Cliff Bizarre Bonjour water-jug, painted in colours printed factory mark, 17cm. high £150-200

35. ‘Rhodanthe’ a Clarice Cliff Bon Jour vase, circular form on disc feet, painted in colours printed factory marks, professional restoration, 12.5cm. high £150-200

36. ‘Rhodanthe’ a Clarice Cliff Bizarre Bonjour vase, painted in colours printed factory mark, 22cm. wide £300-500

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37. ‘Solitude’ a Clarice Cliff Fantasque Bizarre Mei Ping vase, painted in colours between yellow and green bands, printed factory marks, professional restoration, 15.5cm. high £500-1,000

38. ‘Delicia Salisbury’ a Clarice Cliff Bizarre Meiping vase, painted in colours printed factory mark, 23cm. high £500-800

39. ‘Mountain’ a Clarice Cliff Bizarre Meiping vase, painted in colours printed factory mark, 22cm. high £2,000-3,000

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40. ‘Chick’ a Clarice Cliff Bizarre Novelty hot-chocolate pot and cover, printed and painted in orange, yellow and brown on a honeyglaze ground printed factory mark, 15.5cm. high (2) £120-180 41. ‘Floreat’ a pair of Clarice Cliff Fantasque Bizarre book ends, cast in relief and painted in colours printed and painted marks, fine hairline to one, 15cm. high (2) £150-200 42. ‘Pastel Melon’ a Clarice Cliff Bizarre Cube inkwell and cover, shape no.438, painted in colours printed factory mark, 7.5cm. high, (2) £150-200 43. ‘Gibraltar’ a Clarice Cliff Fantasque Bizarre two slice toast rack, painted in colours, printed factory marks, 12.5cm. wide £150-200 44. ‘Oranges and Lemons’ a Clarice Cliff small vase, shape no.572, painted in colours inside orange bands, unmarked, impressed factory number, 10cm. high £150-200

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Provenance The Pamela Harding Collection.

45. ‘Red Autumn’ a Clarice Cliff Fantasque Bizarre coffee can and saucer, painted in colours, another Clarice Cliff ‘Crocus’ tankard coffee can and saucer and a Susie Cooper coffee can printed factory marks, 6cm. high (can) (5) £120-180 Provenance The Pamela Harding Collection.

46. ‘Green Melon’ a Clarice Cliff Fantasque Bizarre Globe tea cup and saucer, painted in colours, and a Clarice Cliff ‘Pastel Melon’ Globe tea cup and saucer, printed factory marks, 9cm. diam. (4) £120-180 Provenance The Pamela Harding Collection.

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47. ‘House and Bridge’ a Clarice Cliff plate, painted in colours inside yellow, orange and black bands, unsigned, impressed 1938 date mark, 25.5cm. diam. £200-300 Provenance The Pamela Harding Collection.

48. ‘Windbells’ a Clarice Cliff Bizarre plate, painted in colours inside green and orange bands, printed factory marks, 22.5cm. diam. £150-200 Provenance The Pamela Harding Collection.

49. ‘Applique Idyll’ a Clarice Cliff Bizarre plate, painted in colours inside blue, pink and green bands, printed factory marks, 21.5cm. diam. £120-180 Provenance The Pamela Harding Collection.

50 50. ‘Applique Idyll’ a Clarice Cliff Bizarre biscuit box with electroplated mount and cover, painted in colours printed factory marks, 14.5cm. high, (2) £150-200

51. ‘Summerhouse’ a Clarice Cliff Fantasque Bizarre Dover fern pot, painted in colours, printed and painted factory marks, faint star crack to base, 12.5cm high £150-250

51 two views

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52 two views

52. ‘Sunray’ a Clarice Cliff Globe teapot and cover, painted in colours below orange band, the cover with orange band printed factory marks, 13cm. high, (2) £200-300

52A. ‘Pastel Melon’ a Clarice Cliff Fantasque Bizarre Stamford teapot and milk-jug. retailed by Lawley’s, painted in colours, comprising teapot and cover and milk jug, printed factory marks, 12.5cm. high (3) £300-500

53. ‘Alton’ a Clarice Cliff Bizarre Bonjour teapot and cover, painted in colours printed factory marks, cover professionally restored, 15cm. high (2) £300-500 52A

53 two views

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

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55. A Wedgwood Moonstone bowl designed by Keith Murray, shallow with faceted rim, covered in a matt white glaze, impressed mark, printed factory mark KM monogram, 24cm. diam. £150-200 56. A Wedgwood Moonstone vase designed by Keith Murray, shape no.3801, ribbed ovoid form with collar neck, covered in a matt white glaze, printed mark and KM monogram, 15.5cm. high £120-180 Literature Andrew Casey, 20th Century Ceramic Designers, ACC page 191, figure 208 for a comparable vase.

57. A Wedgwood Moonstone footed bowl designed by Keith Murray, footed, fluted form, covered in a matt white glaze printed factory marks, facsimile signature, minor restoration to foot rim, 23.5cm. high £150-200 58. A Wedgwood Moonstone vase designed by Keith Murray, shape no.3842, flaring, ribbed bucket form, covered in a matt white glaze printed factory mark with KM monogram, star-crack to side, 23.5cm. high £200-300 59. A rare Wedgwood vase designed by Keith Murray, flaring cylindrical form with cast loop handles, covered in a cream and champagne glaze, impressed and printed factory marks, printed facsimile signature, two small repaired bruises to foot rim, 16cm. high £150-200 60. A rare Wedgwood Black Basalt vase designed by Keith Murray, shape no.3891, tall cylindrical footed form with a band of turned grooves to the top, impressed marks, printed mark and facsimile signature, 22cm. high £550-650 58

Literature Andrew Casey, 20th Century Ceramic Designers in Britain, ACC page 190 figure 206, for a group of vases designed by Jean Luce illustrated in The Studio, 1932 for a comparable form illustrated (right).

61. A rare Fulham Pottery flower vase and lamp probably designed by Gerard de Witt, the fluted rim vase with two graduating stem holders above a larger fluted compartment with twin light fittings, covered in an oatmeal-cream glaze, on stepped base, impressed factory mark, 30cm. high, 36cm. wide. £200-400 Catalogue notes The design of this vase with uplighter could also be attributed to Constance Spry on style.

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62. A rare Wedgwood bowl designed by Daisy Makeig-Jones, the exterior painted with roundels of vine leaf and trellis, in colours on a mushroom ground, the interior with abstract geometric design, impressed marks, 23cm. diam. £120-180 Provenance From the collection of Anne Makeig-Jones.

63. A Wedgwood Dragon lustre vase designed by Daisy Makeig-Jones, shouldered form, printed in gilt on a streaked blue lustre ground, printed and painted marks, 26.5cm. high £100-150 64. ‘Firbolgs III’ a Wedgwood Fairyland lustre bowl designed by Daisy Makeig-Jones, octagonal, printed in colours and gilt on a blue lustre ground, the interior pearl lustre printed and painted marks, 20.5cm. diam. £250-300 Provenance From the collection of Anne Makeig-Jones.

65. ‘Firbolgs III’ a Wedgwood Fairyland lustre Antique Centre bowl designed by Daisy Makeig-Jones, printed in black and gilt on a red lustre ground, the interior pearl lustre printed factory mark, 22cm. diam, 14cm high. £500-800

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Provenance From the collection of Anne Makeig-Jones.

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66. A Gray’s Pottery Gloria Lustre vase and cover, pattern no.5753, shouldered, baluster form with domed cover, painted with a gazelles racing in a woodland clearing, in golden lustre on a white ground, and an unusual Gray’s lustre bowl printed in black with shell vignette on a streaked pink lustre, printed and painted factory marks, 22.5cm. high (3) £200-300 Literature Hand Painted Gray’s Pottery, City Museum Stoke on Trent, 1982. page 26 figure 36 this vase and cover illustrated in the Pottery and Glass Record, 1925.

67. A Copeland Spode Onyx Velamour model of an elephant designed by Erik Olsen, model no.K446, stylised form covered in a glaze, and a Copeland Spode Onyx cat designed by Erik Olsen, impressed and printed marks, chip to cat’s ear, 19.5cm. high, (2) £150-250

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Literature Andrew Casey, Art Deco Ceramics in Britain, ACC page 60 for a polar bear designed by Olsen illustrated.

Catalogue notes The elephant appears in Copeland’s 1938 Velamour catalogue.

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68. A Carter Stabler & Adams Poole Pottery vase, pattern CY, shouldered form, painted with geometric flowers and foliage in mushroom, blue black and lime green on a white ground, a modern Poole limited edition The Tree of Life wall plate designed by Karen Ford, a Liberty & Co vase impressed with crayfish motif and a Baron Barnstaple vase painted with fruiting grape vine, impressed and painted marks 17.5cm. high, (4) £120-180 69. ‘Carp’ a pair of Carlton Ware canister vases and covers, printed and painted in colours and gilt on a blue ground, printed factory marks to base, minor damages to covers, 17.5cm. high (4) £150-200

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70. ‘Mikado’ a Carlton Ware Rouge Royale Rita coffee set for six, pattern no.2727, enamelled in colours and highlighted in gilt on a red lustre ground, comprising coffee pot and cover, milk-jug, sugar basin and cover, six cups and saucers printed factory marks, 19.5cm. high, (17) £150-200

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71. A rare Shelley Pottery Watson’s Whisky ewer and stopper, model no.8141, celebrating the centenary of the distillery 1815-1915, printed with panel portraits of Prime minister Herbert Askwith and King George V in sepia on a blue ground, highlighted in gilt, printed and painted marks, minor restoration to base of stopper, 28.5cm. high (2) £200-300 Literature Watkins, Harvey & Senft Shelley Pottery, figure 35 for a comparable ewer probably designed by Frederick Rhead, 1915.

72. The Shelley Girl a rare Shelley Pottery advertising figure, modelled as a young lady in paisley dress and fox stole, resting on a plinth and holding a cup of tea, enamelled in colours printed in black Shelley to plinth and base rim, printed green factory mark to base, professional restoration, 30cm. high £700-900 Literature Watkins, Harvey & Senft Shelley Pottery, colour plate V for a comparable example illustrated.

Sue Lunt Age of Jazz British Art Deco Ceramics, National Museums Liverpool, page 62 catalogue number 49 for a comparable example illustrated.

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73. An unusual Shelley Eve shape coffee set for six in original case designed by Eric Slater, pattern M.297, retailed

by W Batty & Sons Jewellers, Manchester and Liverpool, comprising six coffee cups and saucers printed in black with Odeon motif and bands, six electroplated teaspoons, in original silk lined case, printed and painted marks, 6cm. high (cups) £500-800 74. A Shelley Yellow Block Vogue shape large teapot cover and stand designed by Eric Slater, pattern P.11787, printed and enamelled in yellow, black and silver, printed and painted marks, 12.5cm. high £300-500 74

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CHARLOTTE & FREDERICK RHEAD

75. A Bursley Ware pottery charger designed by Charlotte Rhead, pattern no.1550, tubeline decorated with wild poppy flowers in shades of red, blue and purple, highlighted in gilt, inside geometric border, printed and painted marks, 36.5cm. diam. £150-250 Literature Bernard Bumpus, Charlotte Rhead Potter and Designer, Kevin Francis Publications, page 35 figure 18 this design illustrated.

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

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76. A Wood & Sons Bursley Ware charger designed by Charlotte Rhead, pattern no.1420, retailed by Lawleys, tubeline decorated with flowers and foliage to the well, in blue, ochre and tan on a white ground, the rim with a band of gilt foliage on deep blue printed Lawleys and Bursley mark, 41cm. diam. £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

77. A rare Wardle pottery octagonal charger designed by Frederick Rhead, pattern no.323, painted to the well with a ferocious Chinese Dragon, in shades of blue, red, tan and brown on a white ground, the rim overlapping, radiating palmette, printed factory marks, 40cm. diam. £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

78. A Wood & Sons Mikado wall charger designed by Frederick Rhead, printed in blue on a white ground with an oriental scene of cranes flying past giant water-lily flowers and pads, the rim with stylised panels, and a smaller Wood & Sons Shan Tung wall charger designed by Frederick Rhead, printed factory mark, 41cm. diam, (2) £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

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79 79. A Bursley Ware wall charger designed by Charlotte Rhead, pattern no.1326, tubeline decorated with a floral border in coral red, blue and orange on a cream ground, the well a chinoiserie panel of a bird amongst blossom designed by Horace Wain, and another wall charger smaller in the same design printed factory marks, 41cm. diam. (2) £150-200 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

80. A rare Wood & Sons Japoniste wall charger designed by Charlotte and Frederick Rhead, tubeline decorated with a seated Geisha holding a letter, glazed in colours on a white ground, the rim printed with a band of prunus blossom in blue and white, designed by Frederick Rhead, printed Wood Prunus mark, small chip to rim, 32.5cm. diam. £400-600 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

Literature Bernard Bumpus, Charlotte Rhead Potter and Designer, Kevin Francis Publishing, page 25 figure 9 for a comparable plaque designed and tubed by Charlotte herself with the same Geisha playing a guitar instrument. It has been suggested that, due to the quality of the tubelining on this plaque, Charlotte may well have decorated this piece rather than one of her paintress’.

82. An unusual Crown Ducal Blossom wall charger designed by Charlotte Rhead, pattern no.3258, tubeline decorated with a panel of flower blossom in blue on a cream ground, another Crown Ducal charger decorated with a fruiting tree design, and another decorated with simple tubeline border, printed factory mark, facsimile signature, 44cm. diam. (3) £120-180

80

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

83. A pair of Crown Ducal Blossom chargers designed by Charlotte Rhead, pattern no.3258, tubeline painted with a panel of flowers in yellow and brown on a cream ground, the rim a band of yellow and brown alternating dash printed and painted factory marks, painted facsimile signature, 44cm. diam. (2) £150-200

81

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

84. An unusual near pair of Blossom chargers by Charlotte Rhead, pattern no.3218, tubeline painted to the well with a panel of flowers in blue, one charger with a band of leaf and berry to the border, the other with simple blue ash design, printed factory mark, painted facsimile signature, 44cm. diam. (2) £150-200 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

81. A Crown Ducal charger designed

by Charlotte Rhead, pattern no.3150, tubeline decorated with a Manchu dragon, in yellow and brown, the rim with alternating brown and yellow dash printed factory mark and painted facsimile signature, 44cm. diam. £120-180

82

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

83

84

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85. A Crown Ducal Persian Leaf wall charger designed by Charlotte Rhead, pattern no.5791, painted in shades of blue, purple green, red and yellow, a Crown Ducal Rhodian charger and a Crown Ducal Tudor Rose charger printed factory marks, painted facsimile signature and number 36cm. diam. (3) £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

85

86

86. A Crown Ducal Byzantine wall charger designed by Charlotte Rhead, pattern no.2681, tubeline decorated with a frieze of stylised flower in colours on a mottled orange ground, a Crown Ducal Arabian Scroll charger, a Florentine charger and another Crown Ducal charger printed factory marks, painted facsimile signature, 36cm. diam.

(4) £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

87. A pair of Crown Ducal Blue Tulips (Kashmir) pattern wall chargers designed by Charlotte Rhead, pattern no.4794, painted in colours on a blue ground, and a Crown Ducal Blue Peony charger designed by Charlotte Rhead printed factory marks, painted facsimile signature to two, 36cm. diam. (3) £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

88

87

89

88. A Crown Ducal Mexican wall charger designed by Charlotte Rhead, pattern no.6189, painted with a frieze of flowers and foliage to the rim on a mottled orange ground, and two Crown Ducal graduated Stitch pattern chargers printed factory marks, 36cm. diam. (3) £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

89. A Crown Ducal Golden Leaves wall charger designed by Charlotte Rhead, pattern no.4921, tubeline painted in colours on a pale orange ground, and four other Crown Ducal chargers similar printed factory marks, two with facsimile signatures, 32cm. diam. (5) £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

Literature Andrew Casey, Art Deco Ceramics in Britain, ACC page 193 plate 22.10 for a comparable charger.

90. A pair of large Crown Ducal Byzantine chargers designed by Charlotte Rhead, pattern no. 2681, each painted with a band of flowers and foliage in colours on a mottled orange ground, inside blue dash border, painted factory marks and facsimile signature, 44cm. diam. (2) £150-200

26

90

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

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91

91. A rare Crown Ducal wall plaque designed by Charlotte Rhead, tubeline decorated to the well with a Heraldic Welsh red dragon, below a harp, enamelled in colours on a green ground, and a Crown Ducal Manchu charger designed by Charlotte Rhead printed factory mark, painted facsimile signature, painted F artist mark for Fanny Morrey, 31cm. diam. (2) £350-450

92

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

92. A large unusual Crown Ducal Byzantine variant charger designed by Charlotte Rhead, pattern no.2681, painted with a radiating band of stylised flower and foliage in colours on a mottled orange ground, the rim glazed green printed and painted marks, facsimile signature, 44cm. diam. £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

93. A rare large Crown Ducal Granada wall charger designed by Charlotte Rhead, pattern no. 3321, tubeline decorated with a band of fruit and foliage in purple, blue and green on a pink and blue ground, printed factory mark, facsimile signature,43.5cm. diam. £300-500

93

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

94. A Crown Ducal Florian charger designed by Charlotte Rhead pattern 5632, painted with a band of stylised foliage in colours on a cream ground, printed factory mark, painted facsimile signature and pattern number, 43cm. diam. £250-300 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

94

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97

96 95 95. A Crown Ducal wall charger designed

by Charlotte Rhead, pattern no. TL.2, painted with bands of stylised foliage in green, tan and brown on a mottled white ground, a Crown Ducal Basket pattern charger and two others printed factory mark and facsimile signature, 36.5cm. diam. (4) £120-180

96. A Crown Ducal Tudor Rose wall charger designed by Charlotte Rhead, pattern no.5983, painted with a band of flowers in colours on a mottled cream ground, a Crown Ducal Trellis pattern charger, a Green Chain charger and another Tudor Rose charger printed and painted factory marks, 36cm. diam. (4) £150-200

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

97. A pair of Bursley Ware wall chargers designed by Charlotte Rhead, pattern TL14, painted with a frieze of flowers and foliage in colours on a cream ground, printed factory mark and facsimile signature, painted pattern number, 41cm. diam. (2) £120-180 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

98. A Crown Ducal Primula wall charger designed by Charlotte Rhead, pattern no.2033, tubeline decorated with a border of flowers in black, green, yellow and orange on a turquoise green ground, a Crown Ducal Stitch pattern charger, a charger pattern 4521 painted with flowers, and another Trellis charger printed factory mark, painted facsimile signature, 45cm. diam. (4) £150-200 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

99. A large Crown Ducal Spanish Tree charger designed by Charlotte Rhead, pattern no. 4795, tubeline painted with a tree in shades of orange and brown on a mottled orange ground, a Crown Ducal Rhodian charger and another Green Chain charger printed and painted factory marks, facsimile signature, 45cm. diam, (3) £150-200 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

98

99

Literature Bernard Bumpus, Charlotte Rhead Potter & Designer, Kevin Francis, page 50 figure 29 for the part sandwich set illustrated.

100

101

28

100. A rare Crown Ducal charger designed

by Charlotte Rhead, tubeline decorated with honesty seed heads, in yellow, orange and brown on a mottled orange ground, a small Crown Ducal Rhodian charger and a collection of Charlotte Rhead items including a part sandwich set pattern no.4105, painted facsimile signature and F artist monogram to main charger for Fanny Morrey, 36cm. diam. (a lot) £200-300 Provenance The Collection of Bernard Bumpus.

Private collection of Charlotte Rhead.

101. A Poole Pottery vase, pattern N, swollen cylindrical form, painted in colours with stylised flowers and foliage, a Carter, Stabler & Adams vase pattern CO, a Poole Fuchsia pattern biscuit barrel and cover, a large modern Poole Delphis wall charger and a collection of Poole and Honiton pottery impressed and painted marks, 17.5cm. high (a lot) £150-200 Provenance The Collection of Bernard Bumpus.

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THE MICHAEL BURNINGHAM COLLECTION OF CARLTON WARE & CROWN DEVON 102. ‘Golden Leaves’ a Crown Ducal charger designed by Charlotte Rhead, pattern no.4921, tubeline decorated in colours on an orange ground, a Crown Ducal ‘Manchu’ charger designed by Charlotte Rhead, a vase designed by Charlotte Rhead and a collection of ceramics including Royal Doulton and modern Carlton Ware figures. including printed and painted marks, 36cm. diam. (a lot) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

102

103. A large collection of Carlton Ware moulded ware printed and painted marks, (a lot) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 104. ‘Bell’ a Carlton Ware Handcraft wall charger, pattern 3975, painted in colours on a matt pale orange blue ground, and another Carlton Ware Handcraft charger painted with daisy flowers printed and painted marks, 31cm. diam. £120-180

103

Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 105. ‘Iceland Poppy’ a Carlton Ware wall charger, pattern no.

4194, printed and painted with flowers on a yellow ground, and another Carlton Ware charger similar printed and painted marks, 32.5cm. diam. (2) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 106. ‘Paradise Bird and Tree with Cloud’ a Carlton Ware wall plaque, printed and painted in colours and gilt on an orange ground with an exotic bird, and another Carlton Ware ‘Barge’ charger, printed factory marks, 32cm. diam. (2) £120-180

104

Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 107. ‘Tutankhamen’ a Carlton Ware box and cover, printed in gilt on a mottled blue ground with Egyptian figures, a Carlton Ware ‘Bell’ flower holder, and a Carlton Ware ‘Flowers and Falling Leaf’ pedestal bowl printed and painted marks, cover repaired, 18cm. diam. (4) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

106

105

107

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108. ‘Sketching Bird’ a Carlton Ware pedestal bowl, pattern no.3890, twin-handled form, printed and enamelled in colours and gilt on a salmon pink ground, and another Carlton Ware pedestal dish printed and painted marks, 32cm. wide, (2) £150-200 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 108

109. A Carlton Ware twin-handled footed dish, printed and painted in colours and gilt on a deep blue ground, another Carlton Ware ‘Barge’ pattern twin-handled dish and another similar printed and painted marks, 31cm. wide (3) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 109

110. ‘Floral Comets’ a Carlton Ware footed bowl, pattern no.3405, printed and painted in colours and gilt on a matt blue and cream ground, and two other Carlton Ware bowls, printed and painted marks, 26.5cm. diam. (3) £150-200 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 111. ‘Chinese Bird’ a Carlton Ware vase and cover, pattern no.3197, printed and painted in colours and gilt on a vivid blue lustre ground a Carlton Ware ‘Melange’ pattern no.3601 and four other vases, printed and painted marks, damages, 19cm. high, (7) £120-180

110

Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 112. ‘Mikado’ a near pair of Carlton Ware vase and covers, pattern no.3264, printed and painted in colours and gilt on a blue ground with an oriental pagoda landscape, and a collection of Carlton Ware blue lustre printed and painted marks, damages, 31.5cm. high (tallest), (18) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 113. ‘Stellata’ a pair of Carlton Ware Handcraft vase, pattern no.3326, painted in colours with stylised flowers, another smaller and six other vases printed and painted marks, 15cm. high (9) £120-180

111

Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 114. ‘Mallards’ a Carlton Ware tomb jar and cover, printed and painted in colours and gilt on a deep blue ground with mallard ducks flying over flag iris and wild flowers, the cover surmounted with dog of fo finial, printed factory mark, 39cm. high, (2) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

112

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113 114

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115

116 117

115. ‘Fairy’ a Carlton Ware Rivo dish, pattern no. 3576, printed and painted in colours and gilt on an orange lustre ground, another Carlton Ware ‘Crested Bird and Water Lily’ Rivo dish and two others, printed and painted marks, 25.5cm. wide, (4) £150-250 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 116. ‘Explosion and Butterfly’ a Carlton Ware vase, pattern no.3452, printed and enamelled in colours and gilt on a blue ground, a Carlton Ware ‘Lacecap Hydrangea’ vase and two other Carlton Ware vases, printed and painted marks, 10.5cm. high (4) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

118

117. ‘Fan’ a pair of Carlton Ware coffee can and saucers, pattern no.3557, printed and painted in colours and gilt on a deep blue ground, a Carlton Ware ‘Jazz’ coffee can and saucer, a Carlton Ware ‘Cubist Butterfly’ coffee can and saucer and nine other cans and saucers, printed and painted marks, 5.5cm. high (26) £150-250 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 118. ‘Garden’ a Carlton Ware ginger jar and cover, pattern no.3501, printed and painted in colours with hollyhocks on a mottled orange ground, with gilt rim highlights, another Carlton Ware ‘’ginger jar and a Carlton Ware hand painted ginger jar and cover painted with a heron in a woodland, initialled N.W, printed and painted marks, covers damaged, 19cm. high (6) £120-180

119

Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 119. ‘Devil’s Copse’ a Carlton Ware footed bowl, pattern no.3787, printed and enamelled in colours and gilt on a blue ground, another Carlton Ware ‘Babylon’ footed bowl and a Carlton Ware ‘Hollyhocks’ footed bowl, printed and painted marks, 18cm. diam. (3) £150-200 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 120. ‘Stork and Bamboo’ a pair of Carlton Ware vases, pattern no.2933, printed and painted with cranes flying past bamboo on a vivid orange ground, a pair of Carlton Ware ‘Mikado’ vases and two other Carlton Ware vases decorated with birds printed and painted marks, 17cm. high (6) £120-180

120

Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 121. ‘Paradise Bird and Tree with Cloud’ a Carlton Ware jar and cover, pattern no.3144, printed and painted in colours and gilt on a pale blue lustre ground two Carlton Ware ginger jar and covers and a Rouge Royale Temple vase and cover, printed factory marks, damages, 29cm. high, (8) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

121

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122. ‘Fighting Cocks (without cocks)’ a Carlton Ware vase, pattern no.4212, swollen form, printed and painted in colours and gilt on a red lustre ground, a Carlton Ware vase decorated with a tree and two Carlton Ware Rouge Royale ginger jar and covers, printed and painted marks, 26.5cm. high, (6) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

122

123. A Carlton Ware Rouge Royale coffee set for six, printed in gilt and enamelled in green with a fruiting grape vine design, comprising coffee pot and cover, milk-jug, sugar basin and cover, six cups and saucers, and a Carlton Ware ‘Polka Dot’ coffee set for six, printed factory marks, 19.5cm. high (33) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 124. ‘Hollyhocks’ a Carlton ware single-handled vase, pattern no.3972, printed and painted in colours and gilt on an orange lustre ground, a Carlton Ware ‘Pastoral’ vase and a Carlton Ware ‘Mandarin Tree’ jug, and another Carlton Ware ‘Bird on a Bough’ jug printed and painted marks, 17.5cm. high, (4) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 125. ‘Sketching Bird’ a Carlton Ware vase, printed and painted in colours and gilt on a matt peach and blue streaked ground, and another similar on a red lustre ground printed and painted marks, 26cm. high (2) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

123

126. ‘Corn Marigold’ a Carlton Ware vase, pattern 4277, shouldered ovoid form, printed and enamelled in colours on a pale lemon ground, a Carlton Ware ‘Gum Flower’ vase, a Carlton Ware ‘Mallards’ vase and cover, and a Carlton Ware ‘New Anemone’ vase, printed and painted marks, 24cm. high, (5) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 124

127. ‘Persian Garden’ a Carlton Ware vase, pattern 3893, printed and painted in colours and gilt on a black ground with stylised flowers, a pair of Carlton Ware ‘Mikado’ pot pourri vases and a covers and a pair of Carlton Ware’ vases printed and painted marks, 19.5cm. high (7) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 128. A Fielding’s Crown Devon vase, ovoid with tapering neck, printed and painted in colours and gilt with a Chinese Dragon, on a blue ground, three various Crown Devon vases decorated with stylised Art Deco flowers and foliage, and three other Crown Devon items, printed and painted marks, damages, 15cm. high (7) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

125

126

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127

128

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129

130

129. A Fielding’s Crown Devon Fantazia vase, pattern no.8484, swollen cylindrical form, printed and painted in colours and gilt on a blue ground, a Crown Devon Cubist Tree ginger jar and cover and another jar and cover printed and painted marks, covered repaired, 24cm. high, (5) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 130. A Fielding’s Crown Devon vase, pattern no.2068A, swollen cylindrical form, printed and painted with a Chinese Dragon in a landscape, in colours and gilt on a matt green ground, and four other Crown Devon vases, printed and painted marks, damages, 23cm. high (5) £120-180

131

Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 131. A pair of Fielding’s Crown Devon vases, pattern no. 2209, cylindrical form with flaring necks, printed and painted with geometric flowers and foliage in colours on a mottled orange ground, and eight other vases, printed and painted marks, damages and restoration, 15cm. high (10) £120-180

132

Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 132. A Fielding’s Crown Devon vase, printed and painted in colours with a Chinese Dragon on a blue ground, another decorated with a flying parrot and two other Crown Devon vases similar, printed and painted factory marks, restoration to swallow vase, 18.5cm. high, (4) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

133

133. ‘Dragon and Cloud’ a Carlton Ware vase, pattern no.3331, printed and painted in colours and gilt on a green ground, a jug in the same pattern, a Carlton Ware vase in the same pattern on a blue ground, and a ‘Feathertailed Bird’ vase printed and painted marks, damages, 25.5cm. high (4) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 134. ‘Fairy Castle’ a Fielding’s Crown Devon Mattajade vase, pattern no.2466, swollen cylindrical form, painted in colours, highlighted in gilt on a matt turquoise ground, another Crown Devon ‘Fairy Castle’ vase, a small Mattajade vase and another ‘Fairy Castle’ ginger jar, printed and painted marks, damages, 24.5cm. high, (4) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon

134

135. A pair of Fielding’s Crown Devon vases, pattern no.2078, shouldered form, printed and painted in colours and gilt with a Chinese Dragon, on a coral red ground, another on red lustre ground and a Crown Devon vase pattern 2250, printed and painted marks, 19cm. high (4) £120-180 Provenance The Michael Burningham Collection of Carlton Ware and Crown Devon 135

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CONTINENTAL CERAMICS 136. A pottery model of an exotic lady by Sibylle May, modelled seated wearing headscarf, face mask and billowing dress, covered in a gold glaze over cracked cream pottery signed by the artist 18cm. high £150-200 137. Eve a Charles Harva France Harva pottery sculpture by O Zadory, modelled naked, kneeling and leaning forward, concealing an apple in her right hand behind her, covered in a crackled glaze on circular base with rose gold bands, printed factory marks and artists name, 23cm. high £150-200

136

138. A Czechoslovakian pottery box and cover, modelled as an enigmatic maiden’s head with headband and large flowers in her hair, glazed cream and green with gilt highlights printed factory mark, small chips, 16cm. high (2) £120-180 137

139. A Goldscheider Pottery model of Beidermeier lady, model no.4357, modelled wearing long flowing black dress, holding a bouquet of flowers in one hand, painted in colours impressed and printed factory marks, chip to finger tip, 36.5cm. high £350-450 140. A Goldscheider Pottery figure of two huddling naked women, partially wrapped in a towel, covered in a crackled cream glaze printed factory marks, professionally restored base, 52.5cm. high £120-180 141. A Goldscheider Pottery bust of a woman, freestanding bust, her hand raised and releasing a blue flower stem, glazed in colours and matt black, printed factory mark, one petal re-stuck, 30cm. high £600-800

138

139

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140

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142. A Goldscheider Pottery model of a young sailor lady designed by Stephan Dakon, model no.5818, modelled wearing pale pink trousers, purple vest top and hat, striding forward on an oval base, a model sailing ship at her feet printed and impressed factory marks, impressed Dakon to base, 37cm. high ÂŁ700-900

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144

143

143. A Lemanceau Pottery model of two Water Buffalo, modelled before stylised foliage, covered in a cream glaze impressed Lemanceau to base, restoration to base, 45cm. wide £150-200 144. A Lemanceau Pottery model of two resting ibex, modelled one standing the other lying on rectangular plinth, covered in a cream glaze impressed Lemanceau to base, 45.5cm. wide £120-180 145. A Royal Dux pottery exotic dancers figure group, model no.2993, probably based on Rudolf Nureyev, glazed blue and white, highlighted in gilt, and a Royal Dux porcelain figure of a pierrot playing a guitar, dancers unmarked, Pierrot with losses to guitar, 30cm. high, (dancers), (2) £150-250 146. A Royal Dux model of an exotic snake charmer, she modelled naked, lying with a large snake writhing over her as she charms it with her pipe, glazed in colours highlighted in gilt applied pink triangle mark, 30cm. wide £150-250

145

147. Young Lovers a pottery figure by Miklos Komlos, modelled as a young couple in national dress, enamelled in bright colours, impressed Komlos Hungary and remains of paper label, minor losses, 38cm. high £120-180 148. A pair of Art Deco Czechoslovakian pottery centrepiece, each modelled as a child riding a goat, painted in shades of green and black, printed factory marks, 24cm. high (2) £120-180

146

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147

149. La Bella Lavanderina an Essevi Pottery figure designed

by Sandro Vacchetti, modelled as a young Italian girl washing clothes in a large washbasin, in colours painted factory marks, facsimile signature, minor glaze chips, 28cm. high £500-800

148

149

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150 150. A Nymphenburg porcelain vase and cover by Rudolf Sieck, slender, shouldered form, painted with butterflies and a grasshopper on nasturtiums, in yellow, orange, red and green on a white ground, printed factory mark, painted artist name, hairline to cover, 18.5cm. high (2) £200-300 Literature Sammlung Brohan, catalogue number 545 for a comparable example.

151. ‘Wave and Rock’ a Royal Copenhagen porcelain figure sculpture by Theodor Lundberg, originally designed 1895, modelled with a naked man chained to a rock, embracing a naked maiden rising from a wave, in colours impressed monogram and 1897 monogram, printed mark, 1132, 46cm. high £300-500

151

152. A tall Royal Copenhagen Iris vase designed by Jenny Meyer, model no 10-731, swollen cylindrical form, painted with flag irises in green, white and blue printed and painted marks to base, signature to side of vase, 44cm. high £300-400 153. A Royal Copenhagen plaque designed by Knud Kyhn, model no.21714, cast in low relief with a horse and foal, glaze in shades of brown printed and painted marks, impressed KK mark, 27.5 x 22cm. £80-120 154. A Bing & Grondahl porcelain vase designed by Ebbe Sandolin, model 537K, painted with an entwined serpent, in blue on a crackled ground, the rims glazed with brown bands, printed and painted marks, 29cm. high £200-300 Literature Deutsche Kunst und Dekoration, 1928-29 this vase illustrated.

152 153

154

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155

156

157

GLASS 155. A tall Stevens and Williams Royal Brierley glass vase, tapering cylindrical body with flaring neck, engraved with flowers on sinuous Art Nouveau stems unsigned, 39.5cm. high £150-250 156. A Royal Brierley Crystal glass vase designed by Constance Spry, urn shaped with textured finish, acid etched Brierley and facsimile signature 18.5cm. high £120-180 157. Two Stevens and Williams Royal Brierley decanters and stoppers designed by Keith Murray, each, slender swollen clear glass body with cut faceted base and neck, on applied flaring foot, with mushroom stopper, acid etched mark and facsimile signature, 40cm. high (tallest), (4) £200-300 158. A near pair of Gray-stan vases designed by Mrs Graydon-Stannus, footed, flute form, mottled white and orange glass cased in clear, etched Gray-stan mark, 31cm. high (tallest), (2) £200-300 159. A James Powell & Sons Whitefriars threaded glass bowl designed by William Butler, footed form, the flaring clear glass with pink threads, unsigned, 26.5cm. diam. £120-150 Literature Lesley Jackson, Whitefriars Glass The Arts of James Powell & Sons, Richard Dennis Publications, page 121 plate 102 for this shape illustrated.

158

160. A collection of Strathearn glass mounted jewellery, comprising twenty-nine rings, five pairs of cuff links, a pair of earrings, three pendant necklaces, three studs and a brooch, and a loose glass stone, cufflinks in original cases, (47) £120-180 161. Seven Caithness door handles, each with cane decoration, cased in clear, with metal, mounts unsigned £120-180

159

161

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162

163

164

165 166 162. A large Moncrieff’s Monart Ware glass vase, shouldered form, mottled pink glass with whorls to shoulder, aventurine inclusions, cased in clear unsigned, 25cm. high £120-180 167

163. A Moncrieff’s Monart Ware glass vase, shape VA, shouldered form, clear glass with red and orange mottled inclusions, with aventurine inclusions, original paper label, 23cm. high £150-200 Provenance Originally retailed by Watson China Hall, Perth.

The Morgan collection of Monart glass.

164. A rare Moncrieff’s Monart Ware vase, milky off-white liner cased in red with millefiori cane inclusions, unsigned, 18cm. high £400-600 Provenance The Morgan collection of Monart glass.

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

165. A Moncrieff’s Monart Ware bowl, flaring bowl with flat rim, green stripes cased in clear with silver aventurine inclusions, unsigned, 33.5cm. diam. £120-180 166. A Moncrieff’s Monart Ware glass vase, footed, flaring cylindrical form, pale blue cased in clear with air bubble inclusions, unsigned, 22cm. high £150-200 167. A Moncrieff’s Monart Ware glass vase, tall, swollen, shouldered form, pale blue glass graduating to pink with green and purple whorls and aventurine inclusions, unsigned, 27.5cm. high £200-300 168. A Moncrieff’s Monart Ware glass table lamp, mushroom shaped, pink glass graduating to blue rim with green and purple whorl and aventurine inclusions, with metal fittings, unsigned, 28cm. high, (3) £1,800-2,200 168

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170

171

169. A shouldered clear and frosted green glass vase dated 1927, shouldered pale green glass decorated in low relief with a bird flying amongst stylised exotic foliage etched signature and 1927, 17cm. high £120-180 170. A glass vase in the manner of Daum, flaring cylindrical form, pale pink glass cased in clear with air bubble inclusions and applied clear glass flanges, unsigned, 22cm. high £120-180 171. A Schneider Le Verre Francais glass ewer, ovoid with pulled neck, orange glass graduating to blue, cased in clear with applied black glass handle, and another Schneider ewer, etched signature, 16.5cm. high, (2) £120-180 172. An Orrefors glass vase by Vicki Lindstrand, flaring cylindrical form on applied black glass foot, the body cut with a stylised female figure, etched marks to base, 18.5cm. high £120-180 172 173. A sapphire glass vase probably Stromberg, in the manner of Whitefriars designed by William Wilson, tapering cylindrical from with cut rectangular panels, unsigned, 24cm. high £150-200 174. A Daum acid-etched glass vase, flaring conical pink glass vase on shallow domed foot, etched with geometric design, an Art Deco decanter and five glasses enamelled with black geometric patterns, two modern Lalique wine glasses a pair of large green glass vases with applied prunts and four other glass items, etched Daum & Nancy France, 42cm. high (14) £120-180 Provenance The late Greta Morrison, widow of Bryan Morrison.

175. An opalescent glass vase probably Barolac, flaring, footed form cast in low relief with dish, with applied seahorse handles, another glass vase, a Bernard Rooke stoneware vase and a stoneware clock case vase unsigned, 17cm. high, (4) £150-200

173

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177

176. A large Daum Nancy acid-cut peach glass bowl, modelled in low relief with radiating panels, on applied foot, cut Daum Nancy France to foot rim, 46cm. diam. £300-400

177. A large Daum Nancy smoked glass vase, shouldered form with collar rim, acid-cut with geometric panel design, cut Daum Nancy France to foot rim, 35cm. high £350-450

178. A cameo glass table lamp base and shade in the manner of Schneider Le Verre Francais, pink glass base overlaid with red acid etched with columns of rose sprays, the foot with green overlay, the shallow shade with cameo rose flower frieze, unsigned, 49cm. high, (2) £250-350 Provenance The late Greta Morrison, widow of Bryan Morrison.

178

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180 179 179. A large Moser cameo glass vase designed by Rudolf Weiss, swollen blue glass with flaring rim, cut and gilded in low relief with a frieze of elephants resting between palm trees acid etched signature Moser and cameo monogram RW, 20.5cm. high £800-1,200 180. A Val St Lambert cut glass bowl, flaring form with cut geometric decoration and red flashing to surface etched Val St Lambert, 30cm. diam. £120-180 181. A glass figure of a woman by Istvan Komaromy, the white glass naked dancing figure, modelled standing on one foot arms raised, staining on blown glass ball pedestal, applied paper label, 19.5cm. high £120-180 Literature Charles J Hajdamach 20th Century British Glass, ACC, page 178 plate 375 (far left) for a comparable figure illustrated.

182. An Etling opalescent glass Bird of Paradise vase, moulded in low relief, cast Etling France to base, 23.5cm. high

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183

184 183. A Joblings Opalique opalescent glass model of a seal, modelled resting on a shaped rectangular plinth, etched factory marks, 14cm. wide. £150-200

184. An opalescent glass table lamp probably Sabino, cast as a naked maiden before a clam shell, riding waves, with applied light fitting unmarked, 26.5cm. high £200-300

185. A Sabino opalescent glass figure of a woman, possibly Isadora Duncan, modelled naked wearing a long flowing gown, on triangular base, signed Sabino France 24cm. high £300-400

186. A Joblings Opalique opalescent glass lovebirds model, cast regd number to base, 10.5cm. high £150-200

187. A pair of Sabino opalescent glass vases, flaring conical form on square feet, modelled in relief with overlapping fish design, cast Sabino Paris and etched to base, 13cm. high, (2) £450-550 185

186

187

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189

LALIQUE GLASS 188. ‘The Jewellery of Rene Lalique’ an exhibition catalogue by Vivienne Becker, for the Goldsmiths’ Company Exhibition, 1987, Art Deco and Art Nouveau two Victoria and Albert Museum exhibition catalogues and a collection of art reference and design books, leaflets and catalogues, (a lot) £50-100 189. A Modern Lalique green glass pendant, rectangular pierced and cast with Lalique motif, on green silk, another Lalique Blue glass pendant, a clear version, a modern Lalique Fleur glass and gold plated ring, another Lalique ring etched Lalique 6 x 3.5cm. (5) £120-180

191

190. ‘Actina’ No.10-391 a Lalique opalescent glass plate designed by Rene Lalique, stencil mark R Lalique France, 28cm. diam. £200-300 191. ‘Festons’ no.10-3472 a modern Lalique clear and frosted glass table centrepiece originally designed by Rene Lalique, comprising, two rectangular troughs and four curved troughs, etched Lalique France, 20cm. long, (6) £150-200 192. ‘Chevreuse’ no.10-403, a Lalique clear and frosted glass bowl designed by Rene Lalique, stencilled R Lalique to base 26.5cm. diam. £150-200 193. ‘l’Air du Temps’ a Nina Ricci clear and frosted glass scent bottle and stopper designed

by Marc Lalique and Robert Ricci, the stopper modelled as a bird in flight, a ‘Mitsourko’ Guerlain Paris scent bottle by Baccarat designed by Raymond Guerlain, a Bonzo Dog novelty scent bottle and stopper, a large chrome mounted perfume atomiser acid etched with Art Deco design and a collection of scent bottles, atomisers, and dressing table accessories various marks, 12cm. high (Guerlain bottle), (53) £300-500

192

Provenance The late Greta Morrison, widow of Bryan Morrison.

Literature Marc Rosen Glamour Icons Perfume Bottle Design, Antique Collector’s Club, page 86 for L’Air du Temps bottle illustrated, (originally designed in 1951).

Marc Rosen Glamour Icons Perfume Bottle Design, Antique Collector’s Club, page 119 for the Guerlain scent bottle (with L’Heure Bleue perfume) illustrated, (originally designed in 1912.

193

194. ‘Dans La Nuit’ a Lalique scent bottle and stopper designed by Rene Lalique for Worth, clear ovoid glass bottle enamelled in blue with stars, the stopper with impressed W, two Lalique graduated ‘Dahlia’ clear and frosted glass scent bottle and stoppers, with black enamel decoration, a Lalique ‘Deux Fleurs’ no. 529, scent bottle and stopper and a Cristal Lalique ‘Cactus’ frosted glass scent bottle with enamelled back detail, all marked Lalique, 14cm. high (Worth), (10) £300-500 Provenance The late Greta Morrison, widow of Bryan Morrison.

194

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195. ‘Ambre Antique’ a Lalique frosted glass scent bottle and stopper designed by Rene Lalique, the frosted glass decorated with four classical women, with sepia stained detail, modelled R Lalique 15.5cm. high £300-500 Provenance The late Greta Morrison, widow of Bryan Morrison.

Catalogue notes This design was introduced for Coty in 1910.

196. ‘Deux Figurines-Meplat’ no. 490 a Lalique clear and frosted glass scent bottle and stopper designed by Rene Lalique, etched R Lalique France to base, 13.5cm. high £1,500-2,000

195

196

197. ‘Les Fleurs D’Orsay’ a rare Lalique clear and frosted glass flacon presentoir and stoppers, rectangular section, modelled in low relief with five flower head stoppers, cast R Lalique to top surface, 22.2cm. long, (6) £500-1,000 Provenance The late Greta Morrison, widow of Bryan Morrison.

Catalogue notes This glass five chamber display perfume bottle was designed by Rene Lalique in 1925 for D’Orsay.

198. ‘Anses Perruches’ a rare Lalique clear and frosted glass perfume atomiser designed

by Rene Lalique, manufactured for Marcel Franck, with gilt metal mount and golden silk thread pump, unsigned, 10.5cm. high £200-300 Provenance The late Greta Morrison, widow of Bryan Morrison.

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197

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199

200

199. A pair of modern Lalique clear and frosted glass Pigeon table figures, one modelled pecking the ground, the other preening, etched Lalique France, 29cm. wide, (2) £120-180 200. ‘Sanglier’ no. 1157 a modern Lalique clear and frosted glass car mascot, originally designed by Rene Lalique, etched Lalique France, 9cm. wide, 7cm. high £120-180 201. ‘Chiens No.1’ no.3214 a Lalique opalescent glass bowl designed by Rene Lalique, cast R Lalique etched France no.3214 to well, 23.8cm. diam. £200-300 Provenance Property of a Noblewoman.

202. ‘Boulouris’ No.1094 a Lalique opalescent glass vase designed by Rene Lalique, modelled in relief, wheel-cut indistinct Lalique stencil mark, chip to top rim, 14cm. high £100-150 Provenance The late Greta Morrison, widow of Bryan Morrison.

203. ‘Ormeaux’ no.984 a Lalique cased glass vase designed by Rene Lalique, modelled in relief, white glass cased in clear etched R Lalique France, 17cm. high £400-600 201

Provenance The late Greta Morrison, widow of Bryan Morrison.

204. ‘Coq Nain’ model no.1135 a Lalique Topaz glass car mascot designed by Rene Lalique, moulded R Lalique France to base rim, 20cm. high £1,000-1,500

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205. ‘Ceylan’ No.905 a Lalique opalescent glass vase designed by Rene Lalique, modelled in relief, wheel-cut R Lalique France 905, flat chip to foot rim, 24.3cm. high £1,200-1,800 Provenance The late Greta Morrison, widow of Bryan Morrison.

205

206. ‘Ceylan’ No.905 a Lalique opalescent glass vase designed by Rene Lalique, modelled in relief, wheel-cut R Lalique France 905, flat chip to foot rim, 24.3cm. high £1,000-1,500 Provenance The late Greta Morrison, widow of Bryan Morrison.

206

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207

FURNITURE

208

207. A P.E.Gane bedroom suite, commissioned in 1926, comprising dressing table, chair, wardrobe and single-bed, limed oak veneer with gesso borders and panels, the dressing table with shaped mirror, brass furniture and polished stone insets, 182cm. high, 52.5cm deep, 104cm wide (wardrobe) 100cm wide, 141cm high (dressing table) 205 x 92cm (bed), (4) £200-300

λ 208. A pair of burr walnut veneer armchairs, on ebonised wood ball feet, inlaid with simple ivory disc and marquetry diamond panel decoration to base of frame, 78cm. high, 80cm deep, 71cm wide, (2) £120-180 Provenance Sworders Auctioneer’s 2nd August 2011 lot 451.

209. A large Modernist wool carpet, rectangular form with geometric design in red and mushroom on a green ground, unsigned, 272 x 364cm. £300-500 Provenance Clarice Cliff, Art Deco and Design Woolley and Wallis, 9th March 2011, lot 803.

Private collection.

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210

210. A satinwood veneer dining table, the rectangular top on two curved pedestals with walnut feet, 183 x 89cm, 76cm. high £500-800 211. A walnut veneer bow-fronted display cabinet, the curved, hinged doors with curved glass etched with floral motif, mirrored back compartment with glass shelves, over lower cupboard 168cm. high, 138cm wide. £1,500-2,000 212. An Epstein satinwood table and eight chairs designed by Harry & Lou Epstein, panelled veneer, shaped top on two pedestals, each with hinged cupboard door, the chairs covered in pale yellow, 214 x 117cm. (11) £4,000-6,000 211

212

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213

214 213. An oak framed stool, with octagonal leather pad seat, 47cm. high £50-100 Provenance The late Greta Morrison, widow of Bryan Morrison.

214. A Liceu de Artes marquetry wood twin-handled tray, octagonal form, inlaid with floral panel stamped mark, 53cm. wide £80-120 215. A French onyx and bronze mantel clock, rectangular section on bronze bud feet, the onyx panelled body set with three stylised foliate panels, square section face with Arabic numerals, the dial signed Plantard Paris, 43.5cm. wide. £120-180 216. A beech laminate side table, circular top on four turned, cylindrical columns and flaring square base, 64cm. diam, 70cm high £200-300

215

217. A Modernist satinwood desk and matched chair, rectangular top over three drawers, on one curved leg and stack of three open shelves, 134cm. wide, 65cm. high, (2) £700-900

216

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218. An Epstein satinwood cocktail cabinet designed by Harry & Lou Epstein, the central mirrored glass cabinet, with glass shelves and sliding glass tray, above cupboard, with curved and fluted doors flanked by additional cupboards, with amber bakelite handles, on U shaped support, 163cm. high, 135cm. wide ÂŁ2,500-3,000

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219

219. A pair of Hille walnut arm-chairs, tapering legs rising to carved scroll terminal, with pink ground textile upholstery, 86cm. high, (2) £250-350

220. A mahogany fluted cylindrical pedestal, on drum base, 116cm. high, 38.5cm. diam. £250-350

221. A Maison Dominique palissander wood table designed by Andre Domin and Marcel Genevriere, the rectangular top on lyre shaped legs and central stretcher, stamped mark 134 x 87cm (top) £600-800

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221

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DODO BURGNER ARTWORK

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222

‡ 222. Dorte Clara Dodo Burgner (1907-1998) Portrait of a Couple pencil, watercolour on paper, mounted inscribed in ink 24.5 x 18.5cm. £120-180

‡ 225. Dorte Clara Dodo Burgner (1907-1998) Study for three Young Women pen and sepia ink on paper, mounted annotated in ink 29.5 x 20.5cm. (image) £120-180

‡ 223. Dorte Clara Dodo Burgner (1907-1998) Egyptian Dancer pen and ink on paper of a scantily clad Egyptian dancer approaching a sculpture of a large red cat, mounted signed Dodo 24 x 18.5cm, (image) £120-180

‡ 226. Dorte Clara Dodo Burgner (1907-1998) Lady in a Black Evening Dress pen and ink on paper, mounted unsigned 27 x 9cm. £200-300

‡ 224. Dorte Clara Dodo Burgner (1907-1998) Winter Promenade watercolour on paper, mounted unsigned 24 x 17.5cm. (image) £120-180

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Literature Dodo Leben und Werk (Life and Work) 19071998, Hatje Cantz, page 75 for a comparable image titled Evening Dress, circa 1926.

226

227

224

‡ 227. Dorte Clara Dodo Burgner (1907-1998) Woman in a Fur Coat watercolour fashion study on paper, mounted unsigned 30.5 x 12cm. £120-180 ‡ 228. Dorte Clara Dodo Burgner (1907-1998) Woman in a Yellow Shawl watercolour fashion sketch on paper unsigned 60 x 39.5cm (sheet) £120-180

228

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‡ 229. Dorte Clara Dodo Burgner (1907-1998) The Proposal watercolour on paper, mounted unsigned 30.5 x 21.5cm. £300-400

‡ 230. Dorte Clara Dodo Burgner (1907-1998) The Railway Carriage pen and ink on paper, mounted signed Dodo bottom right corner, annotated in pencil bottom left 32.5 x 24.5cm (image) £200-300

Catalogue note These designs are possibly for Ulk magazine.

229 ‡ 231. Dorte Clara Dodo Burgner (1907-1998) Admirers on the Red Carpet watercolour on paper, mounted signed Dodo 37.5 x 28cm. £300-400

230

231

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232

234

235

WORKS ON PAPER

233

232. Henri Clouzot Ferronnerie Moderne, a folio of Art Deco metalwork designs, ‘Ferronnerie Du Jour’ a folio of designs by C Henriot, ‘Le Fer Forge’ by Gaston Fleury and ‘A Calligaris’ by I Ferri Battuti, (4) £150-250 233. Jean Hardy (born 1880) Women with a parasol, aquatint on paper, framed signed in pencil together with three valentine postcards designed by Kate Greenaway, 45cm wide (image) (2) £120-180 234. Romain de Tirtoff (Erte), (1892-1990) Evening Coat for Bendels gouache and gold highlighter on paper, framed signed Erte, titled and dated c.1916 in ink to back 21.5 x 14cm. (image) £200-400 Provenance The late Greta Morrison, widow of Bryan Morrison.

Literature Charles Spencer Erte, Crown Publishers, page 81 this design illustrated.

236

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237

235. John Hassall (1868-1948) The Startled Maid pencil sketch on paper, framed signed bottom right 19.5 x 15.5cm.

238

£120-180

236. Walter Schnackenberg (1880-1961) Ballet und Pantomine, 1920 pencil and wash on paper design for the front cover of twenty two costume designs, framed signed in pencil 29.5 x 21cm. £400-600 237. Samuel Webley (1877-1956) Seascape, 1938 oil on panel with painted gilt frame of a seagulls flying above waves, and The Old Mill and Poplars by a Lakeside, main signed with monogram lower right, sold with a copy of the original receipt 51.5 x 32.5cm. (3) £150-200 Provenance Purchased directly from the artist by R H Hutchings, thence by descent.

238. Paul Jouve (1878-1973), after Black Panther a mixed media lacquer panel on wood, unsigned, 60cm x 60cm. £300-500 239. Paul Jouve (1878-1973) Eagle pencil on paper, framed signed in pencil lower left 45.5 x 35.5cm.

239

£200-300

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240. Elyse Ashe Lord (1900-1971) Music, a dry-point etching with hand colouring, on paper, framed signed and numbered, paper label to reverse 30.5 x 28cm. (image) £150-250 241. Elyse Ashe Lord (1900-1971) Indian Girl a dry-point etching with hand colouring, on paper, framed signed and numbered, paper label to reverse 31.5 x 23cm (image) £150-250 242. Elyse Ashe Lord (1900-1971) Walking in Spring a dry-point etching with hand colouring, on paper, framed signed and numbered, paper label to reverse, 32 x 27.5cm (image) £150-250

240

241

243. Elyse Ashe Lord (1900-1971) The Guitar Player, a dry-point etching with hand colouring, on paper, framed signed and numbered 2/75 30 x 23.5cm. (image) £150-250 244. John Hall Thorpe (1874-1947) The Open Gate woodcut in colours on paper, framed signed and titled in pencil 36 x 28cm. £150-200 245. John Hall Thorpe (1874-1947) Marigolds woodcut in colours on paper, framed signed and titled in pencil 29 x 22.5cm. £120-180

242

244

243

245

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METALWARE & SCULPTURE

247

246. A Gallia electroplated ice bucket, flaring cylindrical form with ribbed band decoration and two loop handles, a Gallia twin-handled electroplated footed bowl and a Mappin & Webb electroplated footed bowl the design attributed to Keith Murray stamped marks, 20.5cm. high (3) £120-180 Literature Everyday Things Exhibition, 1936, Royal Institute of British Architects, page 37 catalogue number D108 for a similar bowl illustrated as part of a cocktail set.

247. A DEP Savoy desk alarm clock, chrome Odeon style stand supporting peach tinted glass body, with square section case, arabic numerals, signed to diam, 14cm. wide £120-180

246

248. Gerda Gerdago (1906-2004) Dancer in Exotic Dress a cold painted bronze and ivorine figure mounted as a table lamp, on white onyx base, with matching shade unsigned, 20cm. high (figure), 37cm. high (total) £120-180 249. Demetre Chiparus (1886-1947), after Little Clown a patinated bronze figure unsigned 43.5cm. high £250-300 250. A patinated spelter model of a stalking tiger, on stepped rectangular base unsigned, 43.5cm. wide £120-180

248

249

251. Irenee Rochard (1906-1984) Doe and Fawn a patinated spelter sculpture of two resting deer, on onyx base etched Rochard to base 53.5cm. wide £120-180 252. A large patinated spelter sculpture of three exotic birds, on stepped polished onyx and slate base, unsigned, 85cm. wide £300-500

250

251

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λ 253. Affortunato Gori Oriental Dancer a gilt bronze and ivory figure of a woman dancing with a scarf, on veined marble base, cast signature A Gori in the bronze 46.5cm. high £2,000-4,000

λ 254. Ludwig Walter Exotic Dancer a carved ivory model of a bare breasted dancer, standing on one leg her arms raised, on green onyx base, unsigned, finger re-stuck to one hand, 33.5cm. high £700-1,000

253

254

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λ 255. Ferdinand Preiss (1882-1943) Dreaming a carved ivory figure on flaring green onyx base, signed F Preiss in the base 12.5cm. high, 12cm wide

£4,000-6,000

Provenance Private collection, thence by descent Literature Alberto Shayo Ferdinand Preiss An Art Deco Sculptor, Antique Collector’s Club, page 93 for another example illustrated (model no.1132) 255

λ 256. Ferdinand Preiss (1882-1943) Thoughts, an ivory figure, model no. 1131, on tapering green onyx base signed in the base F Preiss 12cm. wide £2,500-3,000

256

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

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DESIGN

A 20TH CENTURY CRAFT AND DESIGN COLLECTION

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A 20TH CENTURY CRAFT AND DESIGN COLLECTION Assembled over 40 years from the 1970s to the 2010s, the collection’s strengths are in Scandinavian glass and British Studio Pottery, but it also includes jewellery, metalwork, woodwork and product design. Accompanying these objects is the designer furniture specially chosen for the collectors’ modernist flat – a dramatic space into which they fitted custom-made display units designed by Erik de Graaff alongside Aalto plywood shelves. Furniture by Le Corbusier, Marcel Breuer, Mies van der Rohe, Philippe Starck and Jasper Morrison provided a restrained backdrop to the glass and ceramics. The collectors’ connoisseurship enabled them to acquire only pieces in immaculate condition, which they had often researched in factory archives or about which they had obtained information from the artists themselves. The following lots (lots 257 to 330) represent the furniture and a selection of the fine objects that the collectors admired for their understated elegance, above all the sculptural glass pieces created by Timo Sarpaneva for Iittala glass factory in Finland.

257

257. A collection of reference books on Art and Design, including Liberty’s 1875-1975 an exhibition catalogue, 1975, comprising books, catalogues and exhibition catalogues, (a lot) £150-250

257

258. A collection of books ephemera and posters on Fashion, Jewellery and Design, including Issey Miyake posters, Torun by Ann Westin published by Carlssons, Stanley Kubrick’s Clockwork Orange, an original brochure, a lithographic print on board by Nicholas Price probably for Punch magazine and three smaller, one entitled Temple to the God by Louis Hellman MBE probably for Punch magazine, (a lot) £150-250

258 part

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259. A Georg Jensen silver pendant necklace designed by Henning Koppel, model no.173, pierced abstract form, stamped factory marks and monogram, 6.5cm. wide. £150-250

260. A Georg Jensen silver brooch designed by Nanna Ditzel, model no.335, three angled crosses, stamped marks, 6cm. wide £150-250 Exhibited What is Jewellery?, Crafts Council, 1994.

259

261. A Georg Jensen stainless steel Torun watch designed by Vivianna Torun Bulow-Hube, model no.336, stamped marks, 6cm. wide £150-200 Literature Ann Westin, Torun, Carlssons, page 105 for a comparable watch illustrated.

Torun designed the open-sided wrist watch in 1962 and it was produced by Georg Jensen from 1967

262. A Georg Jensen silver and enamel pendant designed by Henning Koppel, model no.352, modelled as a stylised frog, enamelled green stamped marks, 5.5cm. long £200-300 260

261

262

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263

264

263. A Georg Jensen silver pendant, model no.141, simple ring with hooked bar stem, three Georg Jensen silver rings, two Georg Jensen silver magnifying glasses one designed by Vivianna Torun Bulow-Hube, designed 1978, a pewter magnifying glass designed by Henning Koppel, a silver pendant entitled ‘There is only One Duty - Beauty’ and a Georg Jensen shoehorn, stamped marks, 10cm. long (9) £200-300 Literature Ann Westin Torun, Carlssons, page 123 for an example of the magnifying glass illustrated.

264. A Georg Jensen silver Astrid sautoir necklace designed by Astrid Fog, swollen rod form, a silver ring model no.103 and a Georg Jensen silver pendant model no.208, stamped marks, 104cm. long (3) £150-200

265

265. A Georg Jensen silver bangle the design attributed to Arno Malinowski, model no. A.76, hinged form with screw lock, a Georg Jensen silver compact designed by Sigvard Bernadotte, model no.278, and a Georg Jensen silver bar brooch designed by Vivianna Torun Bulow-Hube, model no.377 stamped marks, 8.2cm. wide (3) £200-300 266. A pair of Georg Jensen silver cuff links, simple rectangular form, a pair of Georg Jensen silver earrings and six silver ball earrings, stamped marks, (10) £150-200 267. A Georg Jensen silver splash brooch designed by Bent Gabrielsen, model no.

385, stamped marks, 7cm. diam. £150-250

266

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267

Literature Georg Jensen Jewelry, BGC/Yale, page 300 cat. no.354 this design illustrated.

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268 268. A modern silver ring, swollen domed form, six other modern silver rings by various makers, and seven other wood, perspex or glass modern rings, stamped marks, size L(main ring), (14) £150-250 269. A polished aluminium neck tube by Frans van Nieuwenborg and Martijn Wegman, designed in 1972, and another aluminium neck tube, in original presentation box and leather bag, etched signature, 15.5cm. diam. (2) £200-300 Catalogue notes The neck tube comes in two models (both versions in this lot), one completely closed and one with a small opening.

270. A Jalo silver and glass necklace by Timo Mustäjarvi, fourteen rough glass spheres and silver clasp, a silver and glass necklace by Heli Kauhanen, and another glass necklace attributed to Nuala Jamison first stamped Jalo, signed and dated 2012, 50cm. long (3) £250-350

269

270

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271 271. A C&N Buttons and Jewellery Production neckpiece designed

by Nuala Jamison and Caroline Broadhead, round black acrylic disc beads with clear edges, threaded and with metal clasp, and six other coloured acrylic necklaces similar, a silver and perspex brooch, a Monies acacia wood and bone necklace by Gerda Lynggard, a collection of Bombolulu wood and cow bone jewellery, and a collection of modern and traditional jewellery including, Zenzulu, Adolfo Dominguez, a leather overnight bag and an English leather case, various marks, 55cm. long, (a lot) ÂŁ200-400 Literature Crafts Council Collection Online, J221 for a comparable neckpiece dated to 1989.

Exhibited What is Jewellery?, Crafts Council, 1994. (C&N necklace)

271

272

Catalogue notes Since 1968 artist/craftsmen have attempted to tackle poverty by creating a handcraft workshop in Bombolulu, a suburb of the Kenyan city of Mombassa. In the late 1980s and early 1990s Mary Maguire, a jewellery design student at the Royal College of Art, organised a cooperative venture with the workshops to produce bone jewellery to appeal to western markets. Several pieces in this lot were purchased directly in 1994-1995.

272. Susanna Heron (born 1949) a wall mounted clear perspex bracelet holder, rectangular with perspex mounts, and thirteen various clear and coloured perspex bracelets, and an annotated pencil drawing on white board showing the arrangement of bracelets unsigned, 83 x 54.5cm. (perspex board) ÂŁ200-300 Literature New Tradition The Evolution of Jewellery 1966-1985, British Crafts Centre, page 21 for six comparable bracelets illustrated, dated 1976.

272

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273

273 273. A tufted bracelet by Caroline Broadhead, the circular silver body with nylon filament, three silver brooches by Eric Spiller and three perspex buckles possibly by Jean Muir stamped marks DCB, London 1978, 10cm. wide. (7) ÂŁ150-200 Literature The Makers Eye Crafts Council, 1981, page 67 for a comparable tufted bracelet (catalogue number DW7) Exhibited What is Jewellery?, Crafts Council, 1994. (tufted Bracelet and two Spiller brooches).

274. A three ring set by David Poston, each ring polished metal set with a diamond, on wooden stand, unsigned, (4) ÂŁ800-1,200 274

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275 detail

275

275. A Georg Jensen Tanaquil stainless steel cutlery service designed by Magnus Stephenson, originally designed 1955, comprising eighteen starter knives and forks, twelve soup spoons, eighteen dinner knives and forks, twelve dessert forks, four cake forks, fifteen dessert spoons, forty-two tea spoons, thirteen sundae spoons, seven pairs of salad servers (various sizes), one bottle opener, cheese knife, two butter knives, ten olive pickers and a collection of various cutlery the majority by David Mellor and a David Mellor wood chopping/bread board (a lot) ÂŁ200-400 Provenance Royal Copenhagen Porcelain, 15 New Bond Street, London, 1992.

276. A teak and limba articulated monkey designed by Kaj Bojesen, designed 1951, and a collection of animals designed by Kaj Bojesen, including two other monkeys, two rabbits, two elephants, a large hippo, a Danish wooden figure of a woman by Edel Erstad, three graduated silver birch bark bowls, a bird by Eleanor Glover, and a collection of other wooden figures, and Aarikka metal animals designed by Markku Salo and a Craftco chicken automata by Ron Fuller, various marks, 19cm long (monkey), (a lot) ÂŁ300-500 Literature Charlotte & Peter Fiell, Scandinavian Design, Taschen, page 140 for a comparable monkey illustrated.

276

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277. Victor Pasmore CH CBE, (1908-1998) Porcelain Object a Rosenthal porcelain plaque, framed, created in 1967 in a limited edition of 50 applied roundel to back with VP monogram and numbered 42/50 86.5 x 86.5cm.

ÂŁ500-1,000

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278

279

280

278. A Stevens and Williams Royal Brierley glass vase designed

by Keith Murray, tapering cylindrical thick glass with regular air bubble inclusion decoration, acid etched mark and facsimile signature, 30.5cm. high £150-200 279. A Stevens & Williams Royal Brierley glass vase designed

by Keith Murray, smokey-grey glass, shouldered form with cylindrical neck and everted top rim, unsigned, 31.5cm. high £150-200

281

280. A Stevens & Williams Royal Brierley glass vase designed

by Keith Murray, flaring olive green glass on applied foot, the body with worked swag decoration, acid etched mark and facsimile signature, 21.5cm. high £150-250 281. A Stevens & Williams Royal Brierley Cactus engraved glass vase designed by Keith Murray, flaring cylindrical form, etched and polished with cactus stems, feint acid-etched factory mark and facsimile signature, 22cm. high £200-400 282. A Stevens & Williams Royal Brierley glass vase designed

by Keith Murray, flaring cylindrical form etched with columns of stylised foliage acid etched factory mark and facsimile signature, 20cm. high £300-500

282

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283. A rare Orrefors glass Applet (apple) vase designed by Ingeborg Lundin, designed in 1955, dated 1957, clear glass with cylindrical stem neck, etched Orrefors Expo 32-57 Ingeborg Lundin, 37cm. high ÂŁ150-250 Catalogue notes The Apple vase was exhibited at the Swedish Art Exhibition H55 in 1955 and also at the Milan Triennale (titled Expo in the catalogue).

Literature Lesley Jackson The New Look Design in the Fifties, Thames & Hudson, front cover and page 18 an example in green illustrated.

Bauhaus and other Important 20th Century Avant-garde Design, Sotheby’s London, 1st November 1996 lot 255 for a comparable vase.

Charlotte & Peter Fiell, Scandinavian Design, Taschen, page 63 for a comparable example illustrated,

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284

284

284

284. An Iittala Finlandia Series glass vase designed by Timo Sarpaneva, moulded cylindrical form with everted rim, an Ultima Thule glass bowl designed by Tapio Wirkkala, a large Dodolo glass centrepiece by Vistosi, another similar, Nuutajarvi clear glass candlestick designed by Ovia Toikka and a collection of glass later etched TS to base, 25.5cm. high (a lot) £150-200

285. An Iittala Finlandia bowl designed by Timo Sarpaneva, model no.3374, swollen cylindrical form, the bowl cast with textured design, and an Iittala Finlandia vase designed

by Timo Sarpaneva, model no. 3375, etched Timo Sarpaneva 3374 and 3375 to base rims, 33cm. diam (bowl), 17.5cm. high (vase), (2) £150-200 Literature Iittala 125 Years of Finnish Glass, Arnoldsche, page 229 this design illustrated.

286. A large Iittala Savoy clear glass vase designed by Alvar Aalto, tapering amorphic form, etched Alvar Aalto to base, 30cm. high, 31cm wide £150-250

Literature Charlotte and Peter Fiell Scandinavian Design, Taschen, page 589 for a comparable Finlandia vase illustrated.

285

72

Literature Iittala 125 Years of Finnish Glass, Arnoldsche, page 108 for a comparable vase.

Modernism Victoria & Albert Museum exhibition catalogue, 2006, page 337, catalogue number 221 for a comparable example illustrated.

286

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287. Two Iittala glass Claritas vases designed by Timo Sarpaneva, designed 1983, model no.1577, thick clear glass of trilobe form, one with air bubble inclusions, etched Timo Sarpaneva iittala 1984 C1577, 29cm. high, (2) £120-180 Literature A Private Collection of Finnish Glass, Christie’s 7th March 2001 lot 96 for a comparable vase.

Iittala 125 Years of Finnish Glass, Arnoldsche, page 56-57 for a detail of a comparable Claritas vase.

Charlotte & Peter Fiell, Scandinavian Design, Taschen, page 591 for a comparable example illustrated.

287

288. An Iittala clear glass Claritas vase designed

by Timo Sarpaneva, dated 1984, model no.0950, thick clear glass with simple indent to the side and two air bubble inclusions, etched mark to base rim, 26.5cm. high £120-180

288

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289. Five Iittala Arkipelago glass candlesticks designed by Timo Sarpaneva, tapering cylindrical clear glass with surface veined decoration and air bubble inclusions, unsigned, 40cm. high, (tallest), (5) £150-200

290. A set of six Iittala Arkipelago glass candlesticks designed by Timo Sarpaneva, thick clear glass cylinders internally decorated with fractures and air bubbles, unsigned, 44cm. high (tallest), (6) £150-200

291. An Iittala clear glass Arkipelago vase designed

by Timo Sarpaneva, thick clear cylindrical glass with surface decoration and internal bubbles, and another smaller, etched Timo Sarpaneva 3144 to smallest, 20.5cm. high (tallest) 12cm. high (smallest), (2) £120-180 Literature A Private Collection of Finnish Design, Christie’s South Kensington, 7th March 2007, lot 89 for three comparable vases.

289

290

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292

293 292. A Cappellini Elan EN4 leather sofa designed by Jasper Morrison, low rectangular form on metal feet, black leather upholstery and cushions, 260cm. long, 82cm deep, 70cm. high £400-600 293. A pair of modern Knoll Barcelona chairs designed by Mies Van Der Rohe, chrome frame with black leather pad seats, 74cm. wide, 74cm high (2) £1,000-2,000

294. A modern Barcelona chrome framed table originally designed by Lilly Reich and Mies van der Rohe, with glass top, 100cm. square £200-400

295. A modern Cassina LC10P coffee table designed by Le Courbusier, originally designed 1929, rectangular glass top on low chrome metal frame, 120 x 80cm, 33cm high £200-300 294 296. A Knoll Florence three seat sofa designed by Florence Knoll, originally designed in 1954, grey wool tweed cushions, on chrome legs, 228cm. wide, 76cm high, 80cm deep. £200-400 Provenance Purchased in 1982.

296 295

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297 label

298

297

299 297. An Evans Products Company moulded plywood splint designed by Charles and Ray Eames, first design 1943, with original packaging, feint stamped makers mark, 107cm. long £100-150 Literature Design 1935-1965 What Modern Was, Abrams, page 38 plate 28 for a comparable splint illustrated.

298. A Light Structure light by Ingo Maurer, designed 1970, five strung fluorescent tubes, held in tension by insulated wires, 50cm. wide £300-400 Provenance SAG80, 2000.

299. Thirty-five modern Artek ply shelves designed by Alvar Aalto, originally designed in 1935, each rectangular shelf with bent-ply brackets, with four original card boxes, unsigned, 90 x 25cm and 90 x 36cm, (35) £800-1,200

300

300. An Artek Norrcraft beech wall mirror designed by Alvar Aalto, square section, and another Artek rectangular mirror, stamped mark, 50cm. square, 121 x 50cm. (2) £80-120 Provenance Artek, Helsinki, 1985 (small mirror) Artek, Helsinki, 1989 (large mirror)

301

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301. A Danese Milano Cicladi bowl designed by Enzo Mari, designed 1977, quatro-lobed form, mushroom brown glaze, and three mobiles, printed factory mark, 46cm. wide (4) £50-100

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302

303

302. A modern birch ply table and four Artek stacking stools designed by Alvar Aalto, square section table with glass top, the stools black laminate top surface, unsigned (5), 44cm. high (stools), table 80cm. square (6) £300-500 303. An Isokon Plus bent ply long chair designed by Marcel Breuer, with grey padded cushion, applied label, 132cm. long, 83cm. high £700-1,000 Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 168 this design illustrated.

304. A pair of modern Artex birch 401 cantilever armchairs designed by Alvar Aalto, originally designed in 1933, with cream padded upholstery, 101cm. high (2) £400-600 305. No lot

304

306. An AJ floor lamp designed by Arne Jacobsen, probably manufactured by Louis Poulsen, originally designed in 1960 for the SAS Royal Hotel, Copenhagen, matt black finish, 131cm. high £400-600 Literature Charlotte & Peter Fiell, Scandinavian Design, Taschen, page 305 for an example in white illustrated.

Charlotte & Peter Fiell, 1000 lamps 1879 to 1959, Taschen, page 532 this model illustrated.

306

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307

307. A Best and Lloyd MkII cantilever desk lamp designed

by Gerald Abramovitz, chrome and polished steel, 52cm. high, 70cm. wide. £250-350 Literature Charlotte & Peter Fiell, 1000 lamps 1960 to present, Taschen, page 109 this model illustrated.

308. An Oluce Acrylica 271 desk lamp designed by Joe Colombo, model no.271, curved clear acrylic light on black enamelled metal base, 23cm. high, 24cm. wide. £500-800 Literature Charlotte & Peter Fiell, 1000 lamps 1960 to present, Taschen, page 53 this model illustrated.

309. A Modern Art acrylic table lamp designed by Yki Nummi, designed 1955, cylindrical clear perspex body with flaring opaque white shade, a Lio opaque perspex table lamp, a Nila & Nila TC6 enamelled metal circular tube bulb table lamp, a Nila & Nila Ming square lamp and a Martech Bishop enamelled lamp designed by Mart van Schitndel, unsigned, 40cm. high (5) £300-500

308

Literature Charlotte and Peter Fiell 1000 Lights 1879 to 1959, Taschen, page 510-511 this model illustrated.

310. A Timebeam electric projection analogue clock, in original retail card box, another Timebeam projection clock with White Christmas Tree projection, a Danese Moire photograph frame designed by Bruno Munari, and a cube alarm clock, 24.5cm. wide (Timebeam), (4) £150-250 Provenance

By Design, Timebeam classic with Christmas Tree, August 2000.

311. A Space Light (mark 2) light sculpture designed by Adam Barker-Mill, machined aluminium head lamp with stainless steel column and polished aluminium base, with four colour filters, and two other floor lamps, number 1 of a limited edition of 10 light sculptures, 167cm. high, (3) £150-200 Provenance Purchased from the artist 17th September 1992.

309

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313 312 312. A nest of three Fritz Hansen PK71 occasional tables designed by Poul Kjaerholm, white acrylic top surface on stainless steel metal frame, unsigned, 28cm square, (28cm high) (6) £200-300 313. A Cassina LC6 enamelled metal and glass dining table designed by Le Corbusier, originally designed 1928, streamlined metal legs with raised circular supports lifting the rectangular glass top, 224 x 85cm, (2) £400-600 Provenance Environment, 1982 314. An XO aluminium Dr Sonderbar armchair designed by Philippe Starck, designed 1983, wide tube frame and arm with pierced aluminium seat, 90.5cm. wide, 63cm high £150-250 Literature Starck, Taschen, page 34 a comparable example illustrated.

315. A set of eight Cassina Cab black leather chairs designed by Mario Bellini, and a Zanotta black anodised metal and glass Festo dining table designed by Gae Aulenti, applied Cassina label to chairs, 82cm. high (chairs), table 91 x 200cm (table top). (10) £300-500

314

Provenance Environment, 1982

315

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‡ 316. Erik de Graaff (born 1951) a grey lacquered plywood box chair, designed 1980, the cube form base with slotted back, and a grey lacquered plywood chair in three pieces by Erik de Graaff, and a poster featuring a box chair, 85.5cm. high (6) £200-400

Literature The Makers Eye, Craft Council, 1981, page 10 for a comparable box chair illustrated and page 33 for both designs illustrated.

Design, January 1985 page 12 the 3 piece chair illustrated.

Provenance Furniture Show Contemporary Applied Arts, London, 16th September to 15th October 1988.

316

Catalogue notes The box chair is part of a series of four designs of which each vary in shade. Erik de Graaff was born in Lagos, Nigeria and trained at the London College of Furniture and later the Royal College of Art. ‡ 317. Erik de Graaff (born 1951) a lacquered wood Folding Chair, two interlinking wooden planks, a grey lacquered two tier shelf or pedestal, two cubes all designed

by Erik de Graaff and two small cube cabinets with hinged doors, (8) £300-500 ‡ 318. Erik de Graaff (born 1951) a Ramin wood chaise longue, on enamelled metal frame with adjustable wood end back rest and black textile screen to back, with blue-grey suede leather pads, 183cm long, 95cm. high, (2) £200-400

Provenance Furniture Show Contemporary Applied Arts, London, 16th September to 15th October 1988, catalogue number 15.

317

318

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319 ‡ 319. Helen Pincombe (born 1908) a large flaring stoneware bowl, covered in a rust brown glaze to the foot, another large stoneware bowl possibly by Helen Pincombe or Joanna Constantinidis, and a Judith Gilmour pouring vessel, impressed seal mark, 40cm. diam. (3) £120-180 ‡ 320. Joanna Constantinidis (1927-2000) a tall oxidised stoneware vase, 1971, flattened, elliptical form, covered in a pitted cream glaze over bronze, impressed seal mark to side of base, 67cm. high £250-350

Exhibited International Ceramics 1972, Victoria & Albert Museum, catalogue number Great Britain, no.15, this actual vase. ‡ 321. Joanna Constantinidis (1927-2000) a stoneware vase, elliptical section, burnished to base with speckled brown glaze and bronze interior, impressed seal mark, 35.5cm. high £250-350 ‡ 322. Joanna Constantinidis (1927-2000) a tall stoneware vase, tapering elliptical form with flaring top rim, covered in a pitted, bronze glaze impressed seal mark 43cm. high £500-1,000

Provenance Contemporary Ceramics, Christie’s King Street, 16th December 1985, lot 167. ‡ 323. Joanna Constantinidis (1927-2000) a stoneware vase, elliptical section, burnished to base with speckled brown glaze and bronze interior, impressed seal mark, 29cm. high £250-350

320

321

322

323

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MARTIN SMITH CERAMICS

‡ 324. Martin Smith (born 1950) Split form, stoneware, interior glazed black, unsigned, paper label MS32, 18.5cm. high, 28cm wide.

82

£400-600

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‥ 325. Martin Smith (born 1950) Surface and Void redware form with platinum interior, impressed MS seal and paper label MS001, 36cm. diam, 20.5cm. high

ÂŁ800-1,200

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‡ 326. Martin Smith (born 1950) Dish form, redware glazed to interior unsigned, applied sticker 36cm. wide

£150-200

‡ 327. Martin Smith (born 1950) Dish form, stoneware glazed black to interior, unsigned, sticker to base MS4, 22cm. wide

£300-500

Literature Oliver Watson, British Studio Pottery The Victoria and Albert Museum, V&A Publication, page 121 plate 98 for a comparable piece dated to 1986.

326

‡ 328. Martin Smith (born 1950) a raku bowl with pinched rim, matt black body resist decorated with white glaze patches to the interior, impressed MS seal, paper label, 42cm. diam. £200-400

327

328

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‡ 329. Martin Smith (born 1950) a raku bowl, earthenware tapering cylindrical form, decorated with black and white geometric design impressed MS monogram and applied paper label number 19, 25cm. wide £200-400

Literature Oliver Watson, British Studio Pottery The Victoria and Albert Museum, V&A Publication, page 121 plate 98 for a comparable piece dated to 1978.

‡ 330. Martin Smith (born 1950) abstract form, 1992, carbonised white T-material, impressed mark, paper label MS15

£500-800

END OF COLLECTION 329 two views

330

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GLASS 331. An Arts and Crafts stained glass roundel, decorated with a pike swimming amongst water lily flowers, in colours unsigned, 35cm wide. £150-250 332. A small Aesthetic Movement stained glass Minstrel panel, rectangular depicting a minstrel playing a mandolin, and another stained glass panel of a Victorian gentleman in top hat and tails wearing a monocle, unsigned, 27 x 18.5cm. (2) £300-500

331

333. A set of eight James Powell & Sons Whitefriars glass Lotus sherry glasses designed by Harry J. Powell, each engraved with a frieze of Lotus flowers, unsigned, 11.5cm. high (8) £200-400

332

Literature Wendy Evans, Catherine Ross & Alex Werner, Whitefriars Glass James Powell & Sons of London, Museum of London, page 81 plate 82 for an illustration of the Lotus or Water-lily design which according to Harry Powell was designed in the 1890s for the Prince of Siam, who visited England in 1897.

Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 32 figure 85 for a finger bowl in this design.

333

334

334. A set of six Stuart amber and clear glass wine glasses, amber glass shallow foot support clear twisted stem and flaring faceted bowl, cut with panels of chevrons acid etched Stuart mark to base, 20.5cm. high (6) £150-200 335. A large Art Nouveau Kralik surface decorated vase, waisted cylindrical form with knopped quatrlobe neck, pale green glass splashed with orange and decorated with red trails, unsigned, paper labels to base, 41cm. high £200-250 336. A Loetz Gold Papillon cameo glass vase, pale iridescent glass with golden-yellow splashes, highlighted with gilt surface trailing of waterlily flowers unsigned, 22cm. high £400-500 337. A Meyer Neff hock glass designed

by Otto Prutscher, clear glass with pink and amber glass overlay, the cylindrical bowl with vertical cut bands alternating with amber glass elliptical panels, unsigned, 21cm. high £800-1,200 Provenance Andrew Lineham circa 2003.

Private collection.

335

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336

337

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338. Rio De Janeiro an Art Nouveau Galle double-overlay cameo glass vase designed by Emile Galle, shouldered form, opaque glass cased in blue and purple, acid-etched with a lakeside landscape with Sugarloaf Mountain, cameo Galle signature and acid etched Rio De Janeiro title, 14.5cm. high £800-1,200 339. An Art Nouveau Galle cameo glass vase designed by Emile Galle, shouldered pink glass cased in yellow and green, acid etched cameo lakeside landscape, cameo signature Galle to side, 19.5cm. high £300-500 340. An Art Nouveau Daum Nancy cameo glass vase, swollen opaque glass cased in blue and purple, acid-etched with rose foliage sprays, on swollen foot, etched Daum Nancy to foot, 29cm. high £300-500 Provenance The late Greta Morrison, widow of Bryan Morrison.

338 two views

339 two views 340

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341

342

343

341. A modern Daum France vase, pierced, cylindrical form, the top rim cast with orchid flowers, purple graduating to blue etched Daum France, 31cm. high £200-400 342. A Daum Nancy glass lamp base, slender shouldered form with flaring base, pale green glass with darker patches to neck and base, incised Daum Nancy mark to base, 36cm. high £200-300 343. A Hartley Wood Sunderland glass vase, shouldered amorphic form, pink and amber streaked glass with air bubble inclusions, another Hartley Wood streaked vase and an Orrefors etched and cut glass vase by Sven Palmqvist, flaring, faceted form engraved with a naked female figure, unsigned, Orrefors etched signature, 28.5cm. high (3) £120-180 344. A large modern Kosta Boda Caramba glass vase by Ulrica Hydman-Vallien, the opaque swollen glass body painted in black with Adam and Eve portraits, etched marks HV monogram, retail label and signed in black,33.5cm. high £120-180 345. A WMF Ikora glass table lamp, red glass with black inclusions, cased in clear, compressed ovoid form with chrome mount, and another smaller lamp, unsigned, 15cm. high (2) £120-180 346. A WMF Ikora glass bowl, shallow form, radiating, crackled green glass cased in clear, a shallow speckled green cased glass vase and a footed blue glass conical vase with colour inclusions, unsigned, 30cm. diam. (3) £120-180

344

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345

346

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347. A Muller Fres cameo glass table lamp and shade, amber glass cased in red, acid-etched with butterflies flying past fuchsia flowers, to base and shade, with patinated metal mount, cameo signature Muller Fres, 38cm. high ÂŁ1,500-2,000

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348

349

348. Malcolm Sutcliffe (born 1954) an ovoid glass vase, purple graduating streaked blue and white sky, painted with a herd of walking elephants, a Krasna cameo glass vase decorated with a tree feller resting by deer in a wooded landscape, and a Rick and Nikki cameo glass vase, etched signature to base, 14.5cm. high, (3) £120-180 349. An Alfred Barbini Raging Bull glass sculpture, frosted amethyst glass with opaque detailing, signed, 36cm. wide £250-300 350. Siddy Langley (born 1955) a glass vase and cover, lime green with stripes, cased in clear, the cover with an exotic fish amongst waterweed finial, an Anthony Stern glass vase, a Jonathan Harris Horizon pedestal bowl and another smaller, etched signature, 19cm. high, (5) £120-180 351. A Mdina Glass Knot sculpture by Michael Harris, dated 1974, swirling blue and purple glass with yellow striations, cased in clear etched Mdina Glass, 1974 and signature, 29.5cm. high £300-500 Literature Mark Hill Michael Harris Mdina Glass & Isle of Wight Studio Glass, Mark Hill Publishing, page 35 for a comparable Knot sculpture illustrated.

350

352. An Isle of Wight glass bottle and stopper by Michael Harris, blue and green streaked glass with air bubble inclusions, cased in clear, with ball stopper, etched Isle of Wight Michael Harris signature, 11cm. high, (2) £120-180 Literature Mark Hill, Michael Harris Mdina Glass and Isle of Wight Studio Glass, Mark Hill Publishing, page 79 for a comparable bottle and stopper illustrated.

353. An Iittala Nuutajarvi glass Coral Eider bird designed by Oiva Toikka, dated 2011, blue glass with coral red plumage, applied label and acid-etched marks, 25.5cm. wide. £120-180

90

351

352

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CERAMICS 354. A Minton’s pottery moonflask probably designed by Dr Christopher Dresser, flattened disc form on four square feet, printed and painted with a blue tit perched on grasses, the reverse with stylised flowers and foliage in colours, annotated in purple 411 WRB and 821 WRB, impressed Minton’s marks, indistinct date code possibly for 1867, one foot re-stuck, 15cm. high £300-500 Literature Widar Halen Christopher Dresser, Phaidon/ Christies, page 122 plate 128 this shape illustrated from the Minton archive, dated 1867, decorated with a stylised bird design. page 135 plate 152 for a blue tit design used for a Minton tile which relates to the bird on this vase.

354 both sides

355. A pair of Charles Brannam Barum vases, dated 1930, shouldered, flaring cylindrical form, incised and slip decorated with a peacock walking before stylised flowers and foliage, in shades of green, brown and blue impressed and incised factory marks, 33.5cm. high (2) £300-500 356. Five Minton encaustic floor tiles designed by Augustus Welby Northmore Pugin, from Southwark Cathedral, the central circular panel with a lamb of god motif, flanked by four cruciform tiles with geometric cruciform and fleur de lys terminal design, in colours and three Minton Pottery tiles designed by Dr. Christopher Dresser, framed, impressed marks, damages and losses, 27cm wide (largest tiles), (6) £150-200 Provenance A private tile collection.

355

356 356

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358

MOORCROFT POTTERY 357. ‘Revived Cornflower/Brown Chrysanthemum’ a James Macintyre & Co pottery vase designed by William Moorcroft, swollen form with loop handles, painted in shades of red, purple, ochre and green printed factory mark, painted green signature, 23.5cm. high £400-600 Provenance From the collection of James Benson.

357

358. ‘Pomegranate’ a Moorcroft Pottery vesta designed by William Moorcroft, tapering cylindrical form, painted in shades of pink, purple and green on a graduated green ground, and another Moorcroft Pottery vesta painted with simple flower stems on celadon ground, painted green signature, small chip to top rim of Pomegranate, minor restoration to second vesta, 7cm. high, (2) £300-500 359. ‘Pomegranate’ a tall Moorcroft Pottery baluster vase designed by William Moorcroft, shouldered form, painted in shades of red, purple, ochre and green on a blue ground, impressed marks, painted green signature 38.5cm. high £300-500 Provenance Arts and Crafts Woolley and Wallis, 18th June 2014 lot 296.

360. ‘Flamminian Ware’ a Moorcroft Pottery vase designed by William Moorcroft, retailed by Liberty & Co, baluster form, tubeline decorated with Art Nouveau roundel to the shoulder, highlighted in blue on a red ground incised Moorcroft signature, 23.5cm. high £150-200 361. ‘Tudor Rose’ a Moorcroft Pottery vase designed by William Moorcroft, retailed

by Liberty & Co, swollen cylindrical form, painted with stylised Art Nouveau flower stems in blue, green and flambe red, on a turquoise ground, printed Liberty & Co mark, painted green signature, professional restoration, 14.5cm. high £200-300

359

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362

363 364

362. ‘Moonlit Blue’ a Moorcroft Pottery dish designed by William Moorcroft, circular with inverted top rim, painted in shades of blue and green on a midnight blue ground, impressed factory marks, 10.5cm. diam. £150-200 Provenance Private collection of British Art Pottery.

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

365

Provenance Private collection of British Art Pottery

364. ‘Waving Corn’ a large Moorcroft vase designed by William Moorcroft, ovoid with collar rim, tubeline decorated with ears of corn, painted in pink and oatmeal on a cream ground, impressed marks, painted signature, professional restoration, 25cm. high £300-500

365. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with collar neck, tubeline decorated in pink and blue on a matt cream ground, impressed marks, painted green signature, minor professional restoration to rims, 10.5cm. high £150-200

366. ‘Dawn Landscape’ a Moorcroft Pottery vase designed by William Moorcroft, tall, slender, shouldered form, tubeline decorated and glazed in shades of matt green and sand highlighted with flambe pink, impressed marks, painted signature, small nicks to base rim, 31cm. high £2,500-3,500

366

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367. ‘Fuchsia’ a Moorcroft Pottery vase designed by Walter Moorcroft, shouldered form with collar rim, tubeline decorated with flower stems in purple, blue and green on a yellow ground impressed factory marks, painted blue signature, 31cm. high £300-400 368. ‘Anemone’ a Moorcroft Pottery baluster vase designed by William Moorcroft, painted in shades of blue, purple, pink and green on a pale blue ground, impressed factory marks, 28cm. high £150-200

367

368

369

369. ‘Flambe Anemone’ a Moorcroft Pottery vase designed by Walter Moorcroft, footed, swollen cylindrical form, painted in colours under a light flambe ground, impressed factory marks, 15.5cm. high £150-200 370. ‘Bougainvillea’ a Moorcroft Pottery vase designed by Walter Moorcroft, tapering cylindrical form, painted in shades of green, pink and purple on a blue ground, a Cobridge Stoneware circular tile painted with flowers and a Moorcroft Pottery dish and cover glazed white impressed marks, painted blue signature, 18.5cm. high (4) £150-250 371. ‘Swan’ a Moorcroft Pottery limited edition vase designed by Sally Tuffin, ovoid, painted in shades of white, black and red on a pale blue ground, and a limited edition Moorcroft ‘Swan’ plate impressed factory marks, painted WM monogram, numbered 332/350, 17cm. high (2) £150-250

370

372. ‘Nasturtium’ a Moorcroft Pottery Collector’s Club ginger jar and cover designed by Sally Tuffin, 1992, tubeline decorated in orange and green, impressed and printed factory marks, 15cm. high £120-180 373. ‘Blue Gum’ a large Moorcroft limited edition vase designed by Sally Tuffin, dated 1994, baluster form, tubeline decorated in shades of blue, green, yellow and red on a celadon ground painted John Moorcroft signature, factory marks, numbered 35/50, 42cm. high £200-400 Provenance From the collection of James Benson.

371

374. ‘Malahide’ a Moorcroft Pottery limited edition vase designed by Rachel Bishop, made for retail at James Macintyre & Co, Leeds, compressed form, painted in colours on a deep blue ground, printed and painted marks, 46/200, 12cm. high £150-250

94

372

373

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375 376

378 375. A Poole Pottery Delphis charger painted

by Angela Wyburgh, shape no. 54, painted with a radiating flowerhead design, in shades or red, orange, black and turquoise, and another Poole Delphis charger smaller, printed and painted marks, 41cm. diam. (2) £120-180 376. A Poole Pottery Studio vase by Guy Sydenham, swollen, flat sided form on four spike feet, the sides with raised points, the pierced top with single small solifleur aperture, covered in a mottled turquoise and mushroom glaze, impressed Poole England and GS monogram 26.5cm. high £200-300 377. ‘Grouse (lagopus lagopis)’ a Poole Pottery limited edition stoneware sculpture by Barbara Linley Adams, modelled as a pair of grouse, glazed in brown impressed and printed marks, numbered 20/1000,, incised facsimile signature 33m. wide £120-180 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 150 for a comparable group illustrated 378. ‘Fiesta’ a collection of Midwinter Pottery designed by Jessie Tait, painted with geometric design in yellow and grey, comprising, platter, two tureen and covers, serving bowl and four dessert bowls, three various serving jugs, teapot and cover, coffee pot and cover, milk-jug and sugar basin, one cup and saucer, cups, twelve dinner, eleven side, four entree and six side plates printed factory marks, 35cm. wide (platter), (a lot). £150-200 Literature Steven Jenkins Midwinter Pottery a revolution in British tableware, Richard Dennis, page 43 for comparable examples of Fiesta illustrated.

379

377

380

379. ‘Cannes’ a Midwinter Fashion Shape part service with drawing by Hugh Casson, printed in colours with vignette, comprising; platter, three various serving dishes, four twin-handled dishes, olive dish with chrome handle, tureen cover, twinhandled cup, teapot and cover, two cups with tray saucers, two oil bottles, one blue serving jug, a dessert bowl, twelve plates, seven various saucers and sixteen side plates, a cake plate, seven various blue cups, printed factory marks, 30.5cm. wide (platter, (a lot) £150-200 Literature Steven Jenkins Midwinter Pottery a revolution in British tableware, Richard Dennis, page 46 for comparable examples illustrated.

380. ‘Capri’ a Midwinter Stylecraft part service, painted with atomic leaf and flower motif, comprising; tureen and cover, four cups, two saucers and side plates, a cake plate and a sugar basin, and a collection of Midwinter Primavera, Whispering Grass and Sun tableware, printed and painted marks, (a lot) £150-250

381

Literature Steven Jenkins Midwinter Pottery a revolution in British tableware, Richard Dennis, page 43 for comparable examples of Primavera illustrated.

381. A modern Rosenthal Jahrestellar limited edition porcelain plaque designed by Sir Eduardo Paolozzi CBE, 1978, in presentation wooden case, signed and numbered 235 .3000, 34cm. square £300-400 382. A Rosenthal Studio Haus porcelain tile panel designed by Victor Vasarely, six tiles cast in low relief with geometric design, glazed grey and black, mounted in a modern frame, marks concealed, 5cm square (each tile), 31 x 25cm (frame) £150-200

382

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383

385

384

383. After Newton a Rosenthal Studio Linie plate designed by Eduardo Paolozzi, printed in colours, printed marks and facsimile signature, 31cm. diam. £200-300 384. ‘Demonstrations’ a Wedgwood limited edition plate designed by Peter Blake, commissioned by the National Art Collections Fund, printed in colours printed inscription to reverse, 31cm. diam. £120-180 ‡ 385. Jonathan Chiswell Jones (born 1944) a large lustre wall charger, painted to the well with a cockerel before a rising sun, glazed in colours and golden lustre on a blue ground, painted number and 828, 38cm. diam. £150-200 ‡ 386. Jonathan Chiswell Jones (born 1944) A set of six Hellfire bowls from Dr Faustus, each bowl painted to the well with flames, the rim inscribed Doctor Faustus, in pinks, purples and copper lustre monogram to base, 16.5cm. diam (largest), (6) £150-200

386

387. Eric Marwick (1946-2018) Canterbury Tales a pottery sculpture of a man riding piggy-back on the back of a winged devil the base the world, glazed in colours, another modelled as a figure resting on a large over-sized book whilst reading a book, another of two figures fighting and another smaller, pained EM03, 17.5cm. high (4) £120-180 388. Eric Marwick (1946-2018) Breakfast with Eric a novelty pottery tea set, comprising teapot and cover, milk-jug, sugar basin and covered pot, each modelled with figures, painted EM03, 11.5cm. high (teapot), (6) £120-180 389. Eric Marwick (1946-2018) Canterbury Tales, a pottery sculpture of three medieval figures, glazed in blue and white, another sculpture of a man whipping a horse, and six various tiles by Eric Marwick, painted EM monogram, 7.5cm. high (8) £120-180 387

388

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390

389A

389A. ‘Poiret XL Deco’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 2014, flaring cylindrical form, tubeline decorated in colours, highlighted in platinum on a cream ground, impressed and painted marks, number 3 of 5, 41.5cm. high £300-500 390. ‘Butterfly’ a Dennis China Works vase designed by Sally Tuffin, dated 1999, swollen cylindrical from, tubeline painted with butterflies in colours on an ivory ground, a Dennis China Works Dragonfly vase, a Koala Bear side plate and a Trial colour vase, impressed and painted marks, 16cm. high, (4) £150-250 ‡ 391. Avis Murray What Women Most Desire a Dartington Pottery oval charger, painted with a reclining female, painted in colours highlighted in gilt with title, impressed seal mark to reverse, 43cm. wide £150-200

391

392

‡ 392. Avis Murray My Mephistopheles, a Dartington Pottery stoneware vase, swollen form, painted with a figure holding a guitar, the reverse a scorpion-like creature, in colours painted signature and title to base, 30cm. high £150-200 ‡ 393. Avis Murray Aristocats, a Dartington Pottery charger, painted with two cats in a garden setting below a butterfly, glazed in colours painted signature and title to reverse, 41cm. diam. £150-200 ‡ 394. Avis Murray The 2 Angels, a Dartington Pottery charger inspired by Dulac with a naked winged female before a devil-like creature, painted in colours, signed and titled to reverse, 41cm. diam. £150-200

393

394

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MAUREEN MINCHIN CERAMICS

‡ 395. Maureen Minchin (born 1954) a pottery jug, bellied form, painted with a mallard duck swimming above a pike, an otter watching on, in colours impressed seal mark, 22.5cm. high £150-250

395 both sides

‡ 396. Maureen Minchin (born 1954) a pottery jug, bellied form, painted with a hare running below a swooping swallow, the reverse a pheasant, in colours impressed marks, 16cm. high £150-200

‡ 397. Maureen Minchin (born 1954) a pottery vase with pinched rim, painted with a mackerel, puffin and gannets, in colours, and two Maureen Minchin pottery mugs decorated with an Oyster Catcher and a Pheasant, impressed seal marks, 16.5cm. high, (3) £150-250

396 both sides

397

98

‡ 398. Maureen Minchin (born 1954) a small earthenware bowl painted to the well with a Grey Heron, the rim with bands of stylised flowers, in colours, and another Maureen Minchin bowl painted with a frog impressed seal mark, 19cm. diam. (2) £150-250

398

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399 both sides 400

‡ 399. Maureen Minchin (born 1954) a pottery jug, bellied form, painted with two hares running below a swooping barn owl, a pheasant watches on, in colours impressed seal mark, 22cm. high £150-250

‡ 400. Maureen Minchin (born 1954) a large charger, painted to the well with three Razorbills and central roundel of two rabbits, the rim with puffin in a seascape, the reverse with a band of mackerel and seaweed impressed seal mark, 42cm. diam. £700-900

‡ 401. Maureen Minchin (born 1954) a pottery tall jug, painted with mallard duck flying above an eel and water-beetle, the reverse with a large dragonfly and fish, in colours impressed seal mark, 23cm. high £300-400

401

‡ 402. Maureen Minchin (born 1954) a large pottery bread bin and cover, flaring form, painted with a heron, dragonfly, frog, hare, kingfisher, barn owl and pheasant in a rural landscape, in colours, the flat domed cover set with modelled hare finial and painted with a band of wild poppies, impressed seal mark, 30cm. high £800-1,200

402

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THE STUDIO POTTERY COLLECTION OF DARYL FROMM Every artist has a point of departure, a master from whose studio he emerges. Staite Murray’s was the stoneware of the Sung. But even his first work was alive with style, as the directors of the Victoria and Albert Museum emphasised when they exhibited a bowl made by him in 1923 as ‘Masterpiece of the Week’. Since that year he has steadily individualised his technique, until his pots have now no closer resemblance to the stonewares of China than, say, the pictures of any great artist to the masters who preceded him… … So very strongly do these undulating jars, haunted bowls, work upon him, that he seems to hear music, see movements, be lifted, feel the motion which ‘rolls through all things’.

Maurice Collis, November 1936 (in the preface of Catalogue of Pottery and Paintings by Staite Murray, Alex Reid & Lefevre Ltd)

WILLIAM STAITE MURRAY

‡ 403. William Staite Murray (1881-1962) Two Bison dry-point etching on paper, framed signed W Staite Murray in pencil 26 x 21cm (image)

£150-200

Provenance Bocardo House Sale, Mallam’s 6th November 2009, lot 45.

403

‡ 404. William Staite Murray (1881-1962) Two Cactus etching on paper, framed signed W Staite Murray in pencil 22.5 x 17cm (image)

404

100

£300-500

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405

‡ 405. William Staite Murray (1881-1962) a shouldered stoneware vase, painted with stylised flower stems, in iron on a translucent oatmeal ground impressed seal mark, 25.5cm. high £600-900

Provenance 20th Century Decorative Arts, Bonhams, 23rd April 2012, lot 577

406

‡ 406. William Staite Murray (1881-1962) a stoneware vase, painted with simple Flag Iris flower stems in iron on a speckled oatmeal ground, the shoulder and neck with iron bands, impressed seal mark, pencil number 18, 29.5cm. high £800-1,200

Exhibited Leferve Gallery, 1931 catalogue number 18 lists an iris vase, probably this one.

The 20th Century Aesthetic, 22nd May 2013, lot 181.

30 Pots, Woolley and Wallis, 2019 catalogue number 3.

‡ 407. William Staite Murray (1881-1962) a stoneware vase, shouldered ovoid form with collar rim, painted with flower sprays and grasses in iron on a rust ground impressed seal mark, 17cm. high £200-300

Exhibited 30 Pots Woolley and Wallis, 2019 catalogue number 6.

407

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‡ 408. William Staite Murray (1881-1962) ‘Dark Celadon White Birds’ a fine tall stoneware vase, slender shouldered cylindrical form with stork neck and collar rim, slip decorated with three curlew in white with lavender translucency, on an oatmeal ground, impressed seal mark, paper exhibition label no.6, 40cm. high £3,000-5,000

Provenance The Leferve Galleries, London, November 1931, catalogue number 6, priced at 15 guineas.

International Contemporary Ceramics, Bonhams, 19th September 2006 lot 1.

Exhibited The Leferve Galleries, 1931 30 Pots, Woolley and Wallis, 2019, catalogue number 28.

102

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‡ 409. William Staite Murray (1881-1962) ‘Persian Bird’ a monumental stoneware vase, thrown in two sections, swollen conical body with cylindrical neck, the body incised and painted with two large peacocks, glazed with iron dots, on an oatmeal ground under a grey translucent slip graduating to white, impressed seal mark, painted IMG, 63 cm. high £1,500-2,000

Provenance Lefevre Galleries, probably exhibited (suggested by Ian Bennett) alongside ‘Persian Garden’ in 1931, which was later purchased by Eric MilnerWhite.

Richard Murray Exhibited Lefevre Galleries, London November 1931, Leicester Galleries William Staite Murray Retrospective,1958 30 Pots, Woolley and Wallis, 2019 catalogue number 30.

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‡ 410. William Staite Murray (1881-1962) Geese by The Reeds a fine stoneware vase, shouldered form with cylindrical neck, slip decorated with three preening geese amongst tall grasses, impressed seal mark, 31cm. high £1,000-2,000

Provenance Patterson’s Gallery, Old Bond Street, London, Exhibited between 1st-28th November 1928, catalogue number 24, priced at 40 guineas.

Contemporary Ceramics, Bonhams 16th November 1995 lot 1 Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery, 2003 catalogue number 78.

British Studio Pottery from Bernard Leach, Chichester Cathedral/Pallant House, 2005 catalogue number 37.

30 Pots Woolley and Wallis Auctioneer’s, catalogue number 29.

104

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411 two views ‡ 411. William Staite Murray (1881-1962) a fine stoneware footed bowl, conical form, painted and incised to the interior with a series of wavy bands, in rust on an oatmeal glaze under white translucent splashes, the exterior oatmeal with translucent runs, impressed seal mark, incised N, 22cm. diam, 11cm. high £300-500

Provenance Christopher Wood Gallery, 1980 Contemporary Ceramics, Bonhams, 16th November 1989, lot 4.

Ed Wolfe Collection, purchased by Daryl in 2004.

Literature Things of Beauty Growing British Studio Pottery, Yale/Fitzwilliam Museum exhibition catalogue, page 250-251 catalogue number 50 for a comparable bowl entitled Vortex illustrated.

Exhibited British 20th Century Studio Ceramics, Christopher Wood Gallery, 1980, British Studio Pottery From Bernard Leach to Lucie Rie, Chichester Cathedral/Pallant House, 2005, catalogue number 40.

30 Pots, Woolley and Wallis, 2019, catalogue number 8. ‡ 412. William Staite Murray (1881-1962) a stoneware footed bowl, painted with a face to the well in iron and blue on a speckled tan ground impressed seal mark, 19.5cm. diam. £200-400 Provenance Sotheby’s Bond Street circa 1987 Richard Dennis

Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery 2003 catalogue number 62.

British Studio Pottery from Bernard Leach to Lucie Rie, Chichester Cathedral/Pallant House, 2005, catalogue number 39.

412 two views

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‡ 413. William Staite Murray (1881-1962) a stoneware conical bowl, painted to the interior with a simple flower spray in iron on an oatmeal ground, impressed seal mark, 21cm. diam. £200-400 Provenance Applied Arts, Phillips, 19th November 1996, lot 409 Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 67.

George Wingfield Digby The Work of the Modern Potter in England, plate 17 for a comparable bowl illustrated.

413

‡ 414. William Staite Murray (1881-1962) a stoneware footed conical bowl, covered to the foot in a rich, dark brown speckled glaze, impressed seal mark, painted CEL, 20.5cm. diam. £250-350

Provenance The Design Age International Studio Ceramics, Mallam’s, 12th December 2013 Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 16. ‡ 415. William Staite Murray (1881-1962) a stoneware footed bowl, covered to the foot with a rich brown glaze to the foot, impressed seal mark, incised CM and painted 6, 18cm. diam. 10cm. high £250-350 Provenance Studio Ceramics, Sotheby’s 3rd July 1980 lot 181.

Contemporary Ceramics, Bonhams, 13th July 1994 lot 10.

Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 64.

30 Pots, Woolley and Wallis, 2019, catalogue no.14.

414

106

415

‡ 416. William Staite Murray (1881-1962) a stoneware footed bowl, flaring conical form painted with simple brushed motif, on oatmeal ground, impressed seal mark, 21cm. diam. £200-400 Provenance Contemporary Ceramics, MAAK, 19-22 May 2014, lot 2

416

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417 two views

‡ 417. William Staite Murray (1881-1962) ‘Sun and Air’ a fine stoneware vase, painted with a hot-air balloon flying amongst seagulls and clouds, the reverse a large sunflower, rust on an oatmeal ground highlighted with blue, impressed seal mark, 22.5cm. high £800-1,200

Provenance William Paterson Gallery, London exhibited 1-28th November 1928, priced at 25 guineas.

Contemporary Ceramics, Bonhams, 13th November 1996 lot 5.

Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003 catalogue number 79.

British Studio Pottery from Bernard Leach to Lucie Rie, Chichester Cathedral/Pallant House.

30 Pots, Woolley and Wallis, 2019, catalogue number 4, Literature Dr Jeffrey Jones, Studio Pottery in Britain 1900-2005, A & C Black, page 57 this vase illustrated

‡ 418. William Staite Murray (1881-1962) a shouldered stoneware vase, incised and painted with stylised foliate panels, in brown and white slip under a translucent glaze, impressed seal mark, painted FB.5, 25.5cm. high £200-400

Exhibited 30 Pots Woolley and Wallis, 2019, catalogue number 1.

418

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419

420

421

‡ 419. William Staite Murray (1881-1962) a stoneware tea bowl, glazed to the foot with a translucent glaze and simple brush decoration, impressed seal mark to base and paper collection label, 10cm. diam. £150-250

Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 27. ‡ 420. William Staite Murray (1881-1962) a stoneware footed bowl, the flaring conical bowl covered to the foot with a brown hare’s fur glaze impressed seal, painted Frich and 19, 20.5cm. diam. £200-400

Provenance Contemporary Ceramics, Bonhams, 13th July 1994 lot 14

422

Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery, 2003, catalogue number 63.

30 Pots, Woolley and Wallis, 2019, catalogue number 20. ‡ 421. William Staite Murray (1881-1962) a stoneware tea bowl on narrow foot, covered with a running chun glaze of purple olive and red, impressed seal mark, incised 6SE painted C.6, 9cm. high, 12.5cm diam. £200-300

Provenance Anthony Pugh-Thomas collection.

Contemporary Ceramics, Bonhams 10th May 2004, lot 10 Exhibited 30 Pots Woolley and Wallis, 2019, catalogue number 23. ‡ 422. William Staite Murray (1881-1962) a hand-built stoneware tea bowl on narrow foot, covered to the foot in a rich tenmoku glaze, impressed seal mark to foot, 8cm. high £150-250

423

Provenance Applied Arts, Phillips, 14th July 1998 lot 574.

Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery, 2003, catalogue number 68.

30 Pots Woolley and Wallis, 2019, catalogue number 22. ‡ 423. William Staite Murray (1881-1962) a hand-built stoneware tea bowl, on narrow foot, covered to the foot with a rich chestnut brown glaze, impressed seal mark, 9cm. high. £150-200

Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 23.

424

‡ 424. William Staite Murray (1881-1962) a stoneware tea bowl dated 1924, narrow, footed form, covered with a tan/oatmeal glaze painted with a simple abstract linear design in rust, impressed seal mark, Godden Reference label, 11.5cm. diam, 8cm. high £200-300

Provenance The Godden Reference Collection.

Literature Things of Beauty Growing British Studio Pottery, Yale/Fitzwilliam Museum exhibition catalogue, page 106 figure 52 for a reproduction from The Studio 1935, of a comparable, possibly the same, tea bowl from the Eumorfopoulos collection.

Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 15.

425

108

‡ 425. William Staite Murray (1881-1962) a stoneware large tea bowl or charwan, footed form, the rounded body glazed to the foot with a tan/oatmeal glaze painted with simple scroll brush repeat in rust, impressed seal mark, 14cm. diam.

9.5cm. high £200-300

Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 19.

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‡ 426. William Staite Murray (1881-1962) a stoneware vase compressed ovoid form, painted with a running horse in iron on a pitted oatmeal ground, impressed seal mark, 13cm. high £300-500

Provenance Decorative Arts, Sotheby’s 4th December 1985 lot 345 Contemporary Ceramics, Bonhams 26th March 1992 lot 94

426

Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003 catalogue number 61.

30 Pots, Woolley and Wallis 2019, catalogue number 13 Literature Dr Jeffrey Jones, Studio Pottery in Britain 1900-2005, A&C Black Publishers, illustrated page 58.

Ronald Cooper, The Modern Potter, John Tiranti Ltd, 1947, page 32, catalogue number 39 for a comparable vase titled Tiger.

‡ 427. William Staite Murray (1881-1962) a heavy stoneware vase, ovoid with knopped neck, covered in a thick pitted off white glaze, painted with abstract design in blue, impressed seal mark, 18.5cm. high £300-500

Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 7.

427

‡ 428. William Staite Murray (1881-1962) a squat stoneware vase with collar rim, dated 1923, covered to the foot with a high-fired Chun glaze in silver and purple, incised W S Murray 1923 London, 12.5cm. high £300-500

Provenance Brian Page Antiques, Brighton Exhibited 30 Pots, Woolley and Wallis, 2019 catalogue number 5.

428

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‡ 429. William Staite Murray (1881-1962) a stoneware tea bowl, footed, flaring conical form, painted with stripes in iron on a grey oatmeal ground, impressed seal mark, 9cm. diam. £150-250

Provenance Beryl Danby Exhibited 30 Pots Woolley and Wallis, 2019, catalogue number 26.

429

‡ 430. William Staite Murray (1881-1962) a stoneware tea bowl made for Bernard Rackham, dated 1930, footed form, painted with a simple flower design in rust on a pale oatmeal ground, the rim incised Bernard Rackham his Tea Bowl 1930, impressed seal mark, 8cm. diam. £250-350

Catalogue notes Bernard Rackham (1876-1964) was keeper in charge of the Ceramics Department at the Victoria & Albert museum (from 1914 to 1938) and a supporter of Staite Murray’s work which he reviewed in The Studio Yearbook in 1917.

Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 24.

430

‡ 431. William Staite Murray (1881-1962) a stoneware tea bowl made for Ernest Marsh, dated 1930, footed form, the flaring bowl painted with simple flower stems and a band in iron, the band then scratched Ernest Marsh His Tea Bowl 1930, on oatmeal ground impressed seal mark, paper label to base, 8.5cm. diam. £250-350

Provenance Contemporary Ceramics, Bonhams, 19th October 2004 lot 4 Exhibited 30 Pots Woolley and Wallis, 2019 catalogue number 12 Literature Sarah Riddick Pioneer Studio Pottery The Milner White Collection, Lund Humphries, page 91 for a comparable tea bowl made for Milner White.

431

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CHARLES VYSE CERAMICS

‥ 432. Charles Vyse (1882-1971) and Barbara Waller (born 1923) Polecat a stoneware sculpture, glazed celadon grey incised Charles Vyse Barbara Waller Chelsea 16cm. high

ÂŁ400-600

Literature Terence Cartlidge Charles & Nell Vyse, Dennis & Pascoe, page 48 this sculpture illustrated.

111

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‡ 433. Charles Vyse (1882-1971) a stoneware vase, dated 1933, shouldered form with collar rim, covered in a rose ash and iron glaze to the foot with grey splashes, incised CV 1933, paper lot label, 21cm. high £150-250

Provenance 20th Century Decorative Arts, Christie’s South Kensington, 26th May 1994 lot 240, (originally purchased from the Walker Gallery).

Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery, 2003, catalogue number 129.

British Studio Ceramics from Bernard Leach to Lucie Rie, Chichester Cathedral/Pallant House, catalogue number 35.

Literature Terence Cartlidge, Charles & Nell Vyse, Dennis & Pascoe, page 55 and back cover this vase illustrated.

433

434

‡ 434. Charles Vyse (1882-1971) a stoneware vase dated 1931, shouldered form with flaring neck, covered to the foot with a rich tenmoku glaze, painted with stylised Oriental flower design in iron, incised CV dated 1931, 26cm. high £200-400 ‡ 435. Charles Vyse (1882-1971) a stoneware vase with lug handles, dated 1931, shouldered cylindrical form, covered in a rose ash glaze with splashes, and an ovoid vase with vertical grooves, covered in an ash glaze incised marks, 13.5cm. high (2) £200-400

Provenance Modern Art, Photography and Ceramics, Colombos, Hamburg Germany, 17th November 2012, lot 5.

435

436

‡ 436. Charles Vyse (1882-1971) a stoneware vase, shouldered form with collar rim, dated 1930, covered to the foot in a rich deep blue/purple and silver mottled glaze, and another similar glazed to the foot with celadon splashed with iron, incised Charles Vyse 1930, 16.5cm. high, (2) £200-400

Provenance Applied Arts Sotheby’s 14th April 1992 lot 563 (main vase, sold as part of a group of three).

Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 119 and 121 437 part

Literature Terence Cartlidge Charles & Nell Vyse, Dennis & Pascoe, page 51 these vases illustrated, ‡ 437. Charles Vyse (1882-1971) a stoneware footed bowl dated 1937, mottled brown glaze painted with a mystical bird to the well, and four other Charles Vyse bowls, covered with experimental glazes incised marks, 17.5cm. diam. (5) £150-200

Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 133

437

112

Literature Walker’s Monthly December 1937 (Walker Gallery) Terence Cartlidge Charles & Nell Vyse, Dennis & Pascoe, page 49 this bowl illustrated.

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‡ 438. Charles Vyse (1882-1971) a stoneware vase dated 1938, shouldered form with knopped neck, incised with a broad band of palm leaves, glazed celadon, highlighted with brown, incised Vyse 1938 to base, 32cm. high £800-1,200

Literature Terence Cartlidge Charles & Nell Vyse, Dennis & Pascoe, page 56 and back cover this actual vase illustrated.

438

‡ 439. Charles Vyse (1882-1971) a Tzu-Chou stoneware vase dated 1930, shouldered form with swollen neck, the body incised with scrolling lotus flower decoration, covered to the foot with a pale white celadon glaze incised CV 1930, 34cm. high £800-1,200 Literature Charles Vyse Richard Dennis/Fine Art Society, 1974, page 56 catalogue number 126 this actual vase illustrated.

439

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441

442 ‡ 440. Charles Vyse (1882-1971) a porcelain bottle vase dated 1939, pear shaped with everted top rim, painted in ochre with a heron flying past grass clumps, on a grey ground incised Vyse 1939, 26cm. high £300-500

Literature Terence Cartlidge Charles and Nell Vyse, Dennis & Pascoe, page 53 this actual vase illustrated. ‡ 441. Charles Vyse (1882-1971) a stoneware footed bowl, the foot modelled as a wooden stand, covered in a purple glaze splashed with blue, the interior glazed blue, another footed bowl covered with a simple glaze and a Lotus flower bowl, incised C Vyse Chelsea, 15cm. diam. (3) £200-300 Provenance J L Naimaster, previously the manager of the Walker Art Gallery and also at the Fine Art Society.

Richard Dennis Gallery catalogue number 123 and 124

Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, catalogue number 123 and 124.

440

Literature Terence Cartlidge Charles & Nell Vyse, Dennis & Pascoe, page 51 these bowls illustrated. ‡ 442. Charles Vyse (1882-1971) a stoneware vase, dated 1927, covered in a dark blue and purple splashed glaze to the foot, and two miniature vases incised CV 1927, 9cm. wide, (3) £150-250 ‡ 443. Charles Vyse (1882-1971) a stoneware vase dated 1931, slender ovoid form with flaring solifleur neck, covered to the foot in a pale blue glaze splashed with purple, a smaller Charles Vyse vase with two lug handles, with similar glaze and a small footed bowl, painted CV and 1931 marks, 19.5cm. high, (3) £150-250

Provenance J L Naimaster, Richard Dennis, 443

Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 128.

Literature Terence Cartlidge, Charles & Nell Vyse, Dennis & Pascoe, page 51 this actual vase illustrated. ‡ 444. Charles Vyse (1882-1971) a stoneware vase, dated 1928, ovoid with collar rim, covered to the foot in a streaked lavender, blue and silver glaze incised CV monogram and date, 12.5cm. high £200-400

Provenance George Eumophopolus collection (sold at Sotheby’s) Ian Bennett collection Ed Wolff collection Contemporary Ceramics, Bonhams 10th November/1st December 1994 lot 7.

Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery, 2003, catalogue number 127.

Literature Terence Cartlidge Charles & Nell Vyse, Dennis & Pascoe, page 51 and back cover this vase illustrated.

444

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‥ 445. Charles Vyse (1882-1971) a rare pottery vase dated 1923, swollen form with tapering neck, painted with a brightly coloured toucan perched in on a fruiting tree bough, in colours painted CV monogram, Chelsea 1923, 19.5cm. high £600-1,000

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446

447

WILLIAM “BILL” MARSHALL

448

‡ 446. William ‘Bill’ Marshall (1923-2007) a stoneware footed bowl, covered to the foot in a green glaze, and a stoneware bowl covered with a streaked and translucent ash glaze, impressed seal marks, 15.5cm. diam. (2) £120-180 ‡ 447. William ‘Bill’ Marshall (1923-2007) a stoneware unomi, waisted cylindrical form on foot, impressed decoration under a deep tenmoku glaze, and a stoneware Charwan by William ‘Bill’ Marshall covered in an ash glaze impressed seal marks, 10cm. high, (2) £150-200 ‡ 448. William ‘Bill’ Marshall (1923-2007) a stoneware unomi, footed cylindrical form, covered in pale grey glaze painted with copper spots, and two stoneware unomi decorated with Hakeme glaze impressed seal mark, 10.5cm. high, (3) £150-200

449

‡ 449. William ‘Bill’ Marshall (1923-2007) a stoneware unomi, tapering cylindrical form covered to the foot with an oatmeal glaze splashed with copper, and another unomi, impressed seal mark, 11cm. high, (2) £150-200 ‡ 450. William ‘Bill’ Marshall (1923-2007) a stoneware unomi, translucent glaze to the foot, the top rim with tenmoku running glaze, and two others similar impressed seal mark, 10cm. high (3) £150-200 ‡ 451. William ‘Bill’ Marshall (1923-2007) a stoneware footed bowl, covered with a brushed grey slip and hakeme, splashed with copper spots, and another smaller, impressed seal mark, 18cm. diam. (2) £150-250

450

‡ 452. William ‘Bill’ Marshall (1923-2007) a porcelain unomi, waisted cylindrical form, covered to the foot with a pale grey glaze, impressed repeat decoration under blue glaze, and Henry Hammond stoneware unomi and two others, impressed seal marks, 10cm. high, (4) £150-200

451

452

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‡ 453. William ‘Bill’ Marshall (1923-2007) a massive stoneware vase, with applied loop handles and collar rim, covered to the foot with a deep, rich tenmoku glaze and green copper brushed decoration, impressed seal mark, 48cm. high £500-1,000

‡ 454. William ‘Bill’ Marshall (1923-2007) a Leach Pottery stoneware bottle vase, swollen rectangular section with narrow cylindrical neck, covered in a rich tenmoku glaze with iron brushed grasses, impressed seal marks, 17cm. high £200-400

Provenance The Design Age Mallam’s Auctioneer’s 12th December 2013 lot 206

‡ 455. William ‘Bill’ Marshall (1923-2007) a large stoneware vase dated 1995, ovoid with slightly flaring cylindrical neck, covered in a grey glaze with hakeme, painted iron bamboo shoot, copper splashes, incised monogram and date 1995, 29cm. high £300-500

453

‡ 456. William ‘Bill’ Marshall (1923-2007) a stoneware vase and cover, ovoid, the shouldered vessel with inset cover, the body with impressed hatched geometric panels, covered in a translucent white glaze, impressed seal mark to base, 27cm. high £300-500

Literature Marion Whybrow, Leach Pottery St Ives The Legacy of Bernard Leach, Beach Books, page 81 this actual vase and cover illustrated.

454

455

456

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‡ 457. William ‘Bill’ Marshall (1923-2007) a stoneware footed bowl, brushed grey Hakeme glaze splashed with iron spots to the interior, the exterior with simple painted grasses in iron, impressed seal mark, 17.5cm. diam. £120-180

Literature Marion Whybrow, Leach Pottery St Ives The Legacy of Bernard Leach, Beach Books, page 105 for a comparable bowl illustrated.

457

458

‡ 458. William ‘Bill’ Marshall (1923-2007) a Leach Pottery stoneware vase, shouldered form with cylindrical neck, dark grey ground with brushed white Hakeme decoration, impressed seal marks, 31.5cm. high £300-500 Provenance Modern & Post-War British Art, Design, Mallam’s Auctioneer’s, 10th December 2015 lot 88.

‡ 459. William ‘Bill’ Marshall (1923-2007) a stoneware footed bowl flaring conical bowl covered in a hakeme glaze with iron brushed grasses, impressed seal mark, 19cm. diam. £300-500 ‡ 460. William ‘Bill’ Marshall a stoneware vase, pilgrim flask form, covered in a pitted celadon ash glaze to the foot, painted in tenmoku with simple grass motif, indistinct seal marks, 20cm. high £120-180

459

460

‡ 461. William ‘Bill’ Marshall (1923-2007) a fine porcelain vase dated 2004, ovoid with flaring cylindrical neck, covered in a pale celadon glaze and painted grey bamboo shoot motif, incised monogram and date to base, 25cm. high £300-500

‡ 462. William ‘Bill’ Marshall (1923-2007) two porcelain vases, shouldered form, each applied with two loop handles, covered in a pale celadon white glaze painted with simple grass motif in black, impressed seal marks, 16cm. high, (2) £150-250

118

461

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463

464

465

‡ 463. William ‘Bill’ Marshall (1923-2007) a tall and impressive stoneware vase, shouldered, tapering cylindrical form with cylindrical neck, covered to the foot with a Nuka glaze, with running brushed design and lavender spots, impressed seal mark, 51cm. high £400-600 ‡ 464. William ‘Bill’ Marshall (1923-2007) a stoneware vase, shouldered form with waisted cylindrical neck, decorated with a simple band of flowerhead motif to the shoulder and midridge, covered in a running ash glaze to the foot, with Hakeme splashes, impressed seal mark to side, 43cm. high £300-400 ‡ 465. William ‘Bill’ Marshall (1923-2007) a tall stoneware bottle base, slightly swollen, shouldered cylindrical form with cylindrical neck and everted rim, incised to the shoulder with simple flowerhead motif, under translucent glaze with Hakeme brush and small copper spots, impressed seal mark to side, 57cm. high £400-600

119

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467

466 ‡ 466. Janet Leach (1918-1997) an unusual Leach Pottery vase, shouldered form with modelled band of disc motif, glazed ash green and ochre, impressed seal marks, 17cm. high £120-180 ‡ 467. Janet Leach (1918-1997) a Leach Pottery stoneware bottle vase with lug handles, glazed grey under a translucent white hatch design and ash markings, another bottle vase and a stoneware small bowl, impressed seal marks, 16cm. high, (3) £150-200 ‡ 468. Richard Batterham (born 1936) a stoneware jar and cover, swollen cylindrical form with simple incised bands, the shallow domed cover with loop handle, covered to the rims with an ash glaze, unsigned, 25cm. high £120-180 ‡ 469. Richard Batterham (born 1936) a large teapot and cover, ovoid with flat cover, the body with simple band of incised decoration, covered to the base with a speckled ash glaze, painted B to base, 21cm. high £120-180 ‡ 470. Richard Batterham (born 1936) a stoneware teapot and cover, ovoid, covered in an ash glaze and a small canister and cover covered in an ash glaze by Richard Batterham, unsigned, 15.5cm. high (teapot), 18cm. high (canister), (4) £120-180

468

469

120

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471

471. A large archive of books catalogues and notes relating to British Art Pottery from the Martin Brothers to modern studio potters, including: A Catalogue of Martinware Formed by Frederick Nettlefold, privately published in 1936, Boobies Boojums and Snarks, Jordan Volpe catalogue, Martinware by Holbrook Jackson, (a lot) £300-500 Provenance lovingly gathered and collated by Daryl Fromm.

472. A massive Royal Copenhagen porcelain vase with bronze cover, by Richard Bocher and Karl Andersen, dated 1932, shape no.1599, shouldered form, painted with a thatched farm by a tree-lined lane, a wooded landscape in the background, painted in colours printed and painted marks, 48cm. high £800-1,200 Provenance Ceramic Design 1860 to 1945, Bonham’s London, 1st March 2005, lot 162.

The Daryl Fromm collection.

Catalogue notes This monumental vase is a unique exhibition piece and was on display when H.R.H Prince of Wales (later Edward VIII), visited the Royal Copenhagen factory in 1932.

473

‡ 473. Anne Batty In Darkness Lost, (ships at sea) acrylic on board, framed signed and titled to the reverse 39 x 28.5cm. (image)

£150-200

Provenance Star Gallery, Lewes Daryl Fromm collection ‡ 474. Anne Batty Their Sacred Charge acrylic and mixed media on board, framed signed and titled in pen to reverse, 44 x 34cm. (image) £150-200

Provenance The Daryl Fromm collection ‡ 475. Peter Messer (born 1954) Adders in Violets egg tempera on board, framed signed lower right, signed and titled to reverse 59.5 x 39cm. £300-500

472

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474

475

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‡ 476. Ray Finch MBE (1914-2012) a Winchcombe Pottery stoneware charger, iron ground with grey combed trail and blue spots, and a deep, footed bowl by Ray Finch with combed band to the exterior impressed seal mark, 36cm. diam. (2) £150-250

Provenance Winchcombe Pottery.

From a private collection of studio pottery. ‡ 477. Mick Casson (1925-2003) a tall salt-glaze stoneware vase with loop handles, waisted cylindrical form, with applied handles to top rim, salt-glazed with a simple wavy trail design, impressed seal mark to base, 51cm. high £250-350

Provenance Wobage Farm, 1989 From a private collection of studio pottery

476

477

‡ 478. Mike Dodd (born 1946) a cut-sided stoneware bottle, shouldered form, yellow ochre with river iron shoulder and drips, flooded seal mark, 25cm. high £200-300 Provenance From a private collection of studio pottery ‡ 479. Mike Dodd (born 1946) a cut-sided stoneware bottle vase, covered with a streaked Corsican pine glaze, impressed seal mark, 25.5cm. high £150-250 Provenance Amalgam Gallery, 1997 From a private collection of studio pottery ‡ 480. Jim Malone (born 1946) An Ainstable Pottery stoneware bottle, with impressed triangle motif, covered in a bold Hakeme glaze with copper splashes, impressed seal marks, 33.5cm. high £250-350

478

Provenance Oakwood Gallery, 2006 From a private collection of studio pottery

479

‡ 481. Jim Malone (born 1946) an Ainstable Pottery stoneware vase, shouldered, flat sided form with collar rim, painted in iron and resist decorated with a grass motif, under blue wash, on celadon grey ground impressed seal marks, 23.5cm. high £200-300

Provenance Harlequin Gallery, 1997 From a private collection of studio pottery ‡ 482. William ‘Bill Marshall (1923-2007) a Leach Pottery salt-glazed stoneware vase, slender, swollen form with flaring neck, the shoulder with simple, feint brush design impressed seal marks, 49cm. high £200-300

480

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481

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483

‡ 483. Reginald Marlow a stoneware footed bowl, glazed to the foot in ash with a simple brushed foliate design inside and out, impressed seal mark and painted monogram, 14.5cm. diam. £120-150

Literature Reginald Cooper, The Modern Potter, John Tiranti Ltd, plate 26 for four items illustrated, by Marlow.

Little is known of Marlow today but his work was important enough to include in this early survey of British studio pottery published in 1947.

484

485

Catalogue Notes Reginald Marlow studied under the esteemed potter William Staite Murray and lectured in Pottery at the Central School of Arts and Crafts.

He was also a principal at The Stoke on Trent College of Art from 1948. ‡ 484. Svend Bayer (born 1946) a large wood-fired stoneware Amphora vase, shouldered form with flaring neck, the body inlaid with clam shell decoration, glazed in shades of pale blue and ash unsigned 44cm. high £400-600

486

‡ 485. Jim Malone (born 1946) a tall stoneware bottle, with flaring rim, incised with a simple willow tree motif, covered in a running ash glaze and a Jim Malone stoneware charger with incised rim covered in a tenmoku glaze, impressed seal mark, 37.5cm. high (2) £150-250 ‡ 486. Rupert Spira (born 1960) a pair of large porcelain fluted tea cups and saucers, decorated with fluting to cup and saucer, covered in a white glaze impressed seal marks 18cm diam. (saucers), 10.5cm wide (cups), (4) £300-400

487

‡ 487. Rupert Spira (born 1960) a Froyle Pottery stoneware teapot and cover, painted with a simple scene of grassed and bell flowers in rust and blue on an oatmeal ground, and another smaller Froyle Pottery teapot and cover by Rupert Spira, impressed seal mark to base of handle, 16cm. high £200-300 ‡ 488. Geoffrey Whiting (1919-1988) a stoneware teapot and cover, streamlined form, covered in a metallic rust and tenmoku glaze, a sugar basin, milk-jug, two covered pots and a small biscuit crock and cover, impressed seal mark, minor frits to spout, 20cm. wide (9) £150-250

488 part

Provenance The teapot was purchased form Geoffrey Whiting in Canterbury circa 1974.

488

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489 490 ‡ 489. Takeshi Yasuda (born 1943) two small handled dishes, each decorated with a sancai glaze impressed seal mark and original paper retail labels, 19cm. wide (2) £200-300

Provenance Beaux Arts, Bath, 1990 From a private collection of studio pottery ‡ 490. Aki Moriuchi (born 1947) a stoneware goblet with loop handle, covered in a pitted volcanic glaze, and a small solifleur bottle with handle, impressed seal mark, 17cm. high (2) £120-180 ‡ 491. Janet Leach (1918-1997) a large Leach Pottery stoneware vase, ovoid with lug handles and collar rim, incised surface decoration covered in a rust and green Hamstone glaze, impressed seal marks, 22cm. high £300-400 Provenance Beaux Arts, Bath, 1992 From a private collection of studio pottery

492

‡ 492. Janet Leach (1918-1997) a Leach Pottery stoneware vase with lug handles, matt umber with splashed silvergrey design to body and neck, impressed seal marks, 14.5cm. high £150-200

‡ 493. Marianne De Trey CBE (1913-2016) a porcelain bowl, flaring cylindrical form, painted to the exterior and well with abstract design in pink and blue on a white ground, impressed seal mark, 15.5cm. diam. £120-180 ‡ 494. Marianne De Trey CBE (1913-2016) a porcelain stem bowl. painted with geometric patterns in blue on pink and white streaked ground, and two smaller bowls by Marianne De Trey, impressed seal marks, 22.5cm diam, 12.5cm. high (main), (3) £150-200 Provenance Bettles Gallery, 2003 (main) From a private collection of studio pottery ‡ 495. Marianne De Trey CBE (1913-2016) a porcelain solifleur vase, decorated in resist with geometric design in flambe and black on a white ground, and two Marianne De Trey bowls similar, impressed seal mark, 15cm. high (vase) (3) £150-200

Provenance Bettles Gallery, 1990 (vase) From a private collection of studio pottery

Provenance CPA, 1989 From a private collection of studio pottery

493

494

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496

497

499

498

‡ 496. Hilary Brock (born 1933) a porcelain comical sculpture, modelled as a hunter being attacked by a tiger, a lady sitting on the back of the tiger, distracting the tiger with an umbrella, in colours and a large stoneware vase, painted monogram 19cm. high (2) £120-180 ‡ 497. Bernard Rooke (born 1938) a stoneware totem lamp base, cast and incised decoration in rust on an oatmeal ground, stamped Rooke, 41cm. high £150-200 ‡ 498. Bernard Rooke (born 1938) a stoneware lamp base, cylindrical form, cast in low relief with geometric panels, red and rust on an oatmeal ground, unsigned, 49cm. high £150-200 ‡ 499. John Maltby (born 1936) Three Standing Figures (Stone Circle) a stoneware sculpture on black painted wooden base impressed seal mark, signed and titled to base, paper exhibition number 6 24.5cm wide, 27.5cm high £400-600 ‡ 500. John Maltby (born 1936) Nordic King, 2011 a stoneware sculpture on ebonised wood base impressed seal mark to boat, signed, titled and dated to base, 30.5cm. high £500-800

Provenance Beaux Arts, Bath 2011 From a private collection of studio pottery

500

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‥ 501. John Ward (born 1938) a hand-built stoneware vase with asymmetric rim, orange and sand graduating to green and ochre with blue streaks, impressed seal mark, 24cm. high £1,500-2,000

Provenance Peter Dingley Gallery, 1990 From a private collection of studio pottery

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‡ 502. John Ward (born 1938) a hand-built stoneware vessel, the rounded bowl with cut angular top rim, with incised column decoration, matt black with rust and green impressed seal mark, 24.5cm. high £2,000-3,000

Provenance Private collection.

Literature Cyril Frankel, Modern Pots – The Lisa Sainsbury Collection, UEA Norwich, page 148 plate 119 for a comparable form.

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503

503A

‡ 503. Walter Keeler (born 1942) a salt-glaze teapot and cover, with gun-barrel spout and over-slung handle, glazed deep blue impressed seal mark, 22.5cm. high £250-300 Provenance Candover Gallery, 1990 From a private collection of studio pottery ‡ 503A. Ewen Henderson (1934-2000) a large porcelain charger, with applied slips, textured surface decoration in white and pale blue unsigned, 49cm. wide £400-600 ‡ 504. Colin Pearson (1923-2007) an unusual porcelain vase with three flanges, the footed, waisted body with central plunging aperture, covered in a mottled brown and greyblue glaze over white impressed seal mark, 15.5cm. high £250-350

504

505

‡ 505. Colin Pearson (1923-2007) a porcelain winged cylinder vase, with four applied wings, covered to the foot with a celadon glaze, impressed seal mark, 12cm. high £300-400 ‡ 506. Emmanuel Cooper OBE (1938-2012) a porcelain stem bowl, covered in a pitted, matt blue glaze, the rim highlighted with bronze impressed seal mark, 9.5cm. high. 16.5cm. diam. £120-180 ‡ 507. Mary Rich (born 1940) a porcelain vase, compressed form with cylindrical neck and flaring rim, decorated with a bold geometric star design in red, blue and gilt, impressed seal mark, 13.5cm. high £120-180

Provenance Bettles Gallery, 1991 From a private collection of studio pottery 506

128

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‡ 508. Eric James Mellon (1925-2014) a stoneware bowl dated 1982, with philadelphus glaze, the flaring bowl painted to the well with a naked female riding a horse, before an embracing couple, in colours on an oatmeal ground, the reverse with a mermaid, naked lady and a fox, painted Eric James Mellon 1982 to foot rim, 33cm. diam. £400-600

Provenance Clarice Cliff, Art Deco & Design, Woolley and Wallis, 21st March 2018, lot 401.

‡ 509. Eric James Mellon (1925-2014) Circus a stoneware charger dated 2005, painted to the well with a female bareback horse rider, in blue and pinks on an escallonia ash glaze signed, titled and glaze listed on foot rim 05/93, 29cm. diam. £200-300 Literature Eric James Mellon and Paul Foster Decorative Stoneware Ash Glazes and the Art of the Brush, University of Chichester, page 115 this charger illustrated front and reverse.

508

‡ 510. Sutton Taylor (born 1943) a large flaring earthenware bowl, on narrow foot, geometric design in red, turquoise, blue and golden lustre impressed seal mark, 37.5cm. diam. £500-800

‡ 511. Sutton Taylor (born 1943) a large earthenware flaring bowl, on narrow foot, decorated with a geometric frieze in pink, blue and bronze on a speckled brown ground impressed seal mark, 39cm. diam. £500-800

509

511

510

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‡ 512. Kate Malone MBE (born 1959) Waddesdon Jug, 2015, cylindrical form with raised acorns and oak leaf motif and printed Waddesdon figures, incised signature and date to base, 10cm. high £300-500

512

‡ 513. Kate Malone MBE (born 1959) Baby Bud Snap Dragon, 2013, (KM1453), crystalline stoneware vase, incised KM monogram to base, 9.5cm. high £300-500 ‡ 514. Anna Barlow (born 1982) White Unicone, 2019 painted and gilded porcelain sculpture, unsigned, 15cm. wide

£120-180

‡ 515. Anna Barlow (born 1982) Pink Unicone, 2019 painted and gilded porcelain sculpture, unsigned, 18cm. wide

£120-180

513

514

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‥ 516. Dame Lucie Rie DBE (1902-1995) a porcelain footed bowl with bronze rim, covered to the foot with a mustard yellow glaze impressed seal mark, small repaired chip to top rim, 15.5cm. diam, 10cm. high £1,000-2,000

Provenance This bowl was given to the vendor as a wedding present by Jane Coper in 1986

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517

518

‡ 517. Ursula Scheid (born 1932) a stoneware platter, dated 1988, near square section with shallow bowl, resist decorated with simple geometric design in salmon on a speckled mushroom glaze impressed seal mark with date, two small chips to back surface 37 x 38cm. £120-180 ‡ 518. Emmanuel Cooper OBE (1938-2012) a stoneware jug with applied handle, covered in a banded white and translucent glaze impressed seal mark, 30.5cm. wide, 18cm. high £250-300 Provenance Private collection. ‡ 519. Philippa Cronin a stoneware vase, dated 1983, angular form, painted decoration, another by the same artist and a small porcelain teapot and cover by Claire Ireland, painted PJC 1983 to base 48cm. high, (4) £120-180 ‡ 520. Jack Doherty (born 1948) a Leach Pottery flaring porcelain bowl, with impressed combed detail, soda fired, glazed in shades of turquoise, lemon, grey and russet, a Keith Smith stoneware jug and five other studio pottery items impressed seal marks, 20cm. high, 28cm. diam, (7) £150-250

Provenance Reggie Hyne (1918-1999) architect and studio pottery collector.

519

520 part

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521

‡ 521. Robin Welch (1936-2019) a stoneware chawan, cylindrical form, painted with pink, blue and red on an oatmeal ground, the top rim enamelled black, impressed seal mark, 11cm. diam, 8.5cm. high £150-250

522

‡ 522. Geoffrey Eastop (1921-2014) a stoneware vase, ovoid with flattened sides, copper and bronze glaze with blue and copper splashes, painted monogram, 18cm. high £120-180 Provenance Beaux Arts, Bath, 1988 From a private collection of studio pottery

‡ 523. Paul Young (born 1961) Sheep Tree, an earthenware sculpture, glazed in colours impressed seal mark to base 35.5cm. high £120-180

523

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524

525

526

CONTINENTAL CERAMICS 524. A Boch Freres Keramis Persian jardiniere, shouldered form, painted with panels of stylised foliage in shades of black, blue, turquoise and rust on a cream ground, painted marks, 20cm. high £150-250 527

525. An Iznik style pottery ewer, bellied form with pulled handle, the neck and spout modelled as a bird’s head, the swollen body painted with flowers in blue, turquoise, red, green and aubergine on a white ground, a Sarah Perry studio pottery bowl, and a Carlton Ware floating bowl, unmarked, 31cm. high (3) £120-180 Provenance The late Greta Morrison, widow of Bryan Morrison.

528

526. An Art Nouveau Gouda Zuid Holland pottery twinhandled vase, swollen faceted body painted with flag iris in pink, purple and ochre on a green ground, a Zuid Holland bellied jug painted with purple tulips, a pot and cover and two other vases similar, various marks, chips to top rim of twin-handled vase, 30cm. high (6) £150-250 527. An Art Nouveau Gouda Zuid Holland miniature twinhandled vase, painted with stylised foliage, two miniature solifleur vases and a miniature ewer painted marks, small chip to twin-handled vase, 10.5cm. high (tallest), (4) £120-180 528. An Art Nouveau Brantjes Purmurend small dish, pattern 10488, painted with yellow pansy flowers and Snakeshead fritillary in colours, a Gouda miniature vase a small jug and three other pots painted marks, 8cm. wide (6) £120-180

529

529. An Art Nouveau Amphora Holland pottery vase by T Verstraaten, shouldered form, painted with a finch flying past a pine tree bough, in colours, a Gouda pottery hexagonal pot painted with Art Nouveau bell flowers, and nine various Dutch pottery pieces, painted marks, hairlines to top rim, 18.5cm. high, (11) £150-200 530

530. An Art Nouveau Rozenburg Den Haag pottery bowl, painted with a frieze of stylised flowers and foliage in colours on a brown ground, painted marks, and bee date mark for 1900, 18cm. diam. £120-180 531. An Auguste Delaherche high-fired stoneware vase, model no.1783, shouldered cylindrical form, the shoulder with modelled border, covered in a streaked turquoise and lavender glaze over a celadon green ground, impressed marks, 17cm. high £600-1,000 532. A Kahlsruhe Majolkia table centrepiece designed by Wilhelm Sus, model no.1156, modelled as four putti holding up a large bowl, with foliate swags, on shaped base, painted in colours impressed and painted marks, professional restoration 27cm. high £200-250

531

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‥ 533. Pablo Picasso (1881-1973) Oiseau au Ver, AR.172 a Vallauris Pottery limited edition earthenware bowl, glazed white and oxide, painted edition Picasso 16cm. diam.

ÂŁ1,500-2,000

Catalogue notes This designed was conceived in 1952 and produced in a limited edition of 500.

135

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534. An Art Nouveau Mettlach stoneware twin-handled vase the design attributed to Hans Christiansen, model no.2814, incised and painted with a frieze of Art Nouveau maidens amidst fruiting grape vine in the manner of Mucha, impressed marks to base, professional restoration to inside top rim, 24cm. high £350-450

535. A Goldscheider Pottery model of a young boy by Brynski, model no.4287, modelled standing holding a yellow duck under each arm, impressed and printed marks, artist facsimile signature, 35cm. high £350-450 Literature Robert Dechant Goldscheider, Arnoldsche, page 384 this figure listed as Stehender Knabe mit zwei Enten, (Standing boy with two ducks), and listed as circa 1912.

534 two views

536. An Amphora pottery model of an elephant, modelled standing with trunk raised, glazed in colours, on oval naturalistic base, impressed and printed factory marks, 40cm. high £150-200

537. A Danish figural candelabra designed by Bjorn Wiinblad, modelled as a soldier riding a horse, arms outstretched and holding two cup sconces, tin glazed in emerald green and grey painted marks to base, 40.5cm. high. £150-200 535

536 538. A pair of Fornasetti plates designed

by Pierro Fornasetti, dated 1955, printed in black and white with a twin-handled tureen and a goblet printed factory marks, 26cm. diam. (2) £150-250

538

537

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541

539

540

542

WORKS ON PAPER 539. G Sturm Primavera (Spring) lithograph in colours, numbered 56, printed by Verlag von Gerlach & Schenk, Vienna, for Gerlach Allegorien framed signed in the print G Sturm 30 x 21cm (image) £80-120 540. The Studio fifty four bound volumes, an incomplete run from volume 1 to volume 77, (54) £350-450 541. Art Nouveau The French Aesthetic by Victor Arwas, Chiparus Master of Art Deco by Alberto Shayo, Bronzes 1800-1930 Sculptors and Founders, volumes 1-4 and a collection of reference books and catalogues on Art Deco, Art Nouveau and bronzes, (17) £80-120 542. A pair of painted foil Peacock panels, each square form, one peacock modelled displaying, the other perched in a tree bough, on black ground, unsigned, 54 x 52cm. (2) £150-200

543

543. Elijah Albert Cox (1876-1955) London Character’s The Zoo Keeper, 1920 a London Electric Railways poster, lithographic print, printed

by Chorley & Pickersgill, framed signed in the print E A Gill, 75.5 x 48.5cm. (image) £100-150 544. Sir Frank Brangwyn RA, RWS, RBA (1867-1956) Pollards Storefitters a pair of lithographic posters depicting a workman sawing and a workman planing, printed by The Avenue Press, framed FB monogram in the print, 74 x 48cm (image) (2) £200-400 Catalogue notes Pollards - The House of Craftsmen was the shop fitting firm E Pollard & Sons, their association with the artist Frank Brangwyn led to him designing advertising posters and also a small range of furniture included in an exhibition in 1931.

544

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545 545. The Poster Six Masters of the Poster of the Eighteen Nineties a limited edition print set published by the Sunday Times, comprising; Jules Cheret, Toulouse-Lautrec, Dudley Hardy, Theophile Steinlen, Beggarstaff and Louis Anquetin, in original folder, two framed, and another The Poster Six Masters of the Poster of the Eighteen Nineties a limited edition print set in original folder, printed marks, Westerham Press for Sunday Times, limited to 2000 editions, 75 x 49.5cm. (2) £120-180 546. Lynne Moore Platform Wings, 1969 lithograph on paper, framed and Herbert Leupin (1916-1999) Knie lithographic poster on paper, printed in Switzerland

by Hug & Sohne, Zurich, framed signed and tiled in pencil, Proof 1969 nr 70, 79 x 58cm (image), 99 x 74.5cm. (2) £120-180

546

547

138

548

547. Patrick ‘Pat’ Keely (died 1970) ARP Calling You, 1938 a lithographic poster on paper printed by Fash & Cross Ltd for the H.M Stationery Office, framed signed in the print Pat Keely, 38 74.5 x 50cm (image), 89 x 64cm (frame) £120-180 548. David Klein Paris Fly TWA Jets, 1962 a lithographic poster on paper, printed in the USA, depicting the Eiffel Tower lit by firework explosions, framed and Moscow Olympics, 1980 lithographic poster on paper, framed signed in the print, 62.5 x 39.5cm (image), 79.5 x 55.5cm (frame) (2) £100-150

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549

550

549. John Gilroy (1898-1985) Have a Guinness when You are Tired, (Tortoise) a large lithographic poster, printed by T B Lawrence Ltd, framed, signed with JG monogram and printers details 153 x 102cm. £200-300

550. Henri Matisse (1869-1954), after La Tristesse du Roi, a modern lithographic print after the original, framed, signed in the print and dated 1952, 131 x 100cm. (image) £200-300

551. Henri Matisse (1869-1954), after La Danseuse Creole, a modern lithographic print on paper, framed signed and dated in the print, 148 x 99cm (frame) £200-300

552. Joan Miro (1893-1983), after Joan Miro Portrait 1938, poster printed by Multipla in 1989, framed unsigned 144 x 111cm (frame) £200-300

551

552

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553

554 553. John White Alexander, after Isabella and the Pot of basil modern oil on canvas, framed unsigned 120 x 59cm (image)

£350-450

‡ 554. Barrie Cook (born 1929) untitled, 2008 lithograph on paper, framed, and two others similar signed Barrie Cook 08 in pencil, lower right 22.5 x 14cm (image) £120-180

Provenance The Collection of Rodney Bewes

555

‡ 555. Eduardo Paolozzi CBE RA (1924-2005) Running Man lithographic study for the Mosaic at Tottenham Court Road, framed facsimile signature £200-300 ‡ 556. Leslie Gooday OBE (1921-2013) Black Neck Pass watercolour on paper, framed signed L Gooday bottom left corner 35 x 25.5cm (image)

£150-200

Exhibited Royal Academy Summer Exhibition, 1993 Llewellyn Alexander (Fine Paintings) Ltd Clarice Cliff, Art Deco & Design, Woolley and Wallis, 5th March 2014 lot 548.

556

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557

558

559

TEXTILES 557. Plantation eight pieces of Heal’s textile designed by Lucienne Day, printed with black foliate panels on green and blue on a white ground signed to the selvedge, 124 x 66cm (8) £150-200 Literature Andrew Casey Lucienne Day Textile Design, ACC books, page 164-165 for a comparable example illustrated.

Catalogue notes Lucienne Day designed this pattern in 1958.

559

558. Three Moygashel linen curtains, printed with panels of flowerhead, queen and horse portraits in black, on white and grey squares on a red ground, signed Moygashel to selvedge, 141 x 158cm. (3) £150-250 559. A Pansies printed curtain designed

by Howard Carter for Heal’s, printed with flowers in blue, green and grey on a white ground, a cushion in the same material and three other curtains, printed selvedge, 168 x 117cm. (5) £150-200 560 560. Four Linden printed linen curtains designed by Lucienne Day for Heal’s, printed in black on a cream with yellow and red panels, and another single linen curtain designed by Lucienne Day, unsigned, 242 x 107cm. (5) £150-250 561. A pair of vintage printed linen curtains, printed in black with flower panels, on a red ground, three other various curtains and three cushions, unsigned, 190 x 113cm. (8) £150-250

561

561

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562

563

FURNITURE 562. A set of six Gothic Revival chairs, with tracery ‘Rose’ backs, turned front legs and padded leather seats, 109cm. high, (6) £400-600 563. A pair of Aesthetic Movement ebonised wood bedside chairs, with turned bobbin back and front rail, tapestry pads, 73cm. high (2) £200-400 564. A Liberty and Co Milverton oak buffet sideboard, on square section legs, bow fronted base with hinged cupboards, the top with cupboards flanking a glazed central cabinet, 183cm. wide, 158cm. high £300-500 565. A Liberty oak overmantel mirror probably retailed by Liberty & Co, shaped rectangular form with pierced Art Nouveau flower and leaf panels, overhanging mantel shelf, unsigned, 105cm. wide, 77cm. wide £120-180

564

565

142

566. An oak occasional table, square section on flaring, tapering square section legs, with square shelf, the undercarriage with carved heart-shaped foliage motif, unsigned, 45cm. square, 69cm. high £120-180

566

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567

568

567. An Arts and Crafts mahogany armchair, the oval seat with curved back inlaid with Art Nouveau panel, on turned legs, embroidered padded seat, 93cm. high £150-200 568. A pair of oak book shelves, three tier, rectangular form with pierced back-splat and sides, 124cm. high, 59cm. wide, (2) £300-500 569. A set of six oak chairs the design attributed to George Montague Ellwood, slightly curved back splats with swollen carved terminal, embroidered seats, unsigned, 101cm , high, (6) £800-1,200 570. An oak gate-leg table the design attributed to Arthur Romney-Green, elliptical top on carved legs with sleigh feet 152 x 104cm, 72cm high £200-300 571. A mahogany gate-leg table designed by Mackay Hugh Baillie Scott, model no.14, rectangular with two flaps with hinged legs, inlaid elliptical decorative panel, 72cm. high, 82 x 100.5cm £500-800 Literature Furniture Made at the Pyghtle Works, Bedford by John P White, original catalogue, this table design illustrated as model no.14 with a variation to the decoration. The table was available in oak or the more expensive mahogany at £11.11.0.

569

570

571

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572. An oak pot cupboard the design attributed to Arthur Simpson of Kendal, square section, rectangular body on tapering legs, hinged door with brass handle, 63cm. high, 42cm x 38.5cm (top) £150-250 573. An oak pot cupboard dated 1897 the design attributed to Arthur Simpson of Kendal, rectangular form with carved foliate panel sides, back and hinged door, on bun feet 95cm. high, 43cm wide £400-600 574. An Arthur Simpson of Kendal walnut armchair, circa 1928, chamfered legs and carved arms, with tan leather seat and back pad, 99cm, high £500-800 572 two views

Literature Hugh Wright The Beautiful Furniture of the Simpsons of Kendal, Bookcase, page 116 figure 48 for a comparable chair illustrated.

575. A Barnsley Workshops walnut standard lamp designed by Edward Barnsley, on domed, octagonal base, tapering octagonal stem and swollen terminal, with silk shade, stamped Barnsley to base, 155cm. high £1,000-1,500

573

574

144

575

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577

576 576. A Barnsley Workshops circular bevelled English walnut wall mirror, the octagonal frame inlaid with sycamore and ebony, circular glass, stamped Barnsley, paper delivery label to reverse, 44cm. diam. £300-500 Provenance Purchased directly from Edward Barnsley in 1976 for £65.

577. A Robert Mouseman Thompson oak bowl, adzed circular form with carved mouse signature to side, 17cm. diam. £100-150 578. A Liberty and Co style oak buffet sideboard, tapering rectangular section, two drawer base with strap handles, two drawers below mirror back overmantel, applied G H Morton label to drawer, 153 high, 60cm. deep, 137cm wide. £150-250 579. A Henry Howell & Co YZ bird, mixed exotic wood, bamboo and red phenol formaldehyde resin, modelled as a stylised ostrich, on Macassar ebony base, and two other YZ birds stamped YZ mark, 29cm. high, (3) £150-250 Literature This model was illustrated in an advertisement for Henry Howell & Co Ltd published in The Fancy Goods Trader February 1932.

578

580. A pair of Art Nouveau carved figures, each modelled as a maiden emerging from a flower stem, surrounded by large blossom, unsigned, 103cm. long, (2) £200-400

579 580

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581. An oak Zig Zag chair designed by Gerrit Thomas Rietveld, manufactured by H.G.M Gerard van de Gronekan, Utrecht, four panel construction with dovetail joints and supports, impressed mark and applied paper makers label, 75cm. high ÂŁ4,000-6,000 Provenance The late Greta Morrison, widow of Bryan Morrison.

Literature Clement Meadmore, The Modern Chair: Classics in Production, New York, page 76-79 for a comparable chair illustrated.

Daniele Baroni, The Furniture of Gerrit Thomas Rietveld, New York, page 139 (for a period photograph of a table and chair set in a Metz & Co. exhibition in Amsterdam, 1940).

Charlotte & Peter Fiell 1000 Chairs, Taschen, page 157 for a comparable example illustrated.

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λ 582. A rosewood veneer sideboard, extending dining table and eight chairs designed by Andrew John Milne, retailed by Heal’s, purchased in 1963, the oval extending dining table on two tripod plinth base, the armchairs covered in blue HK fabric 168cm long, 81cm high (sideboard), 237cm long, 112cm wide (table), (13) £3,000-5,000 Provenance Purchased from Heal’s on 20th February 1963.

Catalogue notes Sold with a Cities certificate number 588624/01.

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583

585

584

583. A bent-ply Canberra chair designed by John Wright probably manufactured by Craft, with leather back pad, painted 19 to inside back, 78cm. high £150-200 Catalogue notes The collection of Art Memorabilia on Canberra lists that John Wright FRIBA designed four chairs for the Tourist Class areas of the liner. The SS Canberra was designed for P&O in the late 1950s being named in March 1958 and in service between 1961 and 1997.

584. An Isokon Penguin Donkey II designed by Ernest Race, designed in 1963, cherry wood legs with white painted body and shelves, unsigned, 40cm. high, 53cm wide. £200-300 585. A pair of Frem Rojle teak chairs designed by Hans Olsen, Danish, each with swollen cylindrical tripod frame and shaped triangular padded black laminate seat, and a pair of ebonised wood spindle back chairs probably Danish, burnished marks to Frem Rojle chairs, 70cm. high, (4) £120-180 586

586. A Merrow Associates chromed metal and glass table, circular glass top resting on chrome metal pedestal of eight legs, 140cm. diam, 71cm high £200-300 587. No lot 588. ES sculpture with aperture a burnished and polished oak sculpture with ovoid central hole, signed ES 42cm wide, 28cm. high

£150-250

Provenance Clarice Cliff, Art Deco & Design, Woolley and Wallis, 20th April 2016, lot 1389.

589. Jim Partridge (born 1953) a steam bent oak bowl, with brass tacks, stamped JB Partridge 37.5cm. diam. £150-250 Literature Ken Stradling Collection, catalogue number KSA53 for a comparable bowl.

588

148

589

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591

590

592

590. An Arkana Tulip table designed by Eero Saarinen, circular, white laminated wood top, on painted aluminium base, cast mark, 105cm. diam. £300-500 591. A Fritz Hansen Swan chair designed

by Arne Jacobsen, originally designed for the SAS Royal Hotel, Copenhagen, 1958, black leather padded seat and back on aluminium cruciform base, applied label, 76cm. high £500-700 592. A Fritz Hansen Swan chair designed

by Arne Jacobsen, originally designed for the SAS Royal Hotel, Copenhagen, 1958, black leather padded seat and back on aluminium cruciform base, applied label, 76cm. high £500-700

593

593. A Herman Miller red plastic Panton chair designed by Verner Panton, a pair of chrome metal and acrylic folding Plia chairs designed by Giancarlo Piretti and an enamelled metal occasional table, cast Herman Miller mark 82cm. high, (4) £120-180 594. A Vistosi glass table lamp, the black glass base supporting opaque white glass mushroom shade, unsigned, 28cm. high.

34cm diam. (2) £150-200 595. A Fontana Arte style wall mirror, shaped grey glass frame, with raised bevelled mirror, silver painted wood backboard, unsigned, 60 x 45cm. £300-500

594

595

596

597

596. A Maison Janson table lamp, chrome and brass square section frame set with tan leather panels, Maison Jansen Paris label to base, 62cm. high £300-500 597. A Maison Janson style chrome table lamp, pierced square section plinth surmounted with chrome sphere, on square base, unsigned, 38cm. high £250-350

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598 599

600

598. A pair of Adnet style chrome and glass table lamps, the cylindrical chrome base surmounted with a glass sphere, with fluted tapering paper shades, unsigned, 37cm. high, (2) £300-500

601

599. A Maison Charles style table lamp, stepped chrome and back square base supporting brass foliate mount and travertine marble egg, gilt floral finial, unsigned, 44cm. high (light) £300-400 600. A Kartell Bookworm shelf system designed by Ron Arad, model no, 8003 C4, in original box, blue plastic, box with printed makers details, 3.2 meters long £120-180 Literature Ron Arad No Discipline Moma, page 62-32 for the bookworm and original designs for the bookworm system.

601. A pair of C & C Holmgren cast iron candle holders, circular form, a C & C Holmgren Pumpkin candle holder, a Liberty pewter tray and an Art Nouveau bronze paperknife by Bertin, cast marks, 8cm. high (candle holders), (6) £120-180 602. A Kartell acrylic Louis Ghost chair designed by Phillipe Starck, cast marks 92cm. high £50-100

602

Provenance The late Greta Morrison, widow of Bryan Morrison.

603. A set of four Driade Aleph Pratfall bucket chairs designed by Philippe Starck, the black lacquered, curved seat on black enamelled metal tripod, with black leather cushion, applied labels, 79cm. high (4) £120-180 604. An Aleph M (Serie Lang) table designed by Philippe Starck, rectangular polished quartered mahogany on aluminium tapering legs, cast signature to legs, 210 x 89cm. £200-400

603

604 signature

150

604

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METALWARE 605. A marble inlaid box with hinged cover, cedar lined, the box inlaid with red marble panels, polished slate rims with mother of pearl corners, an Art Nouveau pewter mounted box decorated with dragonflies, inlaid with mother of pearl, two other boxes and a Solkets pewter bud vase cast in low relief with flowers 28 x 22cm. (5) £120-180 Provenance The late Greta Morrison, widow of Bryan Morrison.

605

606

606. A Phillipe Barbier travertine marble and chrome table lamp, rectangular marble plinth supporting chrome socle and travertine marble egg, unsigned, 39cm. high £300-500 607. A Keswick School of Industrial Arts copper kettle on a stand, drum form with over-slung handle, the tripod stand with burner, stamped KSIA mark, 24cm. high, (4) £120-180 608. A rare Benham & Froud brass kettle designed by Dr Christopher Dresser, the elongated hexagonal body with hinged cover, with ebonised wooden finial, over-slung handle with scroll terminals, stamped Benham & Froud mark and number 4, 25cm, high £150-200 Literature British Art Pottery and Design, Woolley and Wallis Auctioneers, 14th December 2017 lot 649 for a comparable example Dresser, People’s Designer New Century Gallery, 2-19th June 1999, catalogue number M.072 for an example illustrated.

609. A Scottish electroplated pedestal bowl and pair of candlesticks by JB Glasgow, the candlesticks tapering square section with knopped neck and round sconce, set with four amber coloured glass cabochon, and an en suite pedestal bowl set with eight amber coloured glass cabochon, a Moorcroft Pottery Hibiscus vase and a large Victorian ‘Aurora’ tile the plated bowl and candlesticks stamped JB Glasgow, 18cm. high (candlesticks), 25cm. wide, (bowl), (5) £150-250

607 608

609

610

610. A pair of Gothic Revival brass door plates in the manner of AWN Pugin, pierced and cast with fleur de lys design, unsigned, 17.5cm. long, (2) £80-120 611. A pair of massive Aesthetic Movement wrought-iron hinges in the manner of Dr Christopher Dresser, with scrolling foliate brackets, cast in low relief with geometric panels, unsigned 65cm wide. (2) £150-250 611

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612. An Argentor electroplated tea set for six in the manner of Hans Ofner, comprising six cups and glass liners and a rectangular tray, the tray and cups with pierced panels, stamped Argentor mark to cups and tray, 41.5cm. wide (tray), (13) £150-200 612

613. A Newlyn Industrial Classes copper tray, circular with galleried rail, hammered with a frieze of scaly fish, waterweed and shells, a Newlyn Industrial Classes copper wall mounted letter holder and three other Newlyn Industrial Classes copper trays, stamped marks, 32.5cm. diam. (5) £150-250 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 108 for a comparable letter holder.

614. An electroplated metal charger, the well decorated with a portrait of a young male classical figure with laurel wreath, the rim a frieze of fruiting foliage unsigned, 43.5cm. diam. £120-180

613

615. A Glasgow School brass charger, stamped in low relief to the well with three rose flower unsigned, 42cm. diam. £80-120 616. A Philips Infraphil enamelled metal table lamp designed by Charlotte Perriand, designed 1952, the cone lamp set red metal circular frame on shallow domed foot, five other Philips metal table lamps, a Lolilux lamp, a Vrieland Holland lamp and two other lamps, applied Philips label and stencilled model mark to main item, 24cm. high, (10) £150-250 614

615

616

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SCULPTURE 617. Aime-Jules Dalou (1838-1902) Man with shovel going to work patinated bronze, signed in the cast Dalou 14.5cm. high

£400-600

618. An Art Nouveau electroplated metal figural table lamp probably WMF, cast as a maiden holding up a foliate urn, a young child at her feet, on flaring square base, with later frosted glass flame shade, unsigned, 54cm. high (total), (2) £250-350 Provenance The late Greta Morrison, widow of Bryan Morrison.

619. Michael (Mike) Long The Rollerskater patinated bronze, on black polished marble base signed ML 1/10 52cm. high £400-600 ‡ 620. Romain de Tirtoff (Erte) (1892-1990) Prisoner of Love a limited edition patinated bronze erotic sculpture, cast by Joel Meisner foundry, 1980 signed in the cast Erte, foundry mark and numbered 208/250 38cm high, 32cm wide £2,800-3,200

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620

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‡ 621. Robert Brotherton (1920-2000) Curlew patinated welded metal on driftwood rectangular plinth unsigned 59cm. high £500-600

Provenance Brotherton Pajaros Y Peces, Pollenca, Juliol 1994, by repute

‡ 622. Domenico Calabrone (1928-2000) Charging Bull patinated bronze on green veined marble base, signed Calabrone in the cast 60cm. wide £3,000-5,000

Provenance From the collection of James Benson.

James Jimmy Benson OBE (1925-2018) Jimmy Benson before working in advertising as Vice-Chairman of Ogilvy & Mather International was a ‘charioteer’ and midget submariner. He was called up in 1943, whilst studying Modern Languages at Cambridge, as a mid-shipman RNVR before volunteering in February 1944 for special services - not knowing the full implications of his actions.

Joining the 12th Submariner Squadron, as a 6ft 3inch man, he avoided issues of height by never trying to stand upright. After the War (1959) he joined Mather & Crowther, becoming chairman in 1965. He was awarded an OBE in 2003.

621

622

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623

624

623. A set of six Keswick School of Industrial Arts silver buttons in original silk lined case, each circular button cast in low relief with simple flowerhead on textured ground, cast stamped in gilt Keswick School of Industrial Arts, 1.5cm. diam. (7) £150-250 624. A Liberty & Co Cymric silver Coronation spoon designed by Archibald Knox, the bowl cast in low relief with AC ER VII and crown, with green and blue enamel panels, the pierced stem, cast in low relief with Celtic knot motif, stamped marks, Birmingham 1901, restored enamel, 12.3cm. long. £500-1,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 212 this design illustrated.

625. A Liberty & Co Tudric Pewter coupe with glass liner designed by Archibald Knox, model no.0276, tripod stand on circular base, cast and pierced with panels of stylised foliage, with green glass liner probably James Powell & Co, stamped marks, 13.5cm. high, (2) £500-700 Provenance Private collection.

625 626. A rare American Modernistic Middletown Silver Company silver-plated nickel three piece coffee set designed by Elwood North Cornell, comprising coffee pot and hinged-cover, sugar basin and cover and milk-jug, faceted triangular sides, stamped factory marks to base, 22cm. high, (4) £2,500-3,000 Literature Jewelers’ Circular May 19th 1928 page 10 for a full page advertisement by the Middleton Silver Company for the Modernistic pattern coffee service. The patent for this design (US no.80527) was applied for on the 24th January 1928 and awarded January 7th 1930.

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

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

626

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630

627

629

628

631

627. A James Fenton silver and enamel pendant necklace, rounded secessionist shield form with simple foliate drop, enamelled in shades of blue stamped marks, Birmingham 1908, 4cm. long £250-350

632

628. A James Fenton silver and enamel pendant necklace, simple heart-shaped central panel flanked with scroll border and small leaf drop, enamelled in shades of blue and green stamped marks, Birmingham 1908, 4.5cm. long £200-300 629. A Charles and Gladys Mumford silver brooch, pierced circular form cast with foliage and applied agate cabochon, an Arts and Crafts silver and cornelian stone pendant and a silver brooch cast with bunches of grapes and vine set with amber stone, unmarked, 4.5cm. wide (3) £120-180 630. A Charles Horner silver and enamel brooch, oval, pierced and cast with foliage, enamelled in blue and green stamped marks Chester, 1908 3cm. wide £150-200

633

631. An Art Nouveau Charles Horner silver and enamel brooch, oval, pierced form enamelled in shades of blue and green stamped marks, Chester 1908, 2.5cm. wide £150-200 632. A Murrle Bennett gold and turquoise brooch, looped wirework frame with central turquoise stone, stamped mark, 4cm. wide. £200-300 633. A Gourdel & Co silver and enamel brooch, rectangular, pierced form with applied knot motif, enamelled in blue and green stamped marks, 3.2cm. wide £100-150 634. A Murrle Bennett silver and enamel brooch, oval, pierced form cast with scrolls and central fleur de lys enamelled yellow stamped marks, 3.2cm. wide £100-150

634

635. A silver and moonstone bracelet, comprising seven oval stones, with silver clasp, indistinct stamped mark to clasp, 21cm. long £120-180

635

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636

637

636. A pair of Georg Jensen silver candlesticks designed

by Harald Nielsen, model no.897, shallow circular foot with reeded sconce, stamped marks, 6.5cm. diam. 2.5ozt., (2) £120-180 637. A set of six Georg Jensen silver Pyramid teaspoons designed by Harald Nielsen, five Georg Jensen Akkeleje silver teaspoons, two Georg Jensen sauce ladles, two spoons, a Georg Jensen flowerhead brooch and a Georg Jensen mixed metal bar brooch, stamped marks, 9cm. long, 4.4.ozt, (17) £150-250 638. A Georg Jensen Acorn pattern presentation set designed by Johan Rohde, comprising sugar shovel, butter knife and cold-cut fork, in presentation box and a Georg Jensen silver table lighter, model no. 366D, stamped marks, (4) £120-180 639. A Georg Jensen silver Cactus serving spoon designed

by Gundolph Albertus, three other Cactus spoons a fork and three pairs of Georg Jensen sugar tongs, stamped marks, 16.5cm. long, 5.4ozt, (8) £150-250

638

640. A Georg Jensen silver brooch designed by Arno Malinowski, model no.257, triangular frame cast with a dolphin leaping before three bulrush, stamped marks, 3.6cm. wide £180-200 641. A Georg Jensen silver brooch designed by Arno Malinowski, mode no.256, pierced and cast with a deer resting down on front legs, before stylised flowers stamped marks, 4.5cm. wide £180-200 642. A Georg Jensen silver brooch designed by Arno Malinowski, model no.238, oval cast with a bird of paradise with stylised foliage stamped marks, 4cm. wide £180-200

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643. A Georg Jensen silver pendant designed by Arno Malinowski, model no.

95, rounded rectangular frame, pierced and cast with a deer lying down before stylised flowers stamped marks, 4cm.wide £150-250

644. A Georg Jensen silver and chrysoprase necklace, model no.16, cast with two foliate motif and green chrysoprase stamped marks, 4cm. high £200-300

643

644 645. A Georg Jensen silver and agate brooch designed by George Jensen, model no.108, pierced and cast border of bell flowers, with central large agate stone stamped marks, 5cm. wide £200-300

646. A Mogens Ballin silver and agate pendant, simple looped wirework frame with central agate stone, and a similar buckle cast in low relief with flower heads, stamped marks, 4cm. long (pendant) (3) £120-180 645

646 647. A Georg Jensen silver brooch designed by Georg Jensen, model no.89, pierced and cast with flowerheads flanking central dome, and wirework border, stamped marks, 5.3cm. wide £200-300

647

648

648. A Georg Jensen silver and green chrysoprase ring designed by Henning Koppel, streamlined plate set with green chrysoprase, and another Georg Jensen silver ring model no.143 designed by Vivianna Torun Bulow-Hube stamped marks, size K (agate ring), (2) £250-350

649. A Georg Jensen silver and chrysoprase ring designed by Astrid Fog, model no.166, large central green chrysoprase the rim with ten smaller green chrysoprase, stamped marks, size P £400-600 Literature Georg Jensen Jewelry BGC/Yale, page 300 catalogue number 353 for a comparable ring illustrated

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650. A Georg Jensen silver and malachite necklace, five panels cast with foliate motif each applied with two malachite cabochon, with swollen cylindrical links, stamped marks, 42cm. long £300-500

651. A Georg Jensen silver link necklace with lapis clasp, ten panels cast in low relief with flowerhead motif, the clasp set with lapis stone, stamped marks, 38cm. long £250-350 650

652. A Georg Jensen silver and green agate Dove link bracelet designed by Georg Jensen, model no.32, five panel cast with foliage set with three green stones, alternating with a bird before foliage, stamped marks, 14.5cm. long £250-350 Literature Georg Jensen Jewelry BGC/Yale, page 237 catalogue number 153 for a comparable bracelet illustrated

653. A Georg Jensen silver necklace combining two bracelets designed by Astrid Fog, model no. 169, formed from two bracelets of interlinking discs, stamped marks, 36.5cm. wide (2) £200-400 Literature Georg Jensen Jewelry BGC/Yale page 293, figure 341 for a comparable bracelet illustrated.

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654

655

656

654. A Niels Erik silver and green chrysoprase necklace, two silver ribbons supporting green chrysoprase elliptical panel, on eight link chain, stamped marks, 6cm. wide (pendant) £120-180

655. An Ib Bluitgen silver and ivory pendant necklace, model no.11A, two joined silver discs, set with circular ivory panel, stamped marks, 3.6cm. diam. £120-180

656. A silver pendant on neck ring, pierced and cast open diamond shape set with central amber coloured stone, a pair of similar silver and amber coloured stone cuff links, two silver rings and a silver chain, stamped 835 mark, 5.5cm. (pendant drop), (6) £120-180 Provenance British Art Pottery and Design, Woolley and Wallis 5th December 2014 lot 570 657

657. An Italian silver tube-link necklace and matching clip earrings, the circular necklace comprising five tube links, stamped makers marks, 13cn wide (3) £150-200

658. A Lapponia Studio silver and perspex necklace designed by Bjorn Weckstrom, split circular pendant, half textured silver and half blue and green cased in textured, clear perspex, on link chain, a festival of Britain pin badge and a silk BEA badge indistinct stamped marks, 925 Y8, 7.5cm. long (pendant) (3) £150-200

659. Alan Davie (1920-2014) a rare turquoise mounted silver ring, the raised, rectangular plate with applied balls, the top set with turquoise cabochon and geometric circle motif, etched Alan Davie 50, 3cm long (approximately O-P) £800-1,200 Provenance Purchased by the vendor’s father in the early 1950s probably in London. The vendor’s father (a retired commercial artist) met Alan Davie through Edouardo Paolozzi, to whom he sublet a room in Holland Road, London.

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659

Alan Davie, although primarily known as a painter, produced jewellery in the 1940s and 1950s.

He was asked to teach design at the Central School of Arts and Crafts with a view to developing the ‘artistic’ approach to Jewellery making. Sold through high end retailers including Harrods and Aspreys he also designed and made the jewellery worn by Vivien Leigh as Cleopatra in Anthony and Cleopatra. A comparable ring is held in the Victoria & Albert Museum collection (Circ.376-1961).

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660

660. A collection of Viner’s Sable stainless steel cutlery designed by Gerald Benney, comprising; five forks and three knives, four fish knives, four spoons, four soup spoons and two serving spoons and a boxed set of salad servers, and a collection of cutlery including six Viner’s Chelsea Steel boxed butter knives, Viner’s Studio designed by Gerald Benney, Gense and Rosenthal cutlery stamped marks, 21.3cm long, (servers), (118) £120-180

661

661. A Stuart Devlin silver gilt champagne flute, model no.500, flaring conical body with textured gilt stem and flaring foot, the bowl with engraved eagle crest, stamped marks, London 1981, 22.5cm. high, (6.7 ozt) £120-180

662. A Mont Blanc Meisterstuck ball pen, black with yellow metal bands and clip, 13.5cm. long £80-120

662

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ARTS & CRAFTS Wednesday 17th June 2020 Closing date for entries 1st May

A fine pair of Artificers Guild silver and narwhal tusk tazza designed by Edward Spencer, London 1906 Estimate ÂŁ2,000 - 4,000* ENQUIRIES Michael Jeffery | +44 (0)1722 424505 | mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 1st April 2020

After the antique. A 19th century carved porphyry Grand Tour relief of the Medusa Rondanini Estimate £4,000 - 6,000*

ENQUIRIES Mark Yuan-Richards +44 (0) 1722 411854 | myr@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 21st April 2020 Closing date for entries 4th March

A creamware beer jug and cover decorated by Absolon of Yarmouth, c.1790.

From a private collection of pottery in the West Country Estimate £800 - 1,200* ENQUIRIES Clare Durham | +44 (0)1722 424507 | cd@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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SILVER & OBJECTS OF VERTU Tuesday 28th & Wednesday 29th April 2020 Closing date for entries 6th March

A pair of Victorian novelty Eddystone Lighthouse pepper pots, by Deakin and Francis, Birmingham 1895 Estimate ÂŁ500 - 700*

ENQUIRIES Rupert Slingsby | Tel: +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | Tel: +44 (0) 1722 424594 | lc@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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FINE JEWELLERY Thursday 30th April 2020

An early 20th century aquamarine and pink topaz pendant Estimate £3,000 - 4,000*

ENQUIRIES Charlotte Glyde | +44 (0)1722 424586 | cg@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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MODERN BRITISH & 20TH CENTURY ART INCLUDING THE ESTATE OF DAME ELISABETH FRINK & LIN JAMMET

Wednesday 3rd June 2020 Closing date for entries 9th April

A selection of lots from the Estate of Dame Elisabeth Frink & Lin Jammet to be included in the above sale

ENQUIRIES Victor Fauvelle +44 (0)1722 446961 | vf@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:

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

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

The colours printed in the catalogue are not necessarily true.

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

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

Alban Shipping

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

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

Pack & Send

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

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

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

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

BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction.

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

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

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

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

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

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 FIREARMS Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally entitled to acquire the lot(s) that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but may not take physical possession of it. The auctioneers will reoffer the lot on behalf of the buyer in a future auction, or may accept instructions to dispose of it by some other legal means, at their discretion.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS

TERMS OF CONSIGNMENT FOR SELLERS

1 . Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it.

Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price.

The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory.

Charges may be applicable for export licences. Ask us if you need help.

The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form.

Some form of identification will be required if you are unknown to us.

Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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.

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 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.

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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.

(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.

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.

3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

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.

4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. (c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

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.

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.

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

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988.

Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

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.

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

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

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 2018 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

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

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

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

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

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications.

However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

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Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

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Valuations

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

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Old Sarum

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

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

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29

Design & Production

by Jamm Design Ltd +44 (0)20 7424 7830 jammdesign.co.uk

WW102-639 Listing PART 2.qxp_Layout 1 19/02/2020 15:10 Page 176

ABSENTEE BID FORM

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

CLARICE CLIFF, ART DECO & DESIGN

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 18th March 2020 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed Billing Name (please print) Address

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

Signature

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU | Tel: +44 (0)1722 424500 | Fax: +44 (0)1722 424508

www.wo o lleyan d wallis.co .u k

AUCtion CAlendAr MArCH 4th 18th

FREE VALUATION MORNINGS old Masters, British & european Paintings Clarice Cliff, Art deco & design

First Friday of the month 10am-1pm No appointment necessary

APril 1st 21st 28th & 29th 30th

Furniture, Works of Art & Clocks english & european Ceramics & Glass Silver & objects of Vertu Fine Jewellery

NEXT VALUATION DATES 6th March | 3rd April | 1st May

MAY 6th 19th & 20th

Medals & Coins, Arms & Armour Asian Art, Chinese Paintings & Japanese Works of Art

JUne 3rd

17th

Modern British & 20th Century Art including the estate of dame elisabeth Frink & lin Jammet Arts & Crafts

JUlY 1st 14th & 15th 16th

Furniture, Works of Art & Clocks Silver & objects of Vertu Jewellery

dates may be subject to change

+44 (0) 1722 424500 enquiries@woolleyandwallis.co.uk 51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

A fine Martin Brothers stoneware Aquatic vase and cover by Edwin and Walter Martin SOLD FOR £15,000*

www.woolleyandwallis.co.uk