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WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S
Arts and Crafts
Wednesday 17th June 2015
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Specialist Departments Please dial +44 (0)1722 followed by the number listed below
20TH CENTURY DESIGN Michael Jeffery
ASIAN ART John Axford MRICS ASFAV Sophie Lister Alex Aguilar Doméracki Freya Yuan
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424506 424591 424583 424589
CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price (Consultant) — 07741 242421 Gemma Bush — 339752 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 FURNITURE Mark Richards Jim Gale Anna Brown
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411854 339161 411854
JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA
PAINTINGS Victor Fauvelle Jo Butler
SILVER Rupert Slingsby Lucy Chalmers TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Gemma Bush
Members of The Society
VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598 ACCOUNTS Janice Clift (Office Manager) — Ruth Pike
MARKETING Tamzin Corbett
GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young SALEROOM MANAGER David Jordan BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director
COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift Clare Durham
of Fine Art Auctioneers
Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508
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ARTS & CRAFTS
Wednesday 17th June 2015 at 10.30am
ENQUIRIES Michael Jeffery 01722 424505 firstname.lastname@example.org
COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street Saleroom on Monday 22nd June. Furniture will be removed to our Old Sarum warehouse for collection. All remainder lots will be cleared to our Salt Lane office. If you are collecting items on or after this date please contact the department to arrange in advance.
Saturday 13th June Monday 15th June Tuesday 16th June Wednesday 17th June
10.00am – 1.00pm 10.00am – 4.30pm 10.00am – 4.30pm 9.00am – 10.30am
Front cover: Lot 30 Back cover: Lot 333 Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk
LIVE BIDDING 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/
CONDITION OF LOTS Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.
ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy.
Please register by 5pm on Tuesday 16th June. Please note there is a 3%+ VAT surcharge for using this service.
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EDWIN BRUCE MARTIN 1860-1915
Edwin started work in a pottery at an early age following his brother’s freak accident. Walter Fraser Martin kept pigeons and unfortunately fell from a ladder while climbing to his pigeon loft. Edwin was sent to Doulton’s to advise them of Walter’s accident. He was persuaded by George Tinworth to take his brother’s place, but he was caught playing truant and had to return to school. Edwin, the youngest brother, was smaller and of lighter build than any of his brothers. He was pleasant, cheerful, interested in his work and in anything that helped them. He was a tireless worker, capable of infinite care and interest in every detail of his craft. Starting from the early 1890s Edwin developed simultaneously with the French potters, a more naturalistic form of pottery, in the form of gourds and seed pods. He was responsible for this type of ware at the pottery, taking inspiration from the ideas of his patrons. He continued with these shapes until his death in 1915. By 1909 he was suffering from much pain from his tongue. In 1914 Edwin’s letters to his patron Sydney Greenslade are a harrowing account of his decline and facial operations until his subsequent death at 55 from cancer of the mouth. ‘I have set the kiln and am burning it in great grief this time knowing that shortly I have to place myself on the operating table and again be cut right through the lower lip and under the chin, but I will try and bear it with all the fortitude I possess and trust I may be spared to make many a good pot yet.’ The cause of the cancer in unknown but it is most likely from smoking and from the use of various substances in decorating the ceramics. If so it was a sorry price to pay for the flowering of so much creativity.
EDWIN BRUCE MARTIN EXHIBITION VIEWING TIMES Saturday 13th June Monday 15th June Tuesday 16th June Wednesday 17th June
10.00am – 1.00pm 10.00am – 4.30pm 10.00am – 4.30pm 9.00am – 10.30am
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‘St Peter Ora Pro Nobis’ a stained glass window, unsigned 85 x 47cm. £300-500
‘Saint Maria Magdalane Ora Pro Nobis’ a stained glass window 85 x 47cm. £300-500
3. ‘He Hath Exalted The Humble and the Meek’ a large stained glass window design for Ecclesmachan church, watercolour on paper, annotated in pencil, 183 x 91cm (sheet) £100-200
4. Adoration of the Magi a stained glass triptych window design by Reginald Hallward, watercolour and pencil on paper, framed, and five other stained glass window designs by Reginald Hallward, framed annotated to reverse, 30.5 x 24.5cm. (6) £100-200
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GLASS 5. A set of six wine glasses probably James Powell & Sons, with diamondmoulded bowls 14.5cm. high (6) £100-150 6. A Whitefriars Golden Amber wave ribbed tumbler glass vase designed by Marriott Powell, another similar, a green glass bowl and four other glass items unsigned 19.5cm. high (7) £100-200
7. A James Couper & Sons Clutha glass vase designed by Dr Christopher Dresser, the dimpled ovoid body with tall cylindrical neck with everted rim, applied with spiral thread, green glass with streak, air bubbles and aventurine inclusions, unmarked, minor losses to the thread 32.5cm. high £800-1,200 Literature The Best of British Sotheby's/Paul Reeves 20th March 2008 lot 51 for a comparable vase. 8. A Louis C Tiffany Favrile glass solifleur vase with gilt bronze base, model no.159, the tall, flaring cylindrical glass with iridescent golden finish, stamped marks to bronze base 31.5cm. high £500-1,000
9. A Schneider glass coupe, the flaring uranium green glass bowl on pied noir black glass pedestal foot unsigned 34cm. diam. £200-300 10. A Baccarat cameo glass storage jar with metal mount and cover, frosted and worked clear glass overlaid with lime green glass, acid etched with dog rose design, unsigned 10.5cm. high £150-200 11. A Daum Nancy cameo glass vase with martele ground, compressed pink glass body cased in dark green, decorated with Art Nouveau violet flowers etched Daum Nancy to base 9cm. high £1,000-1,500
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THE MARTIN BROTHERS POTTERS 12. An early Martin Brothers stoneware vase by Robert Wallace Martin, cylindrical form with pierced rim, modelled in low relief with storks and birds perched on prunus boughs, in shades of blue, green and brown incised R W Martin Fulham, B-3 21.5cm. high £300-500 13. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1878, slender baluster form, with waisted neck, painted with berried foliage sprays in shades of brown and white on a buff ground, the foot with blue band incised 55 R W Martin London & Southall 5-1878, firing crack to base, professionally restored neck, 26cm. high £300-500
14. A Martin Brothers stoneware test vase, shouldered form, covered in a green and olive glaze, a small cylindrical pot and a flat sided vase incised N12 Clay W A Martin 1896, damages 10cm. high (3) £200-400
15. An early Martin Brothers stoneware vase by Robert Wallace Martin, cylindrical form, incised with foliate design in brown and blue on a buff ground, and another Martin Brothers cylindrical vase incised R W Martin, hairline to tall vase 22cm. high (2) £200-300 16. A Martin Brothers stoneware jug by Robert Wallace Martin, swollen cylindrical form, incised with simple leaf design, glazed in shades of green, impressed R W Martin stamped mark, minor restored chip to edge of top rim, 23cm. high £300-400
17. A Martin Brothers stoneware jug, ovoid with loop handle, incised with columns of foliage in brown on a buff ground, a mask below the handle, with cork stopper, and another Martin Brothers stoneware jug incised Martin Bros London & Southall 8-83, 13.5cm. high (2) £300-400 18. A Martin Brothers stoneware jug, dated 1884, incised with ducks flying past bullrushes, in green and white on a buff ground, incised 2-84 RWMartin & Bros London & Southall, smashed and repaired 6.5cm. high £50-100 19. A Martin Brothers stoneware vase, dated 1907, shouldered form, covered in a matt black glaze, and a Martin Brothers square section ewer incised 10-1907 Martin Bros London & Southall 24.5cm. high (2) £200-300
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20. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1885, shouldered form with applied twin-handles, incised and painted with finches flying and perched on a passion flower vine, above lily of the valley flowers, in shades of green and brown on a buff ground incised 1-1885, R W Martin & Bros London & Southall, repaired neck, 24cm. high £400-600
20 both sides
21. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1891, slender, shouldered form, incised with finches flying and perched amongst apple blossom, in green, brown and white on a buff ground incised 1-1891 R W Martin & Bros, London & Southall, repaired neck, small loss to top rim, 23.5cm. high £300-500
22. A Martin Brothers stoneware vase, dated 1898, slender baluster form, incised and painted with finches flying after a butterfly, in shades of brown and green on a buff ground, incised 8-1898, Martin Bros London & Southall, firing crack to shoulder and also one to base, 25cm. high £500-800
23. A Martin Brothers stoneware miniature ewer, square section with looped handle, incised and painted with birds flying above bull rushes, above a river, in shades of brown and blue on a buff ground, incised Martin London 11.5cm. high £350-450
24. A Martin Brothers stoneware vase by Robert Wallace Martin, incised with mythical dragon creatures issuing from scrolling foliage, glazed in brown and white on a buff ground, incised 3-1889, R Martin & Bros London & Southall, 22cm. high £2,000-3,000 Provenance Woolley and Wallis
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25. A Martin Brothers stoneware vase and cover, shouldered ovoid form, incised and painted with scrolling foliage, in shades of brown incised R W Martin & Bros London & Southall, 13.5cm. high £500-1,000
26. A Martin Brothers stoneware jar and cover by Robert Wallace Martin, dated 1879, incised with geometric decoration in shades of blue, green and ochre on a buff ground incised 26 S 11 79 R W Martin London & Southall, collection paper labels, fine hairline to top rim, 20cm. high £500-1,000
Literature Malcolm Haslam The Martin Brothers Potters Richard Dennis Publications, page 44 figure 44 this piece illustrated. Provenance Martin Brothers Pottery Exhibition, Richard Dennis, 1978 catalogue number 73. The Harrimann Judd collection,
27. A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1891, ovoid with everted rim, incised with dragonflies and insects flying amidst wild flowers, in shades of green, blue and white on a buff ground, painted St Andrews Hall Norwich 10-1897 Martin Bros London & Southall, 16.5cm. high £1,500-2,000
The inscription suggests this vase was made, or decorated, by the brothers on a demonstration visit to Norwich in 1891. St Andrews Hall held an exhibition of industry in 1891, organised by Sir Samuel Hoare which the brothers participated. In 1891 Robert Wallace also modelled Will Childerhouse - The Norwich Bellman - who announced the Industrial exhibition.
28. A Martin Brothers stoneware vase, shouldered form, incised and painted with ducks and waterfowl, in shades of brown and white on a buff ground incised 1-1900 Martin Bros, London & Southall, repaired section out 13cm. high £350-450
29. A Martin Brothers stoneware vase, dated 1892, tapering square section with everted rim and four looped handles, impressed and incised flowers and foliage in shades of blue and green on a textured buff ground incised 7-1892 Martin Bros London & Southall, 21cm. high £400-600
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30. An early Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1884, modelled slightly hunched with head nestling in the wing tips, with downcast eyes and long beak, large webbed claw feet, glazed in shades of green, brown and blue, on ebonised wood base, signed to the back of the wing R W Martin London 1884, the head signed to the rim R W Martin & Bros London & Southall 4-1884, and unusual painted Martin London mark, applied paper Martin ware labels to base, small chip to glaze, minor frits 34cm. high ÂŁ20,000-30,000 Provenance The Property of a Nobleman.
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34 32 33 31. A Martin Brothers stoneware vase by Robert Wallace Martin, incised with foliate design, glazed in shades of green, incised R W Martin & Bros Southall, small chips to base rim 19.5cm. high £100-150
32. A Martin Brothers stoneware jug by Edwin & Walter Martin, ovoid, incised with birds amidst ivy leaf decoration in shades of brown on a buff ground, incised Martin Bros London & Southall, 8cm. high £200-300 33. A small stoneware glaze test vase, probably by the Martin Brothers, tapering cylindrical from, painted with blue and white spots on a buff ground incised Old B1/2 8cm. high £50-100 34. A rare Martin Brothers stoneware pendant by Robert Wallace Martin, dated 1876, applied with a simple flower head, in shades of blue and green on a buff ground, incised R W Martin London 76, 5.5cm. long £150-200 35. A Martin Brothers stoneware Aquatic jug, dated 1887, shouldered form, incised with an owl faced fish swimming above a smaller fish and waterweed, in shades of green, brown and blue highlighted in white, incised 3.10.87 Martin London 23.5cm. high £700-1,000
35 both sides
36. A Martin Brothers stoneware Aquatic gourd vase by Edwin and Walter Martin, dated 1914, shouldered form, incised with fish, snails and an eel glazed green and brown on a green ground incised 2-1914 Martin Bros London & Southall, Kiln Kiss to side of vase 8.5cm. high £300-500 Provenance Decorative Arts Phillips London, 1995
37. A Martin Brothers stoneware Aquatic vase, ovoid form, incised and painted with fish swimming amongst waterweed, in green, blue and ochre indistinct incised marks to base, firing crack and faults 10.5cm. high £600-900
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38. A fine large Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1900, shouldered form, applied with four eels biting the rim, forming handles, the body incised with jelly fish, glazed brown on a buff ground incised 11 - 1900 Martin Bros London & Southall, small glaze chip to one eel tail professionally restored top rim, 28cm. high ÂŁ4,000-6,000
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39. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1902 shouldered, square section form, glazed brown with white spots incised 1-1902 Martin Bros London & Southall, 7.5cm. high £500-800 Provenance Richard Dennis A Potted History, Bonhams 12th March 2008 lot 54
40. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, shouldered, swollen form painted olive green with white spots and blue highlights, incised 3-1907 Martin Bros London & Southall 8cm. high £500-800 Provenance Richard Dennis A Potted History, Bonhams 12th March 2008 lot 54. 41. A Martin Brothers miniature gourd vase by Edwin & Walter Martin, dated 1907, dimpled, veined gourd form glazed green and buff incised 1907 Martin Bros London & Southall 4.5cm. high £400-600
42. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, ovoid form incised and modelled with vertical ribs to the shoulder, glaze green and brown on a buff ground incised 6-1907 Martin Bros London & Southall, 5.5cm. high £500-1,000 Provenance Richard Dennis A Potted History, Bonhams 12th March 2008 lot 56. 43. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1899, veined ovoid form, painted in shades of brown with fine horizontal veins incised 199 Martin Bros London, restored neck, paper collection number, 7.5cm. high £300-500
Provenance Richard Dennis A Potted History, Bonhams 12th March 2008 lot 56. 44. A Martin Brothers stoneware gourd jardiniere, dated 1912, ribbed, collar form, covered in a mottled brown glaze incised 11 -1912 Martin Bros London & Southall, hairline to side 9.5cm. high £300-500 45. A Martin Brothers stoneware gourd vase, swollen square section, cast in low relief with spots, covered in a blue glaze incised R W Martin & Bros Southall, repaired chip to top rim, 24.5cm. high £200-400 46. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1905, shouldered form incised with vertical grooves on a textured bronze ground, incised 11-1905 Martin Bros London & Southall 19cm. high £300-500
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47. A good Martin Brothers stoneware gourd vase by Edwin & Walter Martin, slender ribbed form with everted rim, glazed blue and green on a buff ground incised 7-99 Martin Bros London & Southall, 14cm. high £1,000-1,500 Provenance Arts and Crafts Woolley and Wallis, 19th June 2013 lot 160.
48. A large Martin Brothers stoneware gourd vase by Edwin & Walter Martin, shouldered form, painted black spots on a pale grey ground, unsigned, firing fault to the side, 28cm. high £400-600
49. A large Martin Brothers stoneware gourd vase, probably by Colonel Butterfield, shouldered , ribbed form with finely incised marks, covered in grey/green glaze incised Martin Bros London & Southall, 1910, 43cm. high £1,000-1,500
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50. A Martin Brothers cover modelled with a large frog finial, dated 1896, modelled seated on a rock, glazed dark brown and black, incised 10-1896 Martin Bros London & Southall, smashed and re-stuck, losses to rim 11.5cm. diam. ÂŁ100-200
50 51. A Martin Brothers stoneware face jug by Robert Wallace Martin, modelled with a smiling face to both sides, glazed brown, highlighted in black and white, with receipt from the Martin Brothers dated 1914 to Mrs Lister, incised R W Martin & Bros London & Southall 2.3.1911, 14cm. high (2) ÂŁ1,500-2,500 Provenance Richard Dennis A Potted History, Bonhams 12th March 2008 lot 40.
51 both sides
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52 both sides
52. A Martin Brothers stoneware fish spoonwarmer by Robert Wallace Martin, dated 1883, modelled with tail scrolled back to form a handle, its mouth gaping wide open, glazed brown and ochre highlighted in blue incised 7-83 Martin Bros London & Southall, hairline to mouth and old restored chip to lip 14.5cm. wide ÂŁ1,000-1,500
53. A rare Martin Brothers stoneware inkwell modelled as tortoise by Robert Wallace Martin, modelled with head out and mouth gaping to form the well, glazed grey and brown with traces of aubergine, incised R W Martin & Bros, Southall B-37 13cm. wide ÂŁ4,500-5,500 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 62 colour plate IX for an identical inkwell.
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54. ‘Mr Pickwick Snoring Comfortably’ a rare Martin Brothers stoneware model of Pickwick by Robert Wallace Martin, dated 1914, modelled sleeping in a wheelbarrow, glazed ochre and brown incised R W Martin & Bros Southall, 11-1914 titled Pickwick 7cm. wide £2,500-3,000 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 136 figure 213 for an identical model entitled Mr Pickwick Snoring Comfortably dated 1906.
55. A large Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1897, modelled to both sides with a smiling face, glazed in shades of brown the eyes picked out in white incised 4-1897 R W Martin & Bros London & Southall, fine firing crack to base of handle, 24cm. high £1,000-1,500
55 both sides
56 both sides
56. A Martin Brothers stoneware face jug, incised with a smirking face, the reverse with a smiling face, glazed brown highlighted in white, incised 1908 R W Martin & Bros London & Southall, firing crack 15.5cm. high £1,000-1,500
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57. A rare Martin Brothers plaque by Robert Wallace Martin, dated 1882, modelled in relief with Edwin Martin throwing, a bench boy and a wheel boy, incised with inscription The Southall Art Pottery Southall Middlesex Showroom Brownlow St Holborn London, and Engraved Cassells Magazine of Art, September 1882, glazed in brown and white on a buff ground, incised Sculptor R Wallace Martin Southall 1882, the reverse incised Martin Brothers 1883, Richard Dennis label, professional restoration, 42.5 x 18cm. ÂŁ6,000-10,000 Literature The Magazine of Art, September 1882 Malcolm Haslam, page 79, fig. 98, The Martin Brothers Potters, Richard Dennis Publications, page for a comparable example. Provenance Martin Brothers Pottery Exhibition, 1978, Richard Dennis, catalogue number 112. Applied Arts, Sothebyâ€™s 1988 lot 242.
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58. A large Martin Brothers stoneware face jug by Robert Wallace Martin, modelled to both sides with a smiling face, glazed matt brown, the eyes highlighted in white, incised 7-1898 R W Martin & Bros London & Southall, 22cm. high ÂŁ3,000-5,000
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TILES 59. A Pre-Raphaelite tile plaque, rectangular cast in low relief with a classical figure reading from a book, before flower stems, glazed in colours on a turquoise ground, with ebonised wood frame chips to edges, 35 x 17.5cm. £200-300
60. A pair of large architectural tiles probably Maw & Co, each modelled as bare breasted classical maiden with swag of fruit before flowers and foliage, in colours on a green ground chips, 55 x 31cm. £200-400
61. A Persian tile possibly Minton, square, modelled in low relief to the rim, painted with a central star design with animals and scrolling foliage, in shades of ruby lustre, blue, yellow and turquoise, in wooden frame, unmarked, minor chips to corners, 20cm. square £100-200
62. A Dutch Sunflower tin glaze tile designed by William Morris or William De Morgan, painted in shades of blue on an off white ground, and two Maw & Co tiles moulded in relief with radiating oak leaf and acorn design, and a slate panel, impressed marks to Maw tiles, glaze chips, 15.5cm. square (4) £100-200 Provenance Private collection Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 105 figure 165 for comparable tiles illustrated.
64 63. A Morris & Co Elsley twelve tile panel, tin-glazed tiles in shades of blue and green on a cream ground, framed, each tile 13cm. square £300-500
64. An Elsley Tulip four tile panel, tin-glaze in shades of yellow and aubergine on a white ground, framed paper labels to reverse 13cm. square, panel 27.5cm. square £150-200 Provenance Peter Creffield Collection Private collection
65. A set of twelve Minton’s Watteau series tiles, each tile printed in blue on a white ground impressed marks, minor rim chips, 15.5cm. square (12) £100-200
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66 66. A seven tile panel probably by Minton’s, painted in shades of blue with medieval villagers chasing a fox that has caught a duck, framed 111 x 20cm. £500-800
67. A set of eight large W.B Simpson tiles, painted with birds amongst berried foliage, in colours on a white ground, impressed marks, minor rim chips, 23.5cm. square (8) £2,000-2,500
68. A pair of Minton’s Hollins & Co three tile panels the design attributed to E.W. Godwin, each painted with a pre-raphaelite maiden, one in a walled flower garden picking a lily, the other in a walled orchard picking fruit, in colours, framed, impressed factory marks, 46.5 x 16cm. (2) £2,000-3,000
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69. A Secessionist tile panel probably by Minton’s, ten tiles, tubeline decorated with a tall tree in a landscape, in colours, with modern ebonised wood frame, and another similar, largest 76.5 x 23.5cm. (2) £300-500
70. A Secessionist tile panel probably Minton’s, six tiles tubeline decorated with a sunrise over a cottage, in colours, in modern ebonised wood frame 46 x 25cm. £200-400
71. A rare Yeoman’s Pottery Vorticist painted pottery roundel attributed to Cuthbert Hamilton, painted with a nude geometric figure in black on a pink ground, in modern ebonised wood frame 13.5cm. diam. £2,000-2,500
The Victoria & Albert Museum have a comparable stoneware plate by Cuthbert Hamilton probably made for the Rebel Arts Centre circa 1915 in their collection (C.120-1984).
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WILLIAM DE MORGAN 72. A William De Morgan Sand’s End Pottery six tile panel, painted with classical floral cornucopia flanked by classical creatures, in colours on an aubergine and turquoise ground, framed impressed marks, tiles 20cm square, panel 70 x 49.5cm. £1,500-2000 Provenance Private collection
73. Two William De Morgan Galleon lustre tiles, part of a three tile panel, in ruby and copper lustre on a cream ground impressed Craven Dunnill blanks, 15.5c. square £300-500
74. A William De Morgan Sand’s End Pottery Galleon tile, painted in full sail with a dolphin in the foreground, in shades of green on a white ground impressed rose mark, minor chips, 15.5cm. square £1,000-1,500
75. A rare William De Morgan Sand’s End Pottery tile, painted with a serpent in black on a blue ground impressed factory mark, tiny glaze chips, 15.5cm. square £800-1,200
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76. A William De Morgan tile, decorated in ruby lustre with a sunflower design, on white ground unsigned, chipped down one side 15.5cm. square £100-150 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 133 plate 797 for the tile design. 77. A William De Morgan tile, painted with a leaping scaly fish, in ruby lustre on a white ground 15.5cm. square £800-1,200 78. Two William De Morgan Rose and Trellis tiles, each painted in shades of blue, green and turquoise, in a common wooden frame impressed seal marks, 15.5cm. square £300-500 79. Five William De Morgan Membland Hall Poole Architectural tiles, painted with flowers and foliage in shades of blue, green and brown impressed marks, minor frits, 15.5cm square (5) £200-300 80. A William De Morgan Fulham triple lustre rice plate, painted to the well with four leaping fish in ruby lustre, the rim five sailing ships at sea in golden lustre on a midnight blue ground painted W.D.M Fulham, repaired rim 23.5cm. high £1,500-2,000 Literature William Gaunt & M D E Clayton Stamm-William De Morgan Studio Vista, page 112 plate 98 this plate illustrated. 81. Three William De Morgan BBB tiles, mounted in a wooden tray, painted in shades of green, blue and aubergine on a white ground, the oak tray with brass handles, minor chips, to edges of tiles, 54cm. wide. £300-500 82. A Burmantoft’s Faience Anglo-Persian bottle vase designed by Leonard King, model D.180, ovoid body with tall, tapering neck, painted with Persian flowers and foliage in shades of blue, turquoise, aubergine and green on a white ground impressed and painted marks, professionally restored to neck 34cm. high £1,000-1,500
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83. A William De Morgan pottery charger, painted to the well with a peacock displaying amidst stylised foliage, in ruby and copper lustre unsigned, museum restored, 36cm. diam. £500-800
84. A William De Morgan plate, painted with a peacock in ruby and sand lustre on a cream ground, the reverse with radiating scrolling feather motif, unsigned, crack to rim, 31cm. diam. £400-600 Literature Martin Greenwood The Designs of William De Morgan, Dennis & Wiltshire, page 215 plates 93 and 94 for comparable peacock chargers.
85. A William De Morgan charger, painted to the well with two mythical creatures, the rim with a frieze of scrolling flowers and foliage in ruby on a white ground, the reverse with scrolling foliage design, unsigned, repaired damages, 44cm. diam. £500-1,000
86. A Maw & Co pottery ruby lustre charger, painted to the well with a bird flying before scrolling foliage, the rim with a band of scrolling foliage and flowers, glazed ruby lustre on white painted Maw & Co with camel mark, modelled mask wall mounts to reverse,restored 47cm. diam. £150-200
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CERAMICS 87. A J & M Bell pottery bowl, flaring conical form, printed with rabbits in the manner of William De Morgan, in blue and green on a cream ground, impressed bell mark, 21cm. diam. £100-200
88 88. A Minton’s plate, painted with an owl perched on a tree bough, entitled Night, painted in colours on a white ground, a stoneware vase and a dish by William Lee, impressed and painted marks, 21cm. diam. (3) £100-150
89. A Minton’s Pottery vase designed by A W N Pugin, footed form, printed in gilt with simple bands of stylised foliage unmarked 16.5cm. high £100-150
90. A Brown Westhead and Moore bowl designed by Bruce Talbert, printed in blue with birds flying amidst lilac sprays and stylised round flowerheads impressed and printed marks, 26cm. diam. £100-150
91. An impressive large Minton’s wall charger, dated 1889, painted with an eagle swooping down on another eagle who drops its catch of a large salmon in surprise, in colours on a blue ground impressed marks, date code S for 1889, painted artist monogram 49cm. diam. £1,000-1,500
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92. A Royal Doulton stoneware vase by Francis Pope, slender, swollen baluster form, painted with scrolling foliage in shades of green and black impressed mark, incised monogram 35cm. high £300-500 Provenance Arts and Crafts, Woolley and Wallis 23rd June 2010 lot 247. Pivate collection. 93. Boy on a Goat a Charles Vyse pottery figure, dated 1923, painted in colours, with ebonised wood stand, painted CV monogram and date, head restored 27cm. high £500-1,000
94. A Doulton Lambeth stoneware vase by Hannah Barlow, incised with a frieze of horses, between bands of slip decorated flowers and foliage, in shades of green, brown, blue and white, on a buff ground, impressed mark, incised monogram, professionally restored neck 27.5cm. high £100-200 95. A good Doulton Lambeth stoneware vase by Hannah Barlow, shouldered form, incised with a frieze of hounds chasing a wild boar amongst grasses, the shoulder incised with puppies and kittens playing amidst stiff leaf border, glazed in shades of black, green and blue on a buff ground, another Doulton Lambeth vase by Hannah Barlow incised with galloping horses and a Doulton vase decorated with seaweed scroll impressed mark, incised monogram, damages 25cm. high (3) £150-200 96. ‘The Waning of the Honeymoon’ a rare Doulton Lambeth vase designed by George Tinworth, modelled as a hare bride and groom seated, their backs to each other, either side of a large Doulton vase, glazed in shades of green, blue and brown impressed mark, incised ES monogram, two small glaze chips to the top rim, 17cm. high £1,000-1,500
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97. A C H Brannam pottery model of a cat, modelled seated with head slightly tilted, glazed green, yellow and brown, incised C H Brannam Barum, professional restoration to one ear 28cm. high £150-200 98. A C H Brannam pottery Griffin chamberstick, modelled with tail looped to form both handle and sconce, glazed blue, white and brown incised C H Brannam SW monogram, professional restoration to sconce rim 16cm. high £150-200
99. A C H Brannam grotesque chamberstick, modelled as a grotesque fish, its tail curled back to form the handle, glazed in shades of blue and brown incised C H Brannam Barum 1899 20cm. wide £180-220 100. Three Farnham Pottery owl jugs probably retailed by Liberty & Co, graduated sizes, glazed in brown and green, a bowl similar and two other items unsigned, chips, tallest owl jug 13cm. high (6) £150-250
101. An unusual C H Brannam pottery grotesque teapot and cover, dated 1891, modelled as a dragon, the spout its upturned head, the handle its hind legs and scrolling tail, glazed in shades of blue, lemon and brown C H Brannam Barum 1891, professionally restored 21cm. high £200-300 102. A gilt-metal mounted Bretby Pottery vase, ovoid with cylindrical neck mounted with gilt metal twin-handles and shoulder panels, covered in a streaked green and brown glaze 23cm. high £80-120 103. A Linthorpe Pottery vase designed by Dr Christopher Dresser, ovoid with twinhandles, cast in low relief with geometric flower design, covered in a streaked brown glaze indistinct marks, chip to top rim, 21.5cm. high £100-200
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104. A rare Linthorpe Pottery vase designed by Dr Christopher Dresser, ovoid with cylindrical foot, covered in a running green and brown glaze apparently unsigned 17cm. high £100-200
105. An interesting pair of Minton’s Art Pottery Studio moonflasks with covers the design attributed to Dr Christopher Dresser, painted with scrolling foliage, in shades of blue, turquoise, black and brown on a white ground, impressed marks, painted Studio mark, covers repaired 31cm. high £1,500-2,000 106. A rare Linthorpe Pottery Peruvian ewer designed by Dr Christopher Dresser, model no.290, cylindrical with over-slung handle with two spouts, modelled in low relief with a face, glazed in shades of turquoise, pink and olive on an ochre ground, impressed mark and facsimile signature, small chip to one spout 16cm. high £1,000-1,500 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 165 plate 265 for a comparable ewer.
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ELLEN MARY ROPE & DELLA ROBBIA POTTERY 107. A watercolour on paper design, depicting a child offering up spring flowers to a crow perched on a tree trunk, a lizard, lamb and finches watch on, framed, unsigned, annotated in pencil E.M.Rope West Wing to reverse, image 51cm. diam. £300-400 108. A large painted plaster plaque in the manner of the Compton Potter’s Art Guild, decorated in low relief with the Adoration of the Magi, in colours, highlighted in gilt, unsigned, chips 82 x 68cm. £500-800 109. A plaster panel by Sophia Rosamond Praeger, cast in low relief with a mother and child, framed in oak signed in the cast lower right 37 x 31cm (panel) £100-200
Literature Paul Larmour The Arts and Crafts Movement in Ireland FBP page 111 and 112 for comparable plaster panels. Sophie Praeger (1867-1954) studied at The School of Art, Belfast and the Slade School, London. Known as an illustrator she exhibited sculpture, including The Philosopher, at the Royal Academy.
110. A Compton Potter’s Art Guild Archangel Michael plaque, rectangular, highlighted in gilt, applied paper label,, chips 19.5 x 12cm. £100-200 111. A Della Robbia Pottery vase and cover by Ruth Bare, dated 1898, cylindrical form, incised with simple heart motif in pink on a green and brown ground of circles, incised DR mark, RB monogram and date, hairline to vase, cover repaired damages 17.5cm. high £200-300 112. A Della Robbia Pottery bowl by Violet Woodhouse, incised and painted with flowers and foliage, in shades of green, brown and yellow, incised and painted marks, 26cm. diam. £150-250
113. A large Della Robbia Pottery jug, dated 1895, swollen form with applied strap handle, painted with a lion rampant in green inside a laurel border, with blue scrolling foliage and yellow berries, on a cream ground painted DR mark dated 1895 30cm. high £500-600
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114. A Dellla Robbia Pottery Large Algerian vase by Tom Hall, ovoid with knopped neck and applied scroll handles, painted with Art Nouveau scrolling rose design, shades of pink, yellow and green on a turquoise ground incised mark, painted green monogram, professional restoration to handle and top rim, 40cm. high £500-700 Literature Peter Hyland The Della Robbia Pottery ACC Press, page 129 figure 140 for a comparable vase.
115. ‘Here We Go Round the Mulberry Bush’ a rare Della Robbia plaque designed by Ellen Mary Rope, modelled in low relief, painted in shades of blue, green and brown, signed EMRope, painted marks to the reverse, repaired damages, 55 x 31cm. £800-1,200
116. A pair of Della Robbia plaques by Ellen Mary Rope, each rectangular, cast in relief with an angel praying, glazed green, yellow and turquoise, framed, impressed Della Robbia mark 40 x 31cm. £500-1,000 Literature Peter Hyland The Della Robbia Pottery ACC Press, page 209 figure 224 for a comparable example listed in the 1896 Dell Robbia catalogue.
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117. Ellen Mary Rope (1855-1934) Visit of the Magi white painted plaster panel, framed unsigned, repaired 30 x 22cm
Provenance Ellen Mary Rope - The Poet Sculptor H Blairman & Sons 1997, no.29. This panel design was exhibited at the Art Club in 1902 (no.418).
118. Ellen Mary Rope (1855-1934) Christ Teaching painted plaster panel, framed unsigned 38 x 31cm.
Provenance Ellen Mary Rope - The Poet Sculptor H Blairman & Sons 1997, no.49.
119. Ellen Mary Rope (1855-1934) Unto Babes a painted plaster panel, framed unsigned 80 x 43cm
Literature Ellen Mary Rope - The Poet Sculptor H Blairman & Sons 1997, no.46 for another example of this panel. The Studio LVIII (1913) page 27
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RUSKIN POTTERY 120. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1924, ovoid with waisted neck, covered in with a silver-grey glaze under flambe impressed marks and date 28cm. high £600-1,000 Provenance British Art Pottery Woolley and Wallis 1st December 2010 lot 114 Private collection.
121. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1922, ovoid with cylindrical neck and everted rim, covered in a fissured flambe glaze over white impressed marks, 21.5cm. high £850-950
122. A tall Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1925, shouldered form with flaring neck, covered in a flambe glaze under lavender with mint green splashes impressed Ruskin England 1925 with painted A 30.5cm. high £1,500-2,000
123. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1906, mei ping form, covered in a streaked green glaze impressed roundel and date marks 17.5cm. high £300-500
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THE SUNFLOWER POTTERY BY SIR EDMUND ELTON 124. An Early Sunflower Pottery jardiniere by Sir Edmund Elton, ovoid form with inverted pinched rim, slip decorated and applied with prunus flower sprays in cream and green on a streaked red and blue ground painted Elton 1881? date, minor glaze chips, firing crack to top rim 19.5cm. high £300-500 Provenance Private collection.
125. A Sunflower Pottery vase by Sir Edmund Elton, shouldered form with everted rim, covered in a crackled golden glaze over lime green painted Elton to base 21cm. high £450-500
126. A Sunflower Pottery jug by Sir Edmund Elton, compressed ovoid form with twin handles and spouts, covered in a crackled golden glaze over lime green painted Elton mark, 15cm. wide £250-350
127. A Sunflower Pottery jug by Sir Edmund Elton, ovoid form, covered in a crackled glaze over lime green painted Elton mark, 13cm. high £250-350
128. A Sunflower Pottery solifleur vase by Sir Edmund Elton, ovoid with flaring neck and foot, lime green covered in a crackled golden glaze, painted Elton to base 17cm. high £300-350
129. A rare Sunflower Pottery threehandled vase by Sir Edmund Elton, covered in a fine crackled golden glaze painted Elton to base under stilt marks, 18.5cm. high £500-600
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130. A large Sunflower Pottery vase by Sir Edmund Elton, shouldered form with collar rim, covered in a crackled gold glaze over lime green painted Elton mark to base 30cm. high £500-600
131. A Sunflower Pottery vase and cover by Sir Edmund Elton, shouldered form with everted crenellated rim and domed cover, covered in a crackled gold glaze over blue painted Elton mark 26cm. high £500-800
132. A Sunflower Pottery vase by Sir Edmund Elton, shouldered, slender ovoid form, lime green covered in a crackled golden glaze painted Elton to base 24cm. high £500-600
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134 135 133. A Minton’s Secessionist vase by Leon Solon and John Wadsworth, tapering cylindrical form with scroll handles, printed and painted with stylised flowers, in colours printed and painted marks, 31cm. high £150-200
134. A Minton’s Secessionist vase by Leon Solon and John Wadsworth, twinhandled, footed cylindrical form, tubeline decorated with a peacock before foliage in shades of blue and green impressed marks, restored 29cm. high £100-200 135. A Minton’s Secessionist side plate designed by Leon Solon and John Wadsworth, tubeline decorated with a stylised flower in colours and gilt on a white ground impressed and painted mark, small glaze nick, 18cm. diam. £100-200
Literature Joan Jones Minton - The First Two Hundred Years of Design and Production, page 240 for a comparable plate 136. A Minton’s Secessionist jug and basin designed by Leon Solon and John Wadsworth, tubeline decorated with Art Nouveau water-lily flowers in blue and green printed factory marks, chip and star crack to base of basin, jug 37cm. high £250-350 137. A Minton’s Secessionist jardiniere and stand designed by Leon Solon and John Wadsworth, cylindrical form, cast in low relief with swags and floral medallions, in shades of blue on a purple ground unsigned, stamped 5669, 100cm. high £400-600
138. A Minton’s Secessionist vase designed by Leon Solon and John Wadsworth, shouldered form, slip decorated with pendulous Art Nouveau flower stems in salmon pink and red on a green ground, impressed number to base 47cm. high £150-200
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A PRIVATE COLLECTION OF PILKINGTON’S LANCASTRIAN POTTERY
139. A Pilkington’s Lancastrian vase by William S Mycock, dated 1912, swollen mei-ping form, painted with exotic birds swooping down on grape vine, a dog watching on and bearing his teeth, in ruby and golden lustre on a graduated yellow to green ground impressed mark, painted cipher and date mark, re-stuck chip to base rim, 24cm. high £200-400
140. A Pilkington’s Lancastrian vase by William S Mycock, dated 1920, ovoid with collar neck, painted with floral panels, in shades of ruby and golden lustre on a cream ground impressed mark, painted monogram and date 18.5cm. high £800-1,200
141. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1907, shouldered twin-handled form, painted with the Lion of St Mark, the reverse with the Eagle of St John, in gold and ruby lustre on a cream ground impressed mark and date mark, painted artist cipher, small chip to base rim 21cm. high £700-1,000
142. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1923, shouldered, cylindrical form, painted with a heraldic lion rampant in a shield flanked by foliate sprays and carnations, the reverse an elaborate crown, in golden and ruby lustre on a fiery orange ground impressed mark, painted artist cipher and date 22cm. high £700-1,000
141 both sides
142 both sides
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143. A Pilkington’s Lancastrian solifleur vase, dated 1913, covered in a matt blue glaze, another vase and four bowls impressed marks, damages 18cm. high (6) £100-200 144. A Pilkington’s Lancastrian miniature bowl, fluted form, covered in a golden glaze, two miniature vases and a solifleur vase covered in a curdled glaze impressed marks, chip to one vase bowl 5cm. wide (4) £100-200
145. A pair of Pilkington’s Royal Lancastrian vases, shape no.2786, tapering cylindrical form, covered in a streaked and curdled blue glaze, another covered in a green glaze and another Pilkington’s vase impressed marks, damages and repaired chips, 27.5cm. high (4) £100-200
146. An unusual Pilkington’s Lancastrian triple vase, covered in a ruby lustre glaze, a small circular box by Gladys Rogers, and two other ruby lustre items main vase unmarked, various other marks, 6.5cm. high (4) £100-200 147. A large Pilkington’s Royal Lancastrian jardiniere, shouldered octagonal form with cast Celtic knot panels, covered in a matt blue glaze, two experimental glazed vases and two dishes impressed marks, chip to corner of lozenge shaped dish, jardiniere 25cm. high (5) £100-200
148. A Pilkington’s Lancastrian model of a frog designed by Richard Joyce, covered in a mottled orange glaze, a circular large button and two smaller buttons unsigned, small chip to foot 4.5cm. wide (4) £150-250
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149. A Pilkington’s Royal Lancastrian vase by Richard Joyce, shouldered form, painted with panels of stylised flowers and foliage, in shades of ruby and orange lustre on a blue ground impressed mark, painted artist cipher, repaired chip to top rim, hairlines 25.5cm. high £100-200
150. A Pilkington’s Lancastrian vase by Gladys Rogers, shouldered form, painted with a frieze of bell flowers in ruby and copper lustre on a pale yellow ground impressed mark, painted cipher 13.5cm. high £300-500
149 151. A tall Pilkington’s Lancastrian vase by Gordon M Forsyth, dated 1912, meiping form painted with hounds hunting hare’s amongst stylised foliage, in golden lustre on a blue ground impressed mark, painted artist cipher and date mark, body crack, 29cm. high £700-1,000
152. A rare Pilkington’s Lancastrian charger designed by Walter Crane, painted by Charles Cundall, dated 1906, shape 2476, painted with a peacock, in shades of blue and green, highlighted in ruby impressed mark and date mark, painted artists ciphers 30cm. diam. £2,000-4,000
Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications page 13 plate VIII for the larger version illustrated. Provenance A private collection of Pilkington’s Lancastrian
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153. An early Pilkington’s Lancastrian tray, rounded rectangular form cast in low relief with a classical figure, covered in a fiery crystalline glaze, impressed P mark, 28cm. wide £100-200 154. A pair of Pilkington’s Lancastrian vases, dated 1913, slender mei-ping form, covered in a fiery crystalline glaze impressed marks, to base, small chip to base of one vase 20.5cm. high £100-200
155. A Pilkington’s Lancastrian box and cover by Annie Burton, circular, painted with radiating flower stems in ruby and gold on a pale green ground impressed mark and date, painted artist cipher 10.5cm. diam. £100-200 156. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1909, ovoid, painted with panels of foliage in golden lustre on a yellow ground impressed mark, painted cipher and date mark, 12cm. high £300-500
157. An unusual Pilkington’s Lancastrian model of a rat resting on an apple designed by Richard Joyce, covered in a golden iridescent glaze, apparently unsigned 15cm. wide £300-500 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications page 55 plate 74 for another version illustrated.
156 158. A Pilkington’s Lancastrian charger by William S Mycock, dated 1909, painted to the well with a lion rampant, the rim with flowering Turk’s cap lilies in ruby and golden lustre on a yellow ground impressed mark, painted monogram and date mark, wear to well, 31.5cm. diam. £400-600
159. A Pilkington’s Lancastrian bowl by Gladys Rogers, painted to the interior with a central flowerhead and radiating tulip stems, in shades of ruby and copper lustre on a pale cream ground impressed mark, painted artist cipher 10.5cm. diam.£100-200
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160. A pair of Pilkington’s Royal Lancastrian wall plaques, the design attributed to William S Mycock, circular, modelled in low relief, one with a galleon at full sail, the other with a seagull flying low over a scaly fish swimming amongst waves impressed marks, 27cm. diam. £200-300 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 42 for two comparable original designs by Mycock for Galleon bowls.
161. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1933, compressed form, cast in low relief with fish, glazed light grey impressed marks, date code, 15cm. high £180-220
162. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1914, painted with scaly fish amongst waterweed, in shades of gold on a graduated green ground impressed marks, painted date code and artist cipher 12.5cm. high £300-500
163. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1914, solifleur form, painted with heraldic shields in ruby and gold lustre on a yellow ground impressed and painted marks, professional restoration to the top rim, 29.5cm. high £600-800
163 164. A Bernard Moore vase, ovoid with solifleur aperture, enamelled with a shoal of scaly fish in turquoise, highlighted in gilt on a smoked red flambe ground signed Bernard Moore to base 11cm. high £300-400
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MOORCROFT POTTERY 165. A James Macintyre & Co cup and saucer designed by William Moorcroft, tubeline painted with a frieze of flowers in blue, highlighted in gilt on a salmon pink ground printed factory mark, painted green signature 7.5cm. high £300-500
166. A Moorcroft Pottery Flamminian Ware jardiniere designed by William Moorcroft, painted with a simple heartshaped flower roundel highlighted in blue on a red ground incised signature and printed Liberty mark, 23cm. high £300-500
Provenance Arts and Crafts, Woolley and Wallis 23rd June 2010 lot 327. Private collection.
167. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, painted in colours on a mottled blue ground impressed marks, painted green signature 21cm. high £300-400
168 168. ‘Pomegranate’ a Moorcroft Pottery twin-handled coupe designed by William Moorcroft, painted in colours on a mottled green and blue ground impressed marks, painted green signature 11cm. high £800-1,200
169. ‘Frilled Orchid and Springflowers’ a Moorcroft Pottery vase, painted in colours on a yellow ground, impressed marks, painted green signature 26cm. high £300-500
170. ‘Frilled Orchid and Springflowers’ a Moorcroft Pottery vase, painted in colours on a green ground, impressed marks, painted green signature 24.5cm. high £400-600
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171. ‘Poppies’ a James Macintyre & Co twin-handled bowl designed by William Moorcroft, painted with floral cartouche in shades of blue, pink and green on a white ground, printed factory mark, painted green signature 23cm. wide. £700-800
172. ‘Poppies’ a James Macintyre & Co twin-handled coupe designed by William Moorcroft, painted with floral cartouche in shades of green, blue and yellow on a white ground, printed factory mark, painted green signature 8.5cm. high £500-600
173. ‘Cornflower’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, ovoid form with flaring, square section neck, painted in shade of blue and green on a white ground, printed factory mark, painted green signature, professional restoration to top rim, 11cm. high £400-500
174. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft made for Liberty & Co, swollen form with waisted cylindrical neck, painted in shades of blue and red on a streaked green ground, printed mark, painted green signature, minor professional restoration to top rim, 10cm. high £800-1,200
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175. David Leach (1911-2005) a tall Lowerdown Pottery vase, shouldered form with everted rim, painted with simple brush stroke design in tenmoku, and a large Doulton stoneware vase unsigned, repaired neck, firing crack, damages 47cm. high (2) £50-100
176. Edwin Beer Fishley (1832-1911) a Fremington Pottery ovoid vase with four loop handles, covered in a mottled brown running glaze incised E B Fishley Fremington N Devon 22cm. high £300-500 Provenance Arts and Crafts Woolley and Wallis 23rd June 2010 lot 219 Private collection.
175 177. Jim Malone (born 1946) an Ainstable Pottery cut sided stoneware bottle vase, with simple incised grass design, covered to the foot with an ash glaze impressed seal marks, 33cm. high £200-300 Provenance Woolley and Wallis 28th November 2012 lot 430 Private collection
178. Mike Dodd (born 1943) a shouldered ovoid vase with modelled ribs, incised with grass motif panels, covered to the base with an ash glaze impressed seal mark, 24cm. high £150-250
Provenance British Art Pottery, Woolley and Wallis 25th November 2009 lot 380 Private collection
179. Mike Dodd (born 1943) an ovoid stoneware vase with everted flaring collar rim, incised decoration under a tenmoku running glaze to the shoulder, impressed seal mark, 31cm. high £100-150 Provenance Clarice Cliff & Art Deco Woolley and Wallis, 9th March 2011 lot 1065 Private collection
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CONTINENTAL CERAMICS 180. A Continental Pottery vase probably Belgian Faience, shouldered form, incised with a frieze of fruiting a and flowering trees, glazed in colours on a blue ground, another six similar and a collection of vases, unmarked, damages 29cm. high (a lot) £100-200 181. A Rookwood Pottery vase, model no.486, ovoid with cylindrical neck, painted with foliage in green and yellow on brown ground, and two Rookwood Pottery ewers, repaired damages, restoration tallest 21cm. high (3) £150-250
182. A pottery jardiniere, the rim cast in relief with bearded mermen, with some white highlighting unsigned 24cm. high £100-200 183. A Goldscheider Pottery bust of a woman, modelled in headdress with downcast glaze, in shades of bronze and gilt, impressed marks, 46cm. high £300-500 184. A large Goldscheider Pottery bust of a female warrior by Prof. Ezio Ceccarelli, model no.2947, modelled wearing helmet with winged lion crest, glazed bronze, the socle with warrior figures, stamped marks to back, cast signature, 60cm. high £600-1,000
185. An Art Nouveau Goldscheider Pottery bust cast from a model by Montenave, model no.2842, modelled with sideways, downcast look, her hair band set with glass opals, glazed with gilt finish impressed marks, signed to the shoulder, restored neck, 36cm. high £200-400
186. An Art Nouveau terracotta bust of a woman, cast from a model by Bromont, modeled with flowers in her hair, painted white incised signature to socle, 56cm. high £200-300
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WORKS ON PAPER 187. A set of twelve calendar lithographs by Heinrich Loeffler and Josef Urban, each comprising full page image and calendar, in twelve modern frames signed with monogram 61 x 36cm (frames), (12) £350-450
188. Le Morte D’Arthur by Thomas Mallory illustrated by Aubrey Beardsley, published by J M Dent, green paper covers, in 12 volumes, 24.5 x 20cm. (12) £400-600
189. Examples of Gothic Architecture Volume 1 by Augustus Pugin, published by John Grant, 1895 £100-150
190. Delft Jug a book published by Cassell, Petter Galpin & Co, the cover in the manner of Dr Christopher Dresser 17 x 12cm. £50-100
191. ‘The Studio’ a long run of the magazine, from 1893 to the 1970s, bound, (a lot) £400-600
192. Eight volumes of The Studio magazine 1934-1939, bound in green (8) £100-150
193. The Studio a run of the magazine from volume 1, sixty bound volumes in green and loose (a lot) £400-600
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194 194. Gustav Tenggren (1896-1970) figures in a rowing boat conte crayon and white heightening on paper, framed signed Tenggren 46 x 16.5cm.
Tenggren was born in western Sweden the second youngest of seven children in November 1896. His first big commission was to illustrate Bland Tomtar in 1917 - illustrating it for eight years (10 volumes). In 1920 he left Sweden with his wife for America and arrived in New York in August. He survived the Great Depression of the thirties, including working as a farmer, before he received his major break when he was offered a position to work on Walt Disney’s Snow White and the Seven Dwarfs in Los Angeles. He contributed to several other Disney classic animations including Hiawatha and Fantasia and probably his most important work for Pinocchio before leaving the studio in 1939. Gustav Tenggren also produced illustrations for books and commercial adverts for magazines.
195. Charles Sykes (1875-1950) Two ladies resting Pen and sepia ink Signed 25 x 17cm £100-150 Provenance: Mollie Evans Exhibition, November 1993
196. Jessie M King (1875-1949) sixteen pencil designs on paper and vellum including The Christ Child, Rapunzel and At The House of Joy, unsigned 38 x 24cm. (The Christ Child) (16) £250-350 Provenance Jessie M King & E A Taylor, Illustrator and Designer Sotheby’s lot 225
196 197. Godfrey Blout To Melt the Cruel Clods & Save The Maiden from a Living Grave lithograph on paper, framed unsigned, worm holes 26cm. square £50-100
198. John Hall-Thorpe (1874-1947) Spring flowers in a vase, two wood block prints, framed signed in pencil, 16.5 x 15cm. (image), (2) £150-250
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199. A silk embroidered panel possibly Leek, Ireland, the rectangular panel embroidered with stylised flower stems in pink and green silk highlighted with gilt thread, framed 56 x 42cm. £100-150 200. A small Royal Irish School of Art embroidery panel, golden threads on green silk, framed paper label 35 x 22cm. £100-150 201. A Garden is a Lovesome Thing a Glasgow school silk embroidery by Hilda Ernestine Sparks, dated 1928, framed signed and dated in the design 47 x 23cm. £200-300 202. A pair of Wardle & Co Royal Burgundy block printed velveteen curtains designed by Thomas Wardle, 1882, printed with foliate design in green on a yellow/green ground , printed Registered Design to Selvedge 252 x 125cm. £800-1,200 Literature Brenda King Dye, Print, Stitch: Textiles by Thomas and Elizabeth Wardle, page 48-49 for this design illustrated
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203. A letter from William Morris to J H Chamberlain dated 23rd December 1878, sent from 26 Queen Square, Bloomsbury discussing Chamberlain’s request for William Morris to give a lecture £100-150
204. A Morris & Co African Marigold printed linen embroidery outline panel designed by William Morris, 1876, decorated with scrolling flowers and foliage in pale orange and green unsigned, 100 x 70.5cm. £400-500 Provenance Fine Art Society, London Private collection Literature Linda Parry William Morris Textiles, page 150 catalogue number 20. This is a printed embroidery design probably for a firescreen, which would Morris & Co would have retailed as a kit to be embroidered by the purchaser.
205. A pair of William Morris Elmcote woven wool and mohair curtains with tie-backs designed by J H Dearle, decorated with floral cartouche in green, red and yellow on a dark green ground, 212 x 116cm. £100-200
Literature Linda Parry William Morris Textiles, page 164 catalogue number 95.
206. A Morris & Co Bird woven woollen double cloth tapestry hanging designed by William Morris, 1878 four lengths sewn together to form a wide hanging or portiere, decorated with birds on a floral ground in blue, buff and red on a green ground unsigned 466 cm wide x 178cm. high £500-1,000 Literature Linda Parry William Morris Textiles, page 152 catalogue number 29.
207. A pair of Morris & Co Peacock and Dragon woven woollen curtains designed by William Morris, 1878 decorated with facing birds amidst a floral ground in pink, blue and green on a buff ground washed and bleached 260 x 136cm. £50-100
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FURNITURE 208. A pair of ebonised wood Sussex chairs, probably Morris & Co, with turned bobbin back, rush seat 84cm. high £150-200 Literature Linda Parry William Morris, V&A exhibition catalogue, 1996, page 176 J26 for a comparable pair of Sussex chairs illustrated.
209. A Morris & Co mahogany armchair, with Bird woven woollen tapestry seat stamped mark, 90cm. high £300-500
211 210. A Morris & Co walnut firescreen, set with embroidered panel above pierced frieze, 92cm. high, 61cm wide £200-300 Literature Specimens of Furniture and Interior Decoration, Morris & Co, page 22 for a comparable cheval screen model no.413.
211. A Morris & Co style mahogany drop leaf table, on slender turned legs 73cm. high, 89cm wide £100-200
212. A walnut occasional table possibly Morris & Co the design in the manner of George Jack , the shaped circular top on five square section legs, with radiating stretchers 70cm. high, 61cm. diam. £200-400
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213. An Aesthetic Movement walnut occasional table, with stepped shelf and pierced rail decoration, 75 x 40cm. (top), 67cm. high £200-250
214. A mahogany table designed by Charles Eastlake, on flaring, turned legs, 58 x 60cm. top £100-200 Literature Charles Eastlake Hints on Household Taste, Longman's & Co (1869) page 160 this table design illustrated.
215. An ebonised wood armchair in the manner of E W Godwin, with pierced geometric panel back, on four turned legs 88cm. high £50-150
216. A walnut chair the design attributed to Dr Christopher Dresser, with mushrabeyeh panel back 66cm. high £1,200-1,800 Literature Arts and Crafts Christie’s 6th July 2006 lot 23 for an identical chair The Best of British Sotheby’s/Paul Reeves, page 66 for a comparable low chair illustrated.
217. A Walnut armchair the design in the manner of Arthur Heygate Mackmurdo, the back with carved Art Nouveau seedhead panels and squared terminals, leather seat 101cm. high £200-300 Literature Lionel Lambourne Utopian Craftsmen, Astralgal Books, page 42 figure 39 for a chair design by A.H Mackmurdo probably made by Collinson & Locke.
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218. A four-fold screen, each panel cover with The Angel with the Trumpet textile designed by Herbert Horne, Century Guild, each panel 171 x 54.5cm. £150-250 Literature Linda Parry Textiles of the Arts and Crafts movement, Thames & Hudson, page 43 plate 34 for an example of this textile design
219. A mahogany occasional table in the manner of Goodyers, square section top with flaring angular legs, the top and shelf with carved scrolling foliate decoration 69cm. high, 53cm. square £150-200
220. An oak child’s high chair in the manner of E W Godwin, the panelled back carved with the initials ‘JRC’ above a spindle back and a drop-in rush seat. £100-150
Literature Susan Weber Soros The Secular Furniture of E.W.Godwin, Yale, page 130 figure 176 for a comparable armchair from the Shakespeare suite illustrated.
221. An Aesthetic Movement mahogany side table originally designed by E W Godwin, square section top on swollen, turned cylindrical legs, with square section shelf and dowel supports unmarked 41.5cm. square top, 69cm. high £1200-1800
219 222. A Minton tile topped table, eighteen tiles, each printed in gilt with birds on a dark blue ground, on later painted wooden frame, and an extra Minton tile 46 x 91cm. (2) £150-200
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223. A satinwood armchair the design attributed to George Montague Ellwood, the back with inlaid floral panel, strung seat, 95cm. high £100-200
224. An armchair chair by Arthur Romney Green, tapering square section legs supporting dodecagonal seat, with spindle back and arms with scroll terminals 86.5cm. high £300-500
225. An oak table designed by Robert Lorimer, shaped, circular top on twisted flaring legs 77cm. high, 86cm diam. £1,000-1,500 Literature John Andrews Arts & Crafts Furniture ACC page 212, plate 227 for a comparable table.
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WALTER CRANE (1845-1915)
226. I Giorni an ebonised wood cabinet on stand inset with embroidered panels designed by Walter Crane, the embroidery believed to be by Mary Francis Crane on her honeymoon, the panels depicting classical figures, set in two hinged doors with painted detail, the interior with bronze gilded paper panels, cabinet 82cm high, 82cm wide, 32cm deep, stand 77cm high, 95cm wide and 48cm deep £1,500-2,000
Provenance Walter Crane, thence by descent
227. An oak artist’s easel used by Walter Crane, his easel and two mahlsticks attached makers metal roundel label to easel,, London, 142cm high (closed), 57cm wide (4) £200-400 Provenance Walter Crane, thence by descent
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228. A Maw & Co Swan vase by Walter Crane, modelled a swan head and tail, painted in yellow on a cream ground with classical figures painted cipher to base, repaired neck, 24cm. high £500-1,000 Provenance Walter Crane, thence by descent 229. Walter Crane (1845-1915) Martedi pencil on paper design for an embroidery panel, and Venerdi a print on paper signed and dated 1886 29 x 22cm (sheet), (2) £300-500 Provenance Walter Crane, thence by descent 230. ‘Cinderella - The Crystal Palace’ a copper printing block designed by Walter Crane, signed in the block, two other copper blocks, and a collection of seventythree plaster cameos, (76) £100-200 Provenance Walter Crane, thence by descent 231. Walter Crane (1845-1915) Bellerophon Slays the Chimaera, pen, ink and watercolour on paper from The Wonder Book of Nathaniel Hawthorne, framed signed with artist cipher 15.5 x 10.5cm (image) £800-1,200
Provenance inscribed to the reverse The Original Watercolour by Walter Crane R.W.S. which he drew for the Wonder Book of Nathaniel Hawthorne. Walter Crane gave this picture to Captain Hugh Evan-Thomas R.N when he was Captain of H.M.S Bellerophon.
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232. A Gothic Revival panel in the manner of A.W.N Pugin, painted with a cross and mitre, annotated Panel from Westminster Abbey to the reverse 53.5 x 19cm. £50-100
233. An oak bookshelf, with pegged joints and pierced decoration to sides and back, and a mahogany occasional table, bookshelf 122cm. high, 92cm wide (2) £150-200
234. A marquetry occasional table by M P Lugrin, shaped rectangular form, the top inlaid with fruiting grape vine, the lower shelf with similar fruiting vine motif signed Lugrin to top 73cm. high, 61 x 41cm. £200-300
235. A walnut occasional table, the shaped, square top carved with panels of radiating fish, with waterlily border 67cm. high, 59cm. square top £200-300
236. An oak bureau bookcase, in the manner of Shapland & Petter, with patinated heart-shaped metal furniture, 161cm. high, 42cm. wide £150-200
237. A Lefco Ware jardiniere and stand, cast floral motif, covered in an oatmeal glaze chips, 92cm. high £200-400
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238. A large Architect’s oak bureau, possibly continental, with carved floral panels and copper furniture, internally fitted, 184cm. high, 117cm. wide, 28cm deep £200-400
239. A pair of Austrian mahogany bedside cabinets, single drawer with flaring square section legs, brass drawer handles 70cm. high, 44.5cm. wide £100-200
240. A Jacob and Josef Kohn bentwood rocking chair, with hardwood seat applied paper label, 105cm. high £200-300
238 241. An Austrian copper and walnut occasional table, the patinated copper square base supporting, with four cluster pillar, the circular top with parquetry inlay 78cm. high, 80cm diam. £200-400
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242. A set of six oak and ash ladderback chairs by Edward Gardiner, comprising two carvers and four seats, with rush seats stamped Ed Gardiner 114cm. high £400-600
243. A set of five ash Clissett chairs by Edward Gardiner, one carver and four chairs, with rush seat stamped Ed Gardiner 114cm. high £400-600
244. A pair of Cotswold School oak pedestals or occasional tables, slender octagonal tops on tapering stem and radiating cruciform form foot unsigned 77cm. high £100-150
245. A weathered oak desk, possibly Rowley Gallery, semi-circular section with curved, hinged drawers, 71cm high, 72cm. wide £100-150
246. A Cotswold School walnut Menorah in the manner of Ernest Gimson, on octagonal base, set with fruitwood and brass sconces 142cm. high £250-350
247. An oak reading stand the design attributed to Ernest Gimson, with carved ratchet rise and fall system, on tripod foot with casters 90cm. wide £800-1,200
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248. An Arthur W Simpson The Handicrafts oak desk mounted writing box, fitted interior with hinged front, applied Simpson The Handicrafts label, 35cm. wide, 13.5cm. deep £400-600
249. A Stanley Webb Davis walnut dressing table mirror, dated 1935, with dovetail joints and chiselled decorative band, bevelled glass, signed SWD monogram and 1935 date 61cm. high, 36.5cm. wide £400-600
250. A Stanley Webb Davis walnut chest of drawers, on sleigh feet, with ebonised wood handles, dovetail joints monogrammed and dated 1934, 114 x 50cm., 84cm. high £2,000-4,000 Literature Hugh Wright Stanley Webb Davies 18941978, page 104 for a comparable sewing cabinet
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251. A Heal’s limed oak three door wardrobe, with turned wood handles, double hanging compartment, the tight compartment with shelves, inset Heal’s ivorine label 181cm. high, 152cm wide, 53cm deep £300-400
252. A Smith’s Electric Clock electric wall clock probably retailed by Heal’s, domed oak circular form with applied gilded metal Arabic numerals, cast Smith’s mark to movement case, stamped regd mark. 34cm. diam. £400-500
253. A Heal’s limed oak compactum, the right side fitted with drawers, applied ivorine label 150cm. high, 53cm. deep, 91cm. wide £400-600
254. Sunset Landscape a large Rowley Gallery marquetry panel, in the manner of Frank Brangwyn, stamped mark to front and paper label to reverse 84 x 84cm. £150-250
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255. A Robert Mouseman Thompson oak stand, octagonal form, incised with mouse signature to rim, 19cm. wide £80-120
256. ‘Beethoven’ an Arts and Crafts carved mahogany frame, rectangular, carved with foliate columns and set with patinated copper life masks, incised musical score for Andante Cantabile, with print dated Paris 1901, 90 x 58.5cm. £250-300
258 257. A marquetry twin-handled tray, rectangular with applied metal handles, the top inlaid with Lily and convulvulus flowers 58cm. wide £100-200
258. An oak mantle clock, tapering rectangular section, with flaring, swollen top, inset with marquetry Art Nouveau flowers, with enamelled circular dial with Roman Numerals, on brass bun feet 27cm. high £300-500
259 259. A marquetry inlaid mahogany hand mirror by Oliver Morrel, polygonal shape inset with a simple flower stem, the rim chequered border, unsigned 28.5cm. long £300-400 There is a comparable hand-mirror on display at the Cheltenham Museum and Art Gallery.
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METALWARE 260. A painted wrought iron hallstand the design attributed to Dr Christopher Dresser, cast with stylised floral panels, and mirror panel, cast 261A no.6 to reverse 188cm. high £300-500 261. A Benham & Froud copper and wrought iron, kettle on a stand designed by Dr Christopher Dresser, the copper teapot with brass tripod feet and over slung handle, stamped mark, 84cm. high £150-250 Literature Christopher Dresser Master of Design, Marc O. Rabun Gallery exhibition, 1995 page 8 catalogue numbers 5-6 for two comparable examples. 262. A Gothic Revival brass ewer, with ovoid body, cylindrical neck and angled spout, chased with panels of decoration, and another brass covered ewer unsigned 40cm. high (2) £100-200
263. A Benham & Froud brass kettle in the manner of Dr Christopher Dresser, the shoulder inlaid with copper foliate design, ebonised wood handle, a Kendrick cast iron letter box, a Linthorpe saucer and a WAS Benson copper flask, stamped marks, kettle 24cm. high (4) £50-100 264. A pair of Aesthetic Movement cast iron candlesticks, cast in low relief with stylised floral panels, stamped regd mark 20cm. high £50-100 265. A Hukin & Heath electroplated metal twin compartment dish designed by Dr Christopher Dresser, model no.2223, stamped marks, 19.5cm. wide £200-250 266. An Elkington & Co electroplated twin compartment cruet holder, two circular compartment tray with central T bar handle, and another Hukin & Heath cruet tray stamped marks, 18cm. high (2) £100-150
Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 202 plate 266 for a comparable three part cruet tray.
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267. A Hukin & Heath electroplated metal chamberstick the design attributed to Dr Christopher Dresser, model no.10537, the ovoid section base supporting central column stick and cone snuffer, with ebonised wood rod handle, stamped marks, 13cm. wide £500-1,000
268. A pair of John Hardman & Co polished brass candlesticks designed by A W N Pugin, circular tapering foot with pierced, flat foliate stem and flaring, crenellated drip pan unsigned 28cm. high £400-600 This design was illustrated in the John Hardman & Co catalogue of 1875, numbered 12.
269. An enamelled electroplated goblet, tapering hexagonal foot and stem with central knop enamelled with foliage sprigs in white on a blue ground, the hammered bowl with strap work and inscription to rim, unsigned 23cm. high £100-150
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270. A cast brass candlestick probably made by John Hardman & Co, tapering circular form with pierced base and crenellated drip tray unsigned 20cm. high £50-100 271. A bronze model replica of the Level Birmingham New General Hospital, presented by John C Holder to H.R.H The Duke of York, 1894, and a electroplated chamberstick inscribed 47cm. high (2) £100-200
λ 272. An electroplated metal Picnic tea set in the manner of Dr Christopher Dresser, comprising teapot with hinged cover and ivory handle, tea caddy, burner and low circular covered box, inscribed monograms dated 15th Nov 1892, unsigned teapot 16.5cm. wide (4) £100-200
273. A Benham & Froud brass flask the design attributed to Dr Christopher Dresser, flattened ovoid form with curved handle and stopper, stamped mark, 22cm. high £300-400 Provenance The Harry Lyons Collection, Christie’s 19th October 2004 lot 332. 274. An electroplated metal teapot in the manner of Dr Christopher Dresser, hemispherical form with over slung ebonised wood handle and finial, hinged cover, and a hammered metal hot-water pot and cover with bakelite handle and finial, unmarked 16.5cm. high (2) £100-200
275. A Cotswold School wrought iron fire tool set, comprising brush, fork, shovel and poker, each with twisted handle, unsigned poker 69cm. long (4) £350-450 276. A Cotswold School wrought iron toasting fork, two pronged with heart motif to stem and terminal unsigned 54cm. long. £200-400
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277. Francois Auguste Rodin (1840-1917) La Danaide a later cast terracotta figure signed A Rodin, numbered 14/100 25.5cm high, 41cm, wide £200-300 Literature Rodin in Private Hands, Bowman Gallery, page 156 for the bronze version illustrated.
‡ 278. Phoebe Stabler (died 1955) Shy patinated bronze signed in the cast 41cm. high £800-1,200 Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 41 for the stoneware version circa 19141918 illustrated.
279. Louisa Edith Maryon (1872-1924) To The Witches Revels, 1909 patinated bronze, signed and dated in the cast 37cm. high £3,000-4,000 Edith Maryon studied at the Royal College of Art from 1896 and exhibited at the Royal Academy. She met Rudolf Steiner in Switzerland in 1912-1913 and some time after 1914 she moved to Dornach where she worked on the construction of the first Goetheanum. Here she worked with Steiner on the Representative of Humanity sculpture.
280. Dora Gordine (1906-1991), attributed a patinated metal plaque of a buddhistic figure seated in Lalita Sana unsigned 65cm. high, 63cm wide £300-500
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283 281. Florence Callcott Dorothy, daughter of Robert Newman esq. wax portrait, framed, and another smaller Polly inscribed paper labels to reverse, City of Manchester Art Gallery label to first, 19cm. high (2) £100-200
282. A meerschaum novelty pipe the bowl modelled as Sarah Bernhardt, in fitted case for Newbery Tobacconist, Reading 10.5cm. wide £50-100
285 λ 283. A patinated bronze and ivory bust of a medieval woman cast from a model by Alexandre August Caron, mounted on square onyx base, signed in the cast 14cm. high £100-200 284. A Ferdinand Barbedienne patinated bronze panel of classical figures riding, probably from the Parthenon frieze, signed in the cast F Barbedienne Fondeur 42 x 27.5cm. £200-400 285. ‘Woman with a Lyre’ a patinated metal plaque cast from a model by Victor Hugenin, circular, mounted on wood, and two smaller bronze plaques Syndicat General DEs Fondeurs de France, signed in the cast plaque 26cm. diam. (3) £100-150
λ 286. A patinated bronze and ivory figure of a medieval woman reading cast from a model by Dominique Alonzo, on alabaster base signed in the cast Alonzo 37cm. high £800-1,200
λ 287. A carved wood and ivory model of a medieval saint, modelled holding a church, wearing a crown, her robes with carved fleur de lys unsigned 24cm. high £100-200
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288. A patinated bronze panel, cast in relief with a merman rising from the waves and blowing a shell horn, a galleon in the distance, in oak frame unsigned 38 x 26cm. £300-500
289. Sir George Frampton R.A.(1860-1928) Father William Purton, 1892 plaster panel, framed signed and dated in the cast 47 x 35cm.
Frampton produced a bronze version of the portrait plaque of Father William Purton for St Clement’s church, Boscombe.
λ 290. Liseuse a tall patinated bronze and ivory figure cast from a model by Albert Carrier-Belleuse, on cast bronze base with applied title signed A Carrier-Belleuse in the cast, the applied label titled and inscribed Grand Prix du Salon 60cm. high £2,000-3,000 Literature Bryan Catley Art Deco & Other Figures, ACC books, page 53 this model illustrated
291. A gilt bronze candlestick cast from a model by Auguste Rubin, modelled as a female figure, supporting a foliate sconce, signed Rubin in the cast 29cm. high £150-200
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292. A pair of brass wall lanterns possibly from the Glasgow School of Art, each of flaring square section with bell shape vent and pyramid finial, with hinged doors, the front glass panel with printed classical graces design unsigned, doors missing glass 50cm. high £300-500
293. A set of three patinated metal wall lights, comprising one twin-light and two single lights, scrolling foliate stem form with hanging flower terminal, mounted on wooden plate 35cm. high, 27cm. deep. (3) £300-500
294. A large patinated brass jardiniere, probable continental, ovoid hammered in low relief with a band of waterweed, unsigned 38cm. high £50-100
295. A brass wall clock by Margaret Gilmour, the square section face hammered in low relief with two Art Nouveau maidens gathering roses, circular dial with Arabic numerals, with weight and pendulum, stamped monogram 43.5cm. square £1,000-1,500
296. A large Margaret Gilmour brass double-wall sconce, hammered in low relief with a peacock, perched in a hoop of berried foliage, stamped MG monogram 73cm. high £300-500
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297 297. A patinated brass charger, circular, hammered in low relief with a sun and tree motif inscribed Bene Volen Tip, the rim with simple heart-shaped leaves, unsigned 59cm. diam. £100-200 298. A Keswick School of Industrial Arts brass charger, circular, stamped in low relief with Persian flowers and foliage stamped KSIA mark, etched marks to reverse, 37.5cm. diam. £150-200 Literature Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts, Bookcase, page 21 for an identical charger. 299. A Keswick School of Industrial Arts copper wall mirror, circular form, hammered in relief with fruit and foliage frieze, 40cm. diam. £200-300
300. A Keswick School of Industrial Arts copper mirror designed by Harold Stabler, octagonal, hammered in low relief with a frieze of flowers and foliage, stamped KSIA mark, 42.5cm.diam. £300-500 Literature Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts, Bookcase, this design illustrated on the cover. 301. A Mappin & Webb pewter tea set designed by Harold Stabler, comprising teapot and hinged cover, hotwater and cover both with bakelite handles, milk-jug and sugar basin, impressed marks and facsimile signature 14.5cm. high £300-400 302. A large copper double wall sconce designed by J W Oddie and executed by J C Martin of the Lyzwick Hall Art School, the well hammered in low relief with a classical figure playing the lyre, with water nymph in the foreground, inside a frame of musical instruments, the rim with a cornucopia, stamped JWO and JCM 59cm. high £1,500-2,500 Literature Ian Bruce The Loving Eye and Skilful Hand - The Keswick School of Industrial Arts, Bookcase, page 6 & notes to the text Chapter 1.4 for a discussion of Mr Oddie at Lyzwick Hall. The Lyzwick Hall Art School ran metalworking classes and was affiliated to the Home Arts and Industries Association. Work by Oddie and Martin was exhibited at various exhibitions including The Arts and Crafts Exhibition Society in 1890.
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NEWLYN INDUSTRIAL CLASS
303. A Newlyn Industrial Classes copper twinhandled vase, tapering cylindrical form with applied handles, hammered in relief with scaly fish swimming stamped Newlyn to base 15cm. high £250-350 304. A Newlyn Industrial Classes copper twinhandled vase, tapering cylindrical form with applied strap handles, hammered in relief with scaly fish swimming amongst waterweed stamped Newlyn to base 25cm. high £400-500
305. A Newlyn Industrial Classes copper inkwell with pen tray, the rectangular tray hammered in relief with scaly fish and waterweed, the square well with hinged cover with scaly fish and seashells, with glass liner, stamped Newlyn to base 26cm. wide £400-500
306. A Newlyn Industrial Classes copper rose bowl and cover, hammered in relief with scaly fish, stamped Newlyn to rim 14.5cm. diam. £300-400 307. A Newlyn Industrial Classes copper hotwater jug, tapering square section, hammered in relief with a ship at sail, the front with a large fish, stamped Newlyn to base, 21cm. high £100-200 308. A small Newlyn Industrial Classes copper tray, repousse hammered with two gurnard fish before waterweed, inscribed to the reverse Designed by Newlyn Artists and worked by the fishers of St Ives 1906 20cm. diam. £100-150
309. An unusual Newlyn Industrial Classes copper twin-handled vase, tapering cylindrical form with applied strap handles, hammered in relief with daffodil flowers stamped Newlyn 15cm. high £250-300 310. An unusual Newlyn Industrial Classes copper footed rose bowl and cover, hammered in relief with scaly fish before waterweed, the cover pierced for flower stems stamped Newlyn to base 18cm. diam. £500-600 311. A Newlyn Industrial Classes copper rose bowl and cover, hammered in relief with scaly fish before waterweed, stamped Newlyn to rim 20cm. diam. £350-450
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312. A Birmingham Guild of Handicrafts two-light bedroom pendant light, brass with copper shades and counterweight 61cm. wide £800-1,200 Literature This design illustrated in the Birmingham Guild catalogue, page 118 catalogue number 59 priced at £2 50.
313. A pair of W.A.S Benson silvered copper wall sconce, shaped circular back plate with stamped foliate design by Heywood Sumner, with applied twin-branches, unsigned, drilled for electricity, 26cm. diam. £300-500 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary, Antique Collector’s Club, plate 95 page 120 for the three branch version illustrated.
314. A rare W.A.S Benson cast copper bronze metal carriage clock, rectangular section, cast in relief with foliate design, circular white enamel dial with Arabic numerals, 21cm. high £800-1,200 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary, Antique Collector’s Club, plate 83 page 103 for a comparable example. This clock was available in two finishes copper bronze (£4/10/0) or antique silver (£4/15/0).
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315. A pair of W.A.S Benson copper and brass candlesticks, the scrolling stem with seedpod counterweight, scroll feet and copper drip trays, unsigned 32cm. wide £200-400 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary, Antique Collector’s Club, plate 98 page 121 for a comparable pair of counterweighted candlesticks.
318 316. A W.A.S Benson brass table/wall lamp, on angular tripod foot, with articulated stem, frosted cranberry glass shade 42cm. high £300-500 317. A tall wrought iron lamp, tripod base with scroll feet, supporting central twisted stem with openwork orb, and wirework finial, with shade unsigned 99cm. high £250-350
319 318. A W.A.S Benson brass table or wall light, on tripod foot, with articulated stem, with opaque glass shade stamped WAS Benson to foot 39cm. high £500-600 319. A rare W.A.S Benson copper and brass chamberstick designed by George Heywood Sumner, the curved backplate stamped in relief with simple heart-shaped foliate design, unsigned 22.5cm. high £300-500 Literature The Best of British Paul Reeves/Sothebys selling exhibition page 116 PR.96 W.A.S Benson: Genius of The Arts and Crafts Lakeland Arts Trust, Blackwell, Cumbria, 2007 320. A rare W.A.S Benson electroplated metal rose bowl and cover, on cast arched feet, the flaring conical bowl supporting pierced rose flower cover, stamped Benson to foot 29cm. diam. 15.5cm. high £300-500 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary, Antique Collector’s Club, page 90 plate 64 for a comparable example.
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321. A W.A.S Benson copper and brass table lamp, model no.1195, the arched cruciform foot supporting foliate tray and central brass column, unsigned 52cm. high £300-500 Literature Catalogue of Electric Lighting Designs, WAS Benson, plate 20 this design illustrated
322. A W.A.S Benson rise and fall copper and brass ceiling light, twin branch with central ball counterweight and single light fitting, stamped regd mark, 74cm high (variable) £600-800
323. A rare pair of W.A.S Benson silver spoons in original silk-lined fitted case, each with pierced terminal, stamped marks, London 1911, 16.5cm. long £800-1,200 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary, Antique Collector’s Club, page 104 plate 85 for a comparable set of silver teaspoons.
324. A large wrought iron hall lantern with vaseline glass shade the design attributed to W.A.S Benson, unsigned 64cm. high £800-,1200
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325. An enamel mosaic plaque Noli me Tangere, possibly by Henry Holiday, depicting Mary Magdalene kneeling at the feet of Jesus Christ, in an arched ebonised frame, 48 x 35.5cm. £150-200
326 326. An Elkington & Co Egyptian Revival centrepiece, dated 1881, the pierced lozenge base set with two Sphinx, below scallop shell and lotus flowers, with cut glass bowl, with commemorative inscription, stamped marks, 28cm. wide £300-500
327. An enamel plaque retailed by H Rodman & Co, rectangular, enamelled with a galleon at full sail, in vivid colours, framed applied retailers label to reverse panel 14 x 8.5cm. £600-1,000
328. An electroplated box set with enamel roundel probably by The Guild of Handicrafts, square section on four bun feet, the hinged cover with chased foliate design and central enamel roundel of a fish before waterweed, in colours unsigned 11.5cm. wide £1,200-1,500
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329. A rare enamelled metal Symbolist vase by Sir Hubert von Herkomer RA, tapering cylindrical form with waisted cylindrical neck, enamelled in shades of green with a pair of figures flanked by mermaids, signed HvH in the enamel, cast HvH inside laurel wreath to base, rd no.387036, 24.5cm. high £800-1,200 Sir Hubert von Herkomer RA (1849-1914) Best known as a Victorian portraitist and social realist painter, Herkomer was also a restless polymath. Born in Bavaria, his family went first to America before settling in Britain. Largely self-taught, he began his working life as an illustrator for, amongst others, The Graphic. Settling in Bushey, Hertfordshire, he founded his own successful school of art in and around his home, Lululaund, a distinctive building in the Bavarian style designed by the American architect, Hobson Richardson. The entrance portal survives and has recently been renovated. His financial success gave him the freedom to be constantly exploring and experimenting with new media. In the 1890s he was much taken by the challenge of enamelling as an artistic medium, establishing in his garden an enamelling workshop, staffed by experienced workers acting as his assistants. He made some examples himself. Later items such as these vase forms were decorated in his studio with his various designs of allegorical subjects. Classical in inspiration, they reflect his admiration for the symbolist work of G. F. Watts. The Bushey Museum also has examples. Bibliography Spielmann, Marion H. ‘Professor Herkomer as a Painter in Enamels’ Magazine of Art (1899) 105-112, 163-167. Edwards, Lee MacCormick (1999) Herkomer a Victorian Artist, Aldershot: Ashgate 128-130. 330. A rare enamelled metal Symbolist vase by Sir Hubert von Herkomer RA, tapering cylindrical form with waisted neck, enamelled with Proserpine seated on a thrown holding a pomegranate out to a standing Aesculapius figure, the reverse with a leopard signed HvH in the enamel, cast HvH mark inside laurel wreath to base, rd no.386421 24.5cm. high £800-1,200
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331. A fine silver mounted cloisonne enamel panel by Harold Stabler, dated 1915, the rectangular panel depicting a faun training a rabbit, holding up a laurel sprig, in colours on a vivid blue ground, inside silver frame with hanging loop, signed HS in the enamel, the reverse signed Harold Stabler London 1915 9.5 x 9cm. £2,000-3,000 Literature Annette Carruthers and Mary Greensted Simplicity or Splendour The Cheltenham Museum collection, figure 87 catalogue number 156 for a comparable framed enamel by Harold Stabler. Harold and Phoebe Stabler were often assisted by a Japanese enamel worker referred to as S Kato. Provenance The Arts and Crafts Exhibition Society -11th Exhibition (1916), Royal Academy Burlington House, number 194 a case of enamels (listed A-P) K - Faun and Rabbit, £4.4s The date and title of this enamel suggests this could be the same example.
332. Three Holland Aldwinckle and Slater graduated silver tazza by Latino Movio, each bowl cast in low relief with various cornflower, wild rose, prunus blossom and fruit sprays, stamped marks, incised signature L Movio to rims, largest 26.5cm. wide £600-1,000 Very little is known about Latino Movio’s work other than his working association with Gilbert Marks. There is a jug and basin by him in the Leeds Museum collection.
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333. Autumnal Crocus a fine silvered metal and enamel triptych by Nelson Dawson, dated 1901, pierced rectangular frame with pomegranate motif to top, the hinged doors with elaborate cast hinges and small enamel crocus panels, inside the doors set with hexagonal enamel panels on a blue ground and a large enamel roundel and title panel, one blue panel signed D and dated 1901, the other signed D, 27cm. high, 15.5cm. wide ÂŁ7,000-10,000 Provenance Private collection
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λ 334. An Omar Ramsden silver and ivory box with hinged cover, cedar lined, rectangular section the cover cast with entwined rose stem borders, the base rim with simple rope twist border, the inside rims with simple chased foliate design stamped marks, London 1928 11.5 x 7cm. £2,000-3,000 This box is comparable to the Omar Ramsden silver and mother of pearl box sold lot 507 Arts and Crafts 18th June 2014. 335. A silver tea caddy and cover with en suite caddy spoon designed by James Herbert Macnair, square section, cast with panels of putti on three sides, with foliate hinges, the spoon modelled as a flower bud, stamped marks to base Glasgow 1910. £1,500-2,000
Literature Roger Bilcliff, James Herbert Macnair Glasgow & Liverpool, Walker Art Gallery Liverpool Bulletin (1970) pages 48-74, reproduced on the Victorian Web website. an identical caddy listed as formerly in the collection of Miss C Armstrong. 336. A fine set of Omar Ramsden silver cake knives and forks, dated 1925, in original fitted case, comprising six knives and six forks, stamped marks, London 1925, knives 19cm. long £1,000-2,000
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337. An Elkington & Co electroplated metal and glass claret jug, model no 12336, stamped marks to cover and mount 31.5cm. high £100-200
337 338. An A.E. Jones electroplated metal twin-handled bowl, the handles cast with scrolling foliage, with rope border, stamped marks, 20.5cm. diam. £100-150
339. A Stainton Bros enamelled silver link bracelet, alternate square panels enamelled with a stylised flowerhead motif, in shades of blue stamped marks SB, Birmingham 1911 £100-150
340. A Smith & Ewen silver and enamel pendant necklace, stylised foliate form enamelled blue, with blue enamelled drop stamped marks S & E Birmingham 1909 4cm. high £100-150
341. A Charles Horner silver and enamel pendant necklace, heart-shaped foliate design enamelled blue and green inside pierced border, with green and blue enamelled drop stamped marks, Birmingham 3.5cm. long £150-200
342. A David Anderson Norwegian enamelled silver link bracelet, enamelled with octagonal panels of stylised flowerhead motif in green and black, with rectangular guilloche cast marks, £150-200
343. A silver and emerald green paste necklace, with cast, pierced foliate link and simple rope twist borders to rectangular panels, unsigned 38cm. long £300-500 344. A silver necklace mounted with citrines, the centre section mounted with an oval-shaped and pear-shaped citrine pendant in textured foliate mounts. With a further two circular-cut citrines mounted in flowerheads, fancy-link neck chain unsigned, 42cm long. £500-800 345. An enamelled silver necklace, pierced and cast in low relief, enamelled in shades of blue and green, with mother of pearl cabochon unsigned 5.5cm. long £100-150
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346. A Bernard Instone enamelled silver clip brooch, circular wirework frame, enamelled with flowers in pink, blue, yellow and green set with marcasite stones, unsigned, one stone missing, 5cm. diam. £200-300 Provenance Private collection
347. A gem-set floral brooch probably by Dorrie Nossiter, designed as three flower heads and foliage and set overall with sapphires, emeralds, zircons and pink stones. Set in silver unsigned 6.8cm high. £800-1,200
348. A large silver brooch in the manner of Charles Ricketts, circular with cast columns set with amethyst and amber glass cabochon unsigned 6.5cm. diam. £300-500
349. An H.G Murphy silver brooch, the cast foliate design set with lapis lazuli cabochon roundel, stamped HGM sterling 5cm. wide £700-1,000 Provenance Private collection
350. A George Hunt silver and enamel reliquary holder, hexagonal section, set with cast saints in pierced alcoves, below a domed cupola enamelled in green and blue set with pink and blue stones and pearl finial, the domed compartment with glass liner and note ‘One of a pair. Exhibited in 1908 by George Hunt at the Silversmiths Exhibition, London’ stamped GH shield to base 8.5cm. high £1,000-1,500 Provenance Private collection The paper note continues ‘ I am told that Queen Mary purchased the other one’ Literature George Edward Hunt The Silent Work of an Arts and Crafts Jeweller Bonhams NovemberDecember 2006, page 42-34 catalogue number 83 for a comparable phial.
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352 351. A Bertha Goff silver link belt, cast with alternate panels of cherub and Celtic pierced knots, set with green chrysoprase, unsigned 70cm. long £800-1,200 Provenance Christie’s Private collection.
352. A William Comyns silver belt, the pierced panels cast in relief with flowers and foliage stamped marks, London 1901-1902, 65cm. wide £300-500 Provenance Private collection
353. A set of six Liberty & Co Cymric silver buttons designed by Archibald Knox, circular cast in low relief, enamelled in blue and green, in original fitted case stamped marks, Birmingham 1904, 2cm. diam. £600-1,000
354. A set of twelve Liberty & Co silver and enamel cake forks, the handles enamelled in blue and green with simple foliate motif, in fitted case, stamped marks, Birmingham 1928 13.5cm. long £600-800
355. A silver and abelone shell locket possibly Liberty & Co, circular, cast in relief with leaves, set with abelone flowers, unsigned 2cm. diam. £100-150
356. A silver mounted enamel pendant probably by Charles Fleetwood Varley, elliptical form, enamelled with two pine trees on a hill beside a lake, unsigned 3cm. high £800-1,200
Provenance Private collection
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LIBERTY & CO. 357. A Liberty & Co silver and turquoise necklace, the pierced triform panels set with turqioue stones, with mother of pearl drops, in Liberty & Co fitted case £1,000-1,500 Provenance John Jesse Private collection
358. A Liberty & Co silver belt buckle, model no.0198, in the manner of Mary Seton Watts, the pierced and cast design decorated with creatures entwined in Celtic knot motif, stamped marks, Birmingham 1896 11cm. wide £400-500 Provenance Private collection
359. A Liberty & Co silver The Planta belt buckle designed by Archibald Knox, cast and pierced with Art Nouveau foliate stems, stamped marks, London 1900, 10.5cm. wide £500-1,000 Literature Stephen A Martin Archibald Knox ARTMEDIA, page 269 for a comparable enamelled belt clasp illustrated.
360. A W.H. Haseler silver and enamel pendant designed by Archibald Knox, shield shape, cast in low relief with flower stems, enamelled green and orange, with silk lined glazed compartment stamped W.H.H Silver 4cm. high £400-600
359 361. A Liberty & Co 9ct gold bar brooch designed by Archibald Knox, cast and pierced with Celtic knot motif, set with turquoise cabochon stamped 9ct 5cm. long £300-500 Literature Stephen A Martin Archibald Knox ARTMEDIA, page 91 for a comparable brooch illustrated.
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362. A pair of Liberty & Co silver salts, on four bun feet, cast in low relief with geometric repeat, and two pewter napkin rings stamped marks, Birmingham 1900 5cm. diam. (4) ÂŁ200-300
363. A Liberty & Co Cymric silver bowl designed by Archibald Knox, the conical bowl on three scroll feet, cast in low relief with Celtic knot motif to rim, stamped marks, Birmingham 1903, marks rubbed 17cm. wide ÂŁ1,000-1,500 Literature Stephen A. Martin Archibald Knox, ARTMEDIA, page 207 for an example of this bowl illustrated.
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Image courtesy of the Museum of Domestic Design & Architecture, Middlesex University, email@example.com
364. The Sigurd a rare Liberty & Co silver clock designed by Archibald Knox, model no. 579, swollen rectangular body with overhanging, slightly domed mantel, cast in low relief with scrolling foliate border, the circular dial inscribed Tempus Fugit numerals and heart motif, stamped marks, London 1900, 9cm. high ÂŁ3,000-5,000 Literature Anthony Bernbaum Origins of the Liberty Cymric Silver Range, The Journal of the Archibald Knox Society, 2014 page 38 figure 21 for the original pencil design.
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365. A Liberty & Co Anglo Moorish armchair, the back and arms set with old mashrabiya panels, oak plank seat, missing one rail to base, 88cm. high £300-500 Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, ACC, page 98 figure 4.17 for a comparable chair illustrated in The Cabinet Maker, 1884
366. A Liberty & Co Anglo Moorish armchair, the back and arms set with mashrabiya panels, drop in seat with modern cushion, 89cm. high £300-500
Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, ACC, page 98 figure 4.19 for a comparable chair
367. A Liberty & Co oak Wiclif chair designed by Leonard Wyburd, angular form with drop in strung seat applied ivorine label 98cm. high £300-500 Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, ACC, page 176 figure 5.43 for a comparable chair
368. A Liberty & Co mahogany table, square top on flaring, turned legs, with rounded feet, square shelf impressed Liberty marks 65cm high, 40cm square top. £100-200
369. An Indian bone inlaid hardwood folding table, the hinged, rectangular base supporting the inlaid top 57cm. high, 112 x 57cm. £300-500
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370. A pair of Liberty & Co Brunhild terracotta jardinieres designed by Archibald Knox, cast in low relief, stamped marks, 73cm. wide, 38cm. high £1,000-1,500 Literature Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery page 20 in the Liberty & Co Yuletide Gifts catalogue circa 1903-1904.
371. A pair of Liberty & Co Penda terracotta jardinieres designed by Archibald Knox, cast in relief with pomegranate panels, chips, 50cm. high £500-1,000 Literature Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery page 35.
372. A Compton Potters Guild terracotta Cobra jardiniere, cast in relief, impressed Compton wheel mark, 41cm. high £400-600 Literature Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery page 20 catalogue number 3 for an example entitled Fafnir and advertised by Liberty & Co.
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373. An Art Nouveau Orivit three piece tea set on a tray, model 2173-2175, cast in low relief with flowering foliage sprays, comprising teapot and cover, hot-water pot and cover and milk-jug, on a twin-handled tray stamped marks, tray 43cm. wide. £100-200 374. A German polished pewter and glass vase designed by Joseph Reinemann, Munich, the pewter on four claw feet, pierced cylindrical form supporting swollen green glass body stamped mark to one foot 28.5cm. high £100-150 375. An Osiris pewter jug with hinged cover, tapering cylindrical form cast in low relief with ears of corn, and cob nuts, with whiplash handle stamped mark, 30cm. high £100-200
376. An Orion Secessionist pewter centrepiece with green glass liner, model no.825, cast in low relief with stylised leaf motif, stamped marks, 34.5cm. wide £150-200 377. A Kayserzinn Secessionist pewter tray, twin-handled pierced form, cast in low relief with stylised foliate design, with oak well stamped marks, 38cm. wide £100-200 378. A Liberty &Co Tudric Pewter and glass butter dish designed by Archibald Knox, model no.0163, cast in low relief with Art Nouveau stylised honesty, with green glass liner, stamped marks, 19cm. wide £200-300
Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 208 this design illustrated. 379. A Liberty & Co Tudric Pewter dish designed by Archibald Knox, model no. 0231, cast in low relief with stylised honesty seedheads stamped marks, 14cm. diam. £150-200 380. A Liberty & Co English Pewter twinhandled tray designed by Archibald Knox, model no.0231, cast with strap handles, hammered finish, and a brass charger probably Iona decorated with a Celtic knot frieze, stamped marks, 50cm. wide (tray) (2) £100-200
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381. A Liberty & Co English Pewter tray designed by Archibald Knox, model no.0557, rounded rectangular form with overslung handle, cast in low relief with stylised ivy sprays stamped marks, 31cm. wide £100-200
382. A Liberty English Pewter tankard with green glass liner designed by Archibald Knox, cast and pierced with berried foliage, two Osiris pewter salts, A Whitefriars glass vase and six other glass vases stamped marks, 13cm. high, (10) £100-200
383. A Liberty & Co Tudric Pewter and enamel mantel clock, model no.01156, hammered finish, cast in low relief with foliate panels, the circular dial enamelled blue and green, with Roman numerals, stamped marks, 29cm. wide £500-1,000
384 384. A pair of Liberty & Co English Pewter Thousla candlesticks designed by Archibald Knox, model no.08, flat, circular base supporting cylindrical stem and flat drip pan, cast in low relief with Celtic knot bands stamped marks, 16cm. high £800-1,000
Literature Archibald Knox Beauty and Modernity a designer ahead of his time, 150th anniversary exhibition, Olympia, page 32 catalogue number 41 for a comparable candlestick.
385. A Liberty Tudric Pewter twin handled vase designed by Archibald Knox, model no. 0706, cast in low relief with a band of Art Nouveau whiplash foliage, stamped marks to base 19cm. high £200-300
386. A Liberty & Co Tudric Pewter rose bowl with green glass liner designed by Archibald Knox, model no.0230, on three scroll feet, cast in low relief with scrolling stylised honesty design, stamped marks, 28cm. wide £800-1,200
387. A Liberty Tudric Pewter and enamel box and cover probably by Charles Fleetwood Varley, rectangular section, the hinged cover set with enamel plaque of a Japanese Geisha stamped marks, 12.5 x 10.5cm. £400-600
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388. A Liberty & Co Tudric pewter tray designed by Archibald Knox, model no. 0231, twin-handled form, cast in low relief with Art Nouveau foliage design stamped marks, damages 49cm. wide £50-100 389. An Amsterdam School brass piano lamp, with Palme Koenig mottled pink glass shade unsigned 40cm. wide £400-500 390. A copper and brass cigar lamp in the manner of Jan Eisenloeffel, probably W.M.F, unmarked 21cm. high £100-150
Literature Modern Art of Metalwork, Brohan Museum catalogue page 358 catalogue 320 for a comparable lamp made by W.M.F. 391. A brass oil lamp designed by Jan Eisenloeffel, the tapering circular foot with geometric pierced roundel, central column and flaring oil reservoir, unsigned, converted for electricity 51cm. high £400-600 Literature Annelies Krekel Jan Eisenloeffel 1876-1957 page 36 plate 21b for a version of this lamp illustrated at the Van Der Winkel Van Amstelhoek, Paris, 1902
392. A pair of Japoniste brass wall sconce, possibly retailed by Liberty & Co, cast in low relied as a lily pad with small frog stalking a fly, the scrolling stem and floral sconce, stamped RD 17801 27cm. high £100-200 393. A copper vase probably by John Williams, cylindrical form with two strap handles, repousse hammered with scrolling foliage 29.5cm. high £100-200 394. A John Pearson repousse hammered wall mirror, circular, hammered in low relief with foliate designs, unsigned 29cm. diam. £100-200 395. A Keswick School of Industrial Arts copper firescreen, rectangular form on scrolling triangular feet, repousse hammered in relief with bursting pomegranate fruit, stamped to handle 78cm. high, 50cm. wide £200-300
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396. A John Pearson patinated copper charger, dated 1891, repousse hammered to the well with four radiating stylised fish, the rim with scrolling foliage etched J Pearson 1891 to reverse 38.5cm. diam. £700-900
397. A large patinated copper wall mirror, possibly Irish, rectangular hammered in relief with entrelac borders, each corner with stylised roundel, 96 x 70cm. £400-600
398. A Liberty & Co The Ostade copper hall mirror, rectangular form, stamped in low relief with arrow and lotus flower motif, hammered finish applied Liberty ivorine label to reverse 46 x 31cm. £200-300
Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design ACC, page 216 figure 6.4 this design illustrated.
399. A pair of Liberty & Co The Medieval repousse hammered wall sconce, probably by John Pearson, hammered in relief with birds flanking a central cartouche panel with pomegranate and grape fronds unmarked, 33cm. high £800-1,200 Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design ACC, page 179 figure 5.52 this design illustrated
END OF SALE 399
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20th Century Design Wednesday 21st October 2015 Closing date for entries 19th August
A Murano glass figure designed by Pablo Picasso. Estimate: ÂŁ1,500 - ÂŁ2,000
ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 firstname.lastname@example.org
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British Art Pottery Wednesday 25th November 2015 Closing date for entries 30th September
Dame Lucie Rie DBE A conical bowl with manganese rim. Estimate: £1,500 - £2,000
ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 email@example.com
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Furniture & Works of Art Wednesday 1st July 2015
A pair of French bronze models of cranes, signed ‘Latreck’, 206.5cm high. Provenance: Leslie Gooday OBE. Estimate: £2,000 - £3,000
ENQUIRIES Mark Richards Tel: +44 (0)1722 411854 firstname.lastname@example.org
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Silver Tuesday 14th & Wednesday 15th July 2015
A Chinese silver goblet, possibly by Tuck Chang, also marked with Chinese characters. Estimate: £300 - £500
ENQUIRIES Rupert Slingsby Tel: +44 (0)1722 424501 email@example.com Lucy Chalmers Tel: +44 (0)1722 424594 firstname.lastname@example.org
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Tribal Art Wednesday 2nd September 2015 Entries are now being accepted for this sale
ENQUIRIES Will Hobbs Tel: +44 (0)1722 339752 email@example.com
A pair of mask side ornaments, New Ireland, Melanesia, 68.5cm high. Provenance: Josef Mueller collection. Estimate: ÂŁ2,000 - ÂŁ3,000
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Fine Porcelain & Pottery Tuesday 15th September 2015 Entries are now being accepted for this sale
ENQUIRIES Clare Durham Tel: +44 (0)1722 424507 firstname.lastname@example.org
A rare satirical creamware jug, c.1800, printed and hand-coloured with a scene titled â€˜The Devil of a Jobâ€™.
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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing email@example.com You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.
LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3%+VAT charge for this service. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.
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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 €15,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. VAT Lots marked with an asterisk (*) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/
ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping
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Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.
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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.
12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.
TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.
6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).
6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.
7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.
8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.
8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).
7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.
9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.
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11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque four weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.
CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.
2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.
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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.
PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.
BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.
GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.
ARTIST’S RESALE RIGHT / DROIT DE SUITE
21. English law applies to the interpretation of these Conditions.
Lots marked with a ‡ symbol are potentially subject to the levy.
Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500
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Valuations PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.
Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.
We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.
For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.
Contact Christine Johnson 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.
Woolley & Wallis valuations are accepted by all leading insurance companies.
DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM
DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM
W MARLBOROUGH & SWINDON
CENTRAL CAR PARK
N SCOTS L SALISBURY ST WE
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WOOLLEY & WALLIS
WINCH ESTER ST
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Salisbury Salerooms ark eP hiv
WILTON & WARMINSTER
Sarum Business Park
A36(T) CH URC HIL L
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Old Sarum Park
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Woolley & Wallis 2 Danebury Court Old Sarum Park SP4 6EB
A36 C HUR CH ILL WA YN OR TH D
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Old Sarum Kia Motors
WOOLLEY & WALLIS
Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU
AMESBURY & MARLBOROUGH
CASTLE RD A345
LONDON, ANDOVER & WINCHESTER
A345 Castle Rd
AMESBURY NEW STR EET
Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.
Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.
DIRECTIONS FROM WOOLLEY & WALLIS CASTLE TO SALT LANE TOSTREET CASTLE STREET & WALLIS WOOLLEY FROM DIRECTIONS PEDESTRIAN ROUTE DRIVING ROUTE TO SALT LANE DRIVING ROUTE TO CASTLE ST.
94 NEW H
D PAY AN Y DISPLA RK CAR PA
WOOLLEY & WALLIS Salt Lane
Woolley & Wallis Carter House 6 – 10 Salt Lane SP1 1EE
Registered in England No. 2998482
WOOLLEY & WALLIS
Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU
R O AD
A354 DORCHESTER WEYMOUTH & BLANDFORD
A338 BOURNMOUTH & RINGWOOD
Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU
A36(T) SO UTHA MPT ON R
HAR NH AM
W OOLLEY & W ALLIS S ALEROOMS
Qudos CASTLE STREET
VAT No: 631 9832 29 TESCO
Design & Production by Jamm Design Ltd. Tel. 020 7424 7830 www.jammdesign.co.uk
Due to the one-way system of Salisbury please follow the red route when driving from Salt Lane to Castle Street.
Due to the one-way system of Salisbury, please follow the red route when driving from Salt Lane to Castle Street.
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WOO L LE Y & WA L LI S Absentee Bid Form
PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order
Arts & Crafts
Price Excluding buyer’s premium & VAT
Wednesday 17th June 2015 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)
Postcode Daytime telephone Email All accounts must be settled within 21 days. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. ID is required for all first time bidders.
Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU • Tel: 01722 424500 Fax: 01722 424508
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AUCTION CALENDAR PAINTINGS 3rd June – 20th Century & Contemporary Art 23rd September – Paintings, Prints Miniatures & Sculpture 9th December – Fine Old Masters & 19th Century Paintings Victor Fauvelle +44 (0) 1722 424503 • firstname.lastname@example.org Jo Butler +44 (0) 1722 424592 • email@example.com FURNITURE & WORKS OF ART 1st July Mark Richards +44 (0) 1722 411854 • firstname.lastname@example.org SILVER 14th & 15th July 27th & 28th October Rupert Slingsby +44 (0) 1722 424501 • email@example.com Lucy Chalmers +44 (0) 1722 424594 • firstname.lastname@example.org JEWELLERY 16th July 29th October Jonathan Edwards +44 (0) 1722 424504 • email@example.com Marielle Whiting +44 (0) 1722 424595 • firstname.lastname@example.org CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 17th July Richard Price +44 (0) 7741 242421 • email@example.com TRIBAL ART & ANTIQUITIES 2nd September Will Hobbs +44 (0) 1722 339752 • firstname.lastname@example.org FINE PORCELAIN & POTTERY 15th September Clare Durham +44 (0) 1722 424507 • email@example.com ARMS & ARMOUR 7th October Will Hobbs +44 (0) 1722 339752 • firstname.lastname@example.org 20TH CENTURY DESIGN 21st October – 20th Century Design 25th November – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • email@example.com ASIAN ART 11th & 12th November John Axford +44 (0) 1722 424506 • firstname.lastname@example.org Sophie Lister +44 (0) 1722 424591 • email@example.com
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Arts and Crafts | Wednesday 17th June 2015