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LYON & TURNBULL AUCTIONEERS EDINBURGH

11-12 Pall Mall, London SW1Y 5LU Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 9629

14TH APRIL 2010

email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

DECORATIVE ARTS

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

EDINBURGH Decorative Arts

Wednesday 14th April 2010 33 Broughton Place Edinburgh


Waverley Station

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Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom.

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Local Deliveries Local deliveries can be arranged by A&S Pert Removals. Telephone 07876 343520.

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale.

Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier.

Thereafter lots will be removed to store in Edinburgh and a charge incurred.

Smaller items Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

Small Items £2.50 inc. insurance + VAT

Catering Refreshments will be available at the saleroom on view days and day of sale.

Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT

Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk

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Lyon & Turnbull saleroom

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© Lyon and Turnbull Ltd. 2010. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.


Decorative Arts Design from 1860 Wednesday 14th April 2010 11am Sale Number LT280

Viewing Sunday 11th April 2010 2pm - 5pm Monday 12th April 2010 10am - 5pm Tuesday 13th April 2010 10am - 5pm Morning of Sale from 9am Specialist John Mackie john.mackie@lyonandturnbull.com +44 (0)131 557 8844

Catalogue: £10 BUYERS’ PREMIUM 25% up to £25,000 20% thereafter. VAT will be charged on the premium at the rate imposed by law. *17.5% VAT chargeable on the lot itself †5% import VAT on the lot §Droit de Suite (artists’ resale rights) applies (see our Terms and Conditions of Sale and Information for Buyers).

ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com


LY O N & T U R N B U L L Important information for buyers

Buying at Auction

Under this legislation, we are

Electrical Goods

By telephone

This sale is subject to our standard

required to collect a royalty payment

Lots that were once operated by

Bids submitted by telephone must

Terms and Conditions of Sale. If you

for all qualifying works of art, where

mains electricity are bought entirely

be confirmed in writing.

have not bought at auction before

the artist is still living. This royalty

at the buyer’s risk. They are offered

we will be delighted to advise you.

will be charged to the buyer on the

for sale for display or historical

Telephone bidding

Estimates

hammer price and in addition to the

purposes and may not comply with

buyers premium. It will not apply to

current regulations.

works where the hammer price is

Bidding

available entirely at our discretion

At the Sale

and at the bidder’s risk. All

Estimates are printed below each lot and do not include the buyer’s premium. The sale will be conducted in pounds sterling. Dimensions Dimensions are for guidance only; it is the buyer’s responsibility to ensure that they are correct.

less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the

Buyer’s Premium

Design and Artists Copyright Society

The buyer shall pay the hammer

(‘DACS’) and no handling costs or

price together with a premium

additional fees are retained by the

thereon.

auctioneer. Resale royalties are not

Antiques, Jewellery & Silver and

subject to VAT.

Pictures (Not Fine Sales) 17.5% All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law. (see our Terms and Conditions of Sale). VAT The symbol * by a lot number indicates that VAT is payable by the purchaser at the standard rate on the hammer price. The symbol † by a lot number indicates that the lot has been temporarily imported from outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price and the buyer’s premium. No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006.

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Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk Damage and Restoration Occasionally when a lot has suffered extensive damage and/or restoration it is indicated in the catalogue. This is mentioned entirely at our discretion for the benefit of buyers. Where there is no mention of damage and/or restoration this should not be taken to mean that there is none. It is the buyer’s responsibility to ensure that the condition of lots is to their satisfaction (see our Terms and Conditions of Sale). Condition Reports If potential buyers are unable to inspect lots in person our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only and all lots are sold ‘as found’ (see our standard Terms and Conditions of Sale).

If you are unable to attend the sale we can normally arrange for you to bid on the telephone. This service is

To bid at the sale all potential

telephone bids must be confirmed in

buyers must be registered with us

writing, listing the relevant lots and

on or before the day of sale. We will

appropriate number to be called. We

need proof of identification and

recommend that a covering bid is

residence, and may require a bank

also left in the event that we are

reference. Potential buyers must

unable to make the call. We cannot

collect a bidding number before the

guarantee that lines will be

sale begins, and show that number

available, or that we will be able to

if successful in purchasing a lot.

call you on the day, but will

Please ensure that the auctioneer

endeavour to undertake such bids to

repeats the number correctly when

the best of our abilities.

confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable. If you have purchased a lot you may take your bidding

Methods of Payment Goods purchased will not be released until we have received full payment. Cash Cash payments can be made at the accounts desk during or after a sale. Cheque

number to the accounts department

Cheques should be made payable to

and receive an invoice immediately.

Lyon and Turnbull Ltd. We reserve

If you have not been successful

the right to wait until cheques have

please leave the number at the

been cleared by our bankers before

Registration or Reception desks. In writing Bid forms are available at the sale and at the back of the catalogue. These should be submitted in person, by post, or by fax as soon as

releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice.

possible prior to the sale and we will

Switch or Credit Cards

bid on your behalf up to the limit

Payment can be made by Switch,

indicated. In the event of receiving

Mastercard or Visa cards. There is a

two identical bids the first one received will take precedence. They

surcharge on credit card payments. Collection

must be received at the very latest

It is the buyer’s responsibility to

at least an hour before the sale. We

ascertain collection procedures,

will do our utmost to execute these

particularly if the sale is not being

bids but we offer this service entirely

held at our main saleroom.

at the bidder’s risk.


LY O N & T U R N B U L L Order of Sale

Lot Numbers

WEDNESDAY 14TH APRIL at 11am 1-48 51-218A

GLASS CERAMICS The Carole Berk Collection of Clarice Cliff

219-285

SILVER, JEWELLERY AND PLATED WARES

288-299

SCULPTURE

300-316

LIGHTING AND EPHEMERA

317-324

PICTURES

325-328

TEXTILES

330-395

FURNITURE

114-160

CERAMICS AND GLASS: Please note that damage and/or restoration is indicated in the catalogue at our discretion. We are pleased to provide condition reports on all lots for those who cannot view in person

INTERNET SERVICE: For colour illustrations of all lots in this sale please consult our website at www.lyonandturnbull.com

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LY O N & T U R N B U L L Decorative Arts

GLASS 1 EAA777/80 MONART RARE ‘PAISLEY PATTERN’ GLASS VASE, 1930s of ovoid form in a red colourway 22cm high

£300-500

2 LB281/1 MONART TAPERING GLASS VASE, 1930s with pink mottled inclusions 26.5cm high

£200-300 3 EY806/6 MONART CIRCULAR GLASS BOWL, 1930s the mottled yellow glass body with amber inclusions to the rim 23cm diameter

£150-200

4 EY935/6 MONART STYLE GLASS TABLE LAMP, 1930s the mushroom shade with green mottled glass with aventurine inclusions raised above a corresponding slender ovoid base

6 EZ582/25 JAMES COUPAR & SON, GLASGOW ‘CLUTHA’ GLASS VASE of double gourd form, pale green streaked glass with aventurine and milky trailed inclusions

35cm high

9.5cm high

£300-500

£200-300

8 LB191/1 PALME KONIG PAIR OF GILT METAL MOUNTED GLASS VASES, CIRCA 1910 each vase of bottle form with moulded ‘veining’ and applied crystalline surface, raised on flower-cast mounts and pad feet (2) 26cm high

5 EY806/4 MONART FOOTED GLASS VASE, 1930s of shouldered ovoid form with applied foot, the mottled green glass body with amber and aventurine inclusions

7 EZ582/24 JAMES POWELL & SONS, LONDON WHITEFRIARS OPALESCENT GLASS TAZZA, CIRCA 1890 the frilled bowl on scrolling wrought iron tripod base

25.5cm high

13cm diameter

£200-300

£200-300

£200-300 9 EZ533/2 LOETZ, AUSTRIA PAIR OF ‘OCTOPUS’ GLASS VASES, CIRCA 1890 each of slender ovoid form in brown glass with air trapped scrolls highlighted with gold enamelling, cream interior (2) 18cm high

£300-500

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LY O N & T U R N B U L L Decorative Arts

10 EZ517/17 THERESIENTHAL TWO ENAMELLED HOCK GLASSES, CIRCA 1900 one large, one medium size, each with ribbed clear glass bowls painted with flower petals and leaves in gilt and coloured enamels, with green glass stems and spreading bases (2) 29cm high, 23cm high

£400-600

11 EY784/7 JOSEF HOFFMANN FOR WIENER WERKSTATTE FACETTED GLASS BOWL, CIRCA 1910 the circular blue glass body with facetted sides, etched mark, 17cm across; A FACETTED BLUE GLASS VASE, AFTER JOSEF HOFFMANN, 9.5cm high; and A FACETTED PALE AMETHYST GLASS VASE, AFTER JOSEF HOFFMANN, baluster form, 15cm high (3) £300-500

12 EY784/4 MANNER JOSEF HOFFMANN SET OF FIVE LIQUEUR GLASSES each with pale green glass bowls and slender clear glass stems with spreading foot (5) £150-250

13 EY784/6 JOSEF HOFFMANN (ATTRIBUTED TO) ENAMELLED GLASS VASE, CIRCA 1910 the flared blue glass body painted in gilt and coloured enamels with a frieze of stylised flowers 19.5cm high

£800-1,200

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LY O N & T U R N B U L L Decorative Arts

14 EY784/1 DAGOBERT PECHE FOR WIENER WERKSTATTE FOOTED GLASS VASE, MADE BY OERTELHAIDA, 1919-20 amethyst glass overlaid with white glass and cut with star motifs (small chip to foot rim) 23cm high Literature: Neuwirth, Walter ‘Wiener Werkstatte, Avantgarde, Art Deco, Industrial Design’,1984, p.169 Note: This is one of only 11 examples made

£1,500-2,000

15 EY784/3 MOSER, KARLSBAD PAIR OF ‘ALEXANDRIT’ GLASS CANDLESTICKS, CIRCA 1910 each of pale blue glass the circular flared nozzles above tapering column with ribbed band on broad spreading foot, etched mark ‘Moser/ Bohemia/ Alexandrit’ (2)

16 EY784/74E MANNER OF JOSEF HOFFMANN CLEAR GLASS VASE of swollen cylindrical form with allover chequer design in deep relief, 23cm high; and AN AUSTRIAN SECESSION STYLE CLEAR CUT GLASS VASE, 23cm diameter (2) £150-200

30.5cm high

£200-300

17 EY784/8 JOSEF HOFFMANN (ATRIBUTED TO) PAIR OF GLASSES, CIRCA 1910 each clear glass body with flared rim, raised on a fluted base (2) 14.5cm high

18 EZ568/3 MICHAEL POWOLNY FOR LOETZ CIRCULAR GLASS BOWL, CIRCA 1905 of circular form, the orange undulating body with applied blue glass rim and three applied sphere feet

£250-350

23cm diameter

19 EZ517/15 ART NOUVEAU SILVER OVERLAID GLASS BOWL, CIRCA 1910 the undulating oval green glass body overlaid with Art Nouveau flowers and foliage 23cm across

£400-600

£200-300

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LY O N & T U R N B U L L Decorative Arts

20 EZ517/9 LALIQUE ‘FERRIERES’, OPALESCENT GLASS VASE, INTRODUCED 1929 the frosted glass body of tiered cylindrical form, moulded with bands of flowers, etched script mark ‘R. Lalique, France, No. 1019’ 17cm high

£600-800

21 EZ514/1 LALIQUE ‘BEAUTREILLIS’ OPALESCENT GLASS VASE, INTRODUCED 1927 the circular clear glass bowl above a frosted cylindrical base moulded with an allover cabochon design, moulded marks ‘R. Lalique’, wheel etched mark ‘France’ 14.3cm high

£600-800

22 EZ488/129 LALIQUE ‘GUI’ OPALESCENT GLASS BOWL of circular form moulded with fruiting mistletoe, wheel etched mark ‘R. Lalique, France’, etched script mark ‘No. 3223’ 23.5cm diameter

£150-250

23 EZ488/130 LALIQUE FROSTED GLASS PERFUME BOTTLE AND STOPPER, 1930s the clear and frosted glass body of tapering square section, moulded with overlapping leaf design, etched script mark ‘R. Lalique France’ 12cm high

£100-200

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24 EZ517/7 LALIQUE ‘EUCALYPTUS’ OPALESCENT GLASS VASE, CIRCA 1925 the frosted glass body moulded with fruits and leaves, moulded mark ‘R. Lalique’, etched script mark ‘France’ (small chip to rim) 17cm high

£200-300

25 EY800/10 LALIQUE ‘COQUILLES’ GLASS FRUIT BOWL, CIRCA 1930 moulded with cockle shell motifs, etched script mark ‘R. Lalique’ 24cm diameter

£150-250


LY O N & T U R N B U L L Decorative Arts

26 LB184/1 LALIQUE ‘DANAIDES’ OPALESCENT GLASS VASE (NO. 972), INTRODUCED 1932 moulded with a frieze of naked maidens pouring water from urns, ground foot rim, wheel etched mark ‘R. Lalique, France’ and etched script mark ‘No. 972’ 18cm high

£1,000-1,500

27 EZ517/8 LALIQUE ‘MONNAIE DU PAPE’ FROSTED GLASS VASE, INTRODUCED 1914 no. 897, the swollen cylindrical body moulded with honesty, moulded mark ‘R. Lalique’ 23cm high

£800-1,200

29 EY641/1 LALIQUE FROSTED GLASS DOVE ORNAMENT, MODERN etched mark ‘Lalique, France’

tallest 17.5cm high

30 EZ488/133 LALIQUE FROSTED GLASS CROUCHING FIGURE, MODERN etched mark ‘Lalique France’, 6cm high; and A MODERN LALIQUE CLEAR AND FROSTED GLASS BOXED STOPPER, etched script mark,15cm long (2)

£200-300

£100-200

28 EZ564/1 LALIQUE THREE GLASS FIGURES OF PARTRIDGE, MODERN the three frosted and clear glass figures in various poses, each standing on a naturalistic base, etched script mark ‘Lalique, France’ (3)

13cm long

£100-200

31 EY809/3 ART DECO CLEAR AND FROSTED GLASS FIGURE, 1930s depicting a naked female form, in the manner of Rene Lalique 23cm high

£100-200

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LY O N & T U R N B U L L Decorative Arts

32 EY497/1 LALIQUE ‘DAHLIAS’ CIRCULAR BOWL, DESIGNED 1921 frosted glass with original brown staining, moulded with flowers and foliage, wheel etched mark ‘R, Lalique, France’ 30.4cm diameter

£400-600

33 EZ565/4 LALIQUE ‘COQUILLES’, A GROUP OF OPALESCENT GLASS WARES to include, three graduated plates, 26cm, 20cm and 16cm diameter, and a circular bowl, 16cm diameter, each with wheel etched mark ‘R. Lalique, France’; also A LALIQUE ‘VOLUTES’ OPALESCENT GLASS BOWL, introduced 1934, of circular form moulded with spiralling bubble design, stencil etched mark ‘R. Lalique, France’, drilled, 20cm diameter (5) £300-500

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34 EZ565/5 LALIQUE A GROUP OF GLASSES, 1930s to include seven ‘Pouilly’ glasses, moulded with a band of fish, etched marks ‘R. Lalique, France’; a single small ‘Pouilly’ liqueur glass; a single ‘Dampierre’ glass; a small Sabino opalescent glass model of a fish, 5cm high; and a Baccarat clear glass figure of a rabbit, 8cm high, all bear makers marks (11) £150-250

35 EAA777/76 EMILE GALLÉ CAMEO GLASS VASE, CIRCA 1910 of ovoid form, the grey glass body overlaid with purple and acid etched with pansies, cameo signature ‘Gallé’, bears original paper label 7cm high

£300-400

36 EZ488/127 SABINO ‘BUTTERFLY’ OPALESCENT GLASS PERFUME BOTTLE AND STOPPER 10.5cm high; A SABINO ‘FEATHER’ OPALESCENT GLASS PERFUME BOTTLE AND STOPPER, 10cm high; A SABINO ‘MAIDEN’ OPALESCENT GLASS PERFUME BOTTLE AND STOPPER, 15cm high; and A SABINO ‘LEAF AND BERRY’ OPALESCENT GLASS BOWL, 14cm high, each with moulded marks (4) £200-300


LY O N & T U R N B U L L Decorative Arts

37 EY806/5 DAUM, NANCY CAMEO GLASS VASE, CIRCA 1900 the tapering cylindrical body in mottled orange and clear glass overlaid and acid etched with trees in a landscape and overpainted with coloured enamels, painted mark ‘Daum/ Nancy’ 29cm high

£500-700

38 EZ517/5 DAUM GLASS TABLE LAMP, 1920s with frosted glass tapering shade, acid etched with stylised plant forms and raised on corresponding cylindrical column with spreading base, moulded mark to base ‘Daum, Nancy, France’, fitted for electricity 30cm high

£600-800

39 EY784/74C HERBERT WEBB FOR WEBB CORBETT GLASS DRINKS SET comprising: a decanter and stopper, and eight tumblers, each with cut wavy banding (9) decanter 25cm high

£100-200

40 EY784/74B CLYNE FARQUHARSON FOR JOHN WALSH WALSH THREE CUT GLASS VASES, LATE 1930s one of shouldered form with cut bands of leafy tendrils and ribbed decoration to the rim, 25cm high; another similar vase of squat baluster form, 20cm high; and a flared vase with stylised foliate banding, 21cm high, each with etched signature mark (3) £200-300

41 EZ237/69 ULRICA HYDMAN-VALLIEN FOR KOSTA BODA, SWEDEN PAINTED GLASS VESSEL, CIRCA 1980 the mottled blue glass painted with an abstracted face on a speckled white ground, signed, bears original paper label, etched marks to base 48744, raised on an ebonised plinth (2) 26.5cm high

42 EZ283/28 SIMON MOORE LARGE ‘INCALMO’ GLASS BOWL, DATED 1997 of tapered circular form, etched signature to base, 30.5cm diameter; A SIMON MOORE GREEN TAPERING GLASS VASE, 38cm high; and A BLUE GLASS BOTTLE AND STOPPER, 36cm high, both with etched signature marks (3)

£150-250

£200-300

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LY O N & T U R N B U L L Decorative Arts

43 EZ283/29 ETTORE SOTTSASS FOR MEMPHIS, MILAN ‘SOL’ GLASS TAZZA, 1980s the blue bowl lined in white on a clear hollow stem and red and white domed foot, engraved mark, ‘E. Sottsass per Memphis’ 31cm diameter

£400-600

44 EZ283/28A LINDEAN MILL THREE GLASS VASES, CIRCA 1997 each of trumpet form, two with engraved mark ‘LM ‘97’ (3) 67cm, 49cm, 32cm high

£150-250 45 EY784/74A KEITH MURRAY FOR STEVENS & WILLIAMS ‘ROYAL BRIERLEY’ GLASS VASE graduated pale green glass with bubble inclusions, the tapering cylindrical body with applied foot, etched mark 30cm high

£150-250

46 EY784/74 KEITH MURRAY FOR STEVENS & WILLIAMS ‘ROYAL BRIERLEY’ GLASS VASE bottle green glass with slender body with flared rim and twin applied handles, etched mark, 25cm high; and another ‘ROYAL BRIERLEY’ GLASS VASE BY KEITH MURRAY, the bottle green glass body of slender baluster form with applied foot, etched mark, 28cm high (2) £300-500

47 EY784/74D KEITH MURRAY FOR STEVENS & WILLIAMS ‘ROYAL BRIERLEY’ CUT GLASS VASE clear glass with swollen cylindrical body and applied foot, cut to the rim with bands of stylised leaves and with loved facets to the base, etched mark, 20cm high; and possibly ‘ROYAL BRIERLEY’ CLEAR GLASS VASE BY KEITH MURRAY, the clear glass body of tapering form with applied foot, cut to the rim with stylised leaves and to the body with allover spheres, 30cm high; and A LARGE CUT GLASS BOWL, with stylised leaf banding to the rim, 24cm diameter (3) £150-200

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48 EY784/72 KEITH MURRAY FOR STEVENS & WILLIAMS ‘ROYAL BRIERLEY’ GLASS VASE pale green glass with globular ribbed body, etched mark, 25.5cm high; and another ‘ROYAL BRIERLEY’ GLASS VASE BY KEITH MURRAY, the blue/grey glass body of squat baluster form, etched mark, 25cm high (2) £300-400 49-50 No lots


LY O N & T U R N B U L L Decorative Arts

CERAMICS 51 EY158/77 WILLIAM DE MORGAN LUSTRE CIRCULAR DISH, CIRCA 1900 decorated by Charles Passenger in ruby and ochre lustres with four scaly fish before a scrolling aquatic ground, the reverse with concentric bands, painted mark ‘C.P.’ 25.5cm diameter

£1,000-1,500

52 EX102/23 MARTIN BROTHERS STONEWARE CHARACTER JUG, DATED 1882 of ovoid form, incised with foliage and woodland creatures, incised marks to base and handle ‘R W Martin London Southall 6-7-1882’ (extensive damage)

53 EZ514/5 ELTON WARE THREE HANDLED TYG, CIRCA 1890 of cylindrical form with undulating rim, slipdecorated with sprays of flowers on a green-glazed ground, painted mark ‘Elton’

£200-300

£200-300

21cm high

54 EZ582/30 DELLA ROBBIA, BIRKENHEAD BOTTLE VASE, CIRCA 1890 with tube lined foliate decoration, glazed in pale blue, incised marks 35cm high

£200-300

55 EY935/7 WILLIAM DE MORGAN TWO CERAMIC TILES, CIRCA 1890 one painted with five flower stems, in aubergine and green on a white ground impressed mark, minor rim chips, impressed Merton Abbey marks, 15.5cm square; the other with panels of flowers in aubergine and blue, impressed post 1882 mark ‘W de Morgan’, 15cm square (2) £200-300

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LY O N & T U R N B U L L Decorative Arts

56 EY935/2 WALTER CRANE FOR MINTON ‘THE FROG PRINCE’, FRAMED CERAMIC TILE, CIRCA 1880 blue printed on white 20cm square Literature: Spencer, Isobel ‘Walter Crane’, published New York, 1975, page 48

£400-600

57 EV490/5 WALTER CRANE (MANNER OF) FOR PILKINGTONS CERAMIC TILE, CIRCA 1900 depicting a maiden picking daffodils in a landscape, incised mark 689, ink mark ‘5/11’ 20cm x 12cm

£200-300

58 EZ542/1 AESTHETIC MOVEMENT GLAZED EARTHENWARE LAMP BASE, CIRCA 1880 of baluster form, decorated with foliate bands 40.5cm high

£100-200

59 EZ582/43 AFTER WALTER CRANE PAIR OF HAND PAINTED PLATES, CIRCA 1880 one decorated with a shepherdess looking for her sheep, the other with a courting couple (2) 26cm diameter

£200-300

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61 EZ582/33 CHRISTOPHER DRESSER ‘OLD HALL’ EWER, CIRCA 1880 printed marks

60 EZ582/29 CHRISTOPHER DRESSER WATCOMBE TERRACOTTA HOT WATER JUG, CIRCA 1875 with plated mounts, printed marks

34cm high

23.5cm high

£80-120

£150-200


LY O N & T U R N B U L L Decorative Arts

62 EZ582/20 WILLIAM DE MORGAN TILED PANEL, CIRCA 1880 composed of six Iznik tiles with carnation design, mounted and framed 45cm x 30cm (excluding frame)

£500-700

63 EZ582/21 WILLIAM DE MORGAN FRAMED TILE, CIRCA 1890 painted blue on white with a galleon in full sail, framed 15cm square

£200-300

64 EZ582/31 C. H. BRANNAM LARGE TERRACOTTA SCRAFFITO JUG, DATED 1890 decorated in coloured enamels with a crouching rodent on a leafy branch, reserved on a pale cream ground, incised marks

65 EY786/4 FREDERICK RHEAD (MANNER OF) LARGE JARDINIERE ON STAND, CIRCA 1900 printed in blue on white with gilded decoration, with friezes of flying geese over water, unmarked (2)

35cm high

114cm high

£200-300

£300-400

66 EZ517/16 RUSKIN BALUSTER VASE, DATED 1910 covered in a mottled purple glaze, impressed marks, 21cm high; A DOULTON FLAMBÉ VASE, decorated with red flambé glazes, printed marks, 18cm high; and TWO ROYAL DOULTON VASES, 16cm and 15 cm high (4) £300-400 15


LY O N & T U R N B U L L Decorative Arts

67 EAA676/14 BERNARD MOORE SET OF TWENTY-FOUR DESSERT PLATES, CIRCA 1920 each covered with coloured glazes, including sang de boeuf, crystalline glazes in deep blue and mottled amber and red, etc, each with painted mark to base ‘Bernard Moore’, 22.5cm diameter

£300-500

68 EAA676/14A BERNARD MOORE SET OF SIX SERVING DISHES, CIRCA 1920 each of lobed square outline, decorated with fruiting vines on a sang de boeuf ground, painted mark to base ‘Bernard Moore’ (6)

69 EAA676/14B BERNARD MOORE BOTTLE VASE, CIRCA 1920 decorated with stylised flowers, painted mark to base ‘Bernard Moore’, 15cm high; and A BERNARD MOORE BOTTLE VASE, unmarked, 14cm high (2)

22cm across

£100-150

£300-500

70 EZ514/3 PILKINGTON ROYAL LANCASTRIAN CLASSICAL FIGURE, CIRCA 1910 modelled as a classical female figure in pleated dress and flowing cloak raised on a plinth with Greek key frieze, impressed mark, incised initials 21cm high

£300-400

71 EZ514/9 COLDRUM WARE SHOULDERED VASE, CIRCA 1915 covered in a mottled green glaze on a brown ground, impressed mark to base ‘Coldrum/ Chelsea’ 16cm high

£150-200 72 EZ582/28 JOHN HASSAL FOR DOULTON BOWL, CIRCA 1910 facetted circular form with decorative panels, printed marks 41cm across

£100-150

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LY O N & T U R N B U L L Decorative Arts

73 EY783/1 MOORCROFT POTTERY ‘PANSIES’ BALUSTER VASE, CIRCA 1915 decorated with a band of flowers on a white ground, impressed factory marks, signed in green 15cm high

£300-500

74 EZ494/1 MOORCROFT ‘LEAF AND BERRY’, SHOULDERED VASE, CIRCA 1930 decorated in shades of green, impressed marks, signed in blue 25cm high

£300-500

75 EZ473/2 MOORCROFT ‘EVENTIDE’, JAR AND COVER, CIRCA 1930 traces original printed paper label, impressed factory marks, initialled in blue ‘W.M.’ 16.5cm diameter

£600-800

17


LY O N & T U R N B U L L Decorative Arts

76 EZ626/1 MOORCROFT FOR LIBERTY & CO ‘BARA WARE’ FOOTED BOWL, CIRCA 1915 printed marks, signed in green 15cm diameter

£300-400 77 EZ488/1 MOORCROFT ‘LEAF AND BERRY’ JUG, 1930s impressed marks, bears initials 15cm high

£100-200 78 EZ488/2 MOORCROFT ‘SPRING FLOWERS’ CYLINDRICAL JAR AND COVER, 1930s 9cm high (restored cover); and A MOORCROFT ‘CLEMATIS’ CYLINDRICAL JAR AND COVER, 1930s, 9cm high, both with impressed marks; also A MOORCROFT ‘CLEMATIS’ BALUSTER VASE, 13cm high (3) £100-150 79 EZ488/11 MOORCROFT ‘ANEMONES’ SHOULDERED VASE 11cm high; A MOORCROFT ‘ORCHIDS’ OVOID VASE, 7cm high; A MOORCROFT ‘COLUMBINE’ VASE, 7cm high; and A MOORCROFT ‘HIBISCUS’ VASE, 9.5cm high, all with impressed marks (4) £250-350

18

80 EZ488/17 MOORCROFT ‘ANEMONES’ SHOULDERED VASE, CIRCA 1950 impressed marks, initialled in green, 18.5cm high; and A MOORCROFT ‘ANEMONE’ VASE, circa 1950, impressed marks, initialled in blue, 16cm high (2) £200-300 81 EZ488/19 WILLIAM MOORCROFT FOR JAMES MACINTYRE & CO ‘POPPIES’ GESSO FAIENCE HOT WATER JUG, CIRCA 1900 printed mark 14.5cm high

£100-200 82 EZ488/25 MOORCROFT ‘LEAF AND BERRY’ TAPERING VASE, 1940s impressed marks, initialled in blue, bears paper label 23cm high

£100-200 83 EZ488/34 MOORCROFT PAIR OF ‘CLEMATIS’ CANDLESTICKS, 1940s impressed marks (restored rims), 10cm high; and A MOORCROFT PLATE, decorated with ‘Spring Flowers’, impressed mark, 17cm diameter (3) £100-200

84 EZ488/53 WILLIAM MOORCROFT FOR J. MACINTYRE & CO A FLORIANWARE COFFEE CAN AND SAUCER, CIRCA 1900 also A GESSO FAIENCE COFFEE CAN AND SAUCER, printed marks; A FLORIANWARE SAUCER FOR LIBERTY & CO, signed in green; and A GESSO FAIENCE PEPPER POT, printed marks (6) £250-300 85 EZ488/55 MOORCROFT ‘CLEMATIS’ POWDER BOWL AND COVER, CIRCA 1930 impressed marks, 22cm diameter; and A MOORCROFT ‘ANEMONE’ SQUAT BALUSTER VASE, circa 1950, impressed marks, initialled in blue, 18cm high (restoration) (2) £100-200 86 EZ488/73 MOORCROFT ‘LATE FLORIAN’ CANDLESTICK 8cm high; and A MOORCROFT FLAMBÉ PIN DISH, circa 1950, in the ‘Columbine’ pattern, 7cm across (2) £150-250


LY O N & T U R N B U L L Decorative Arts

87 EZ488/72 MOORCROFT ‘ANEMONE’ FLAMBÉ JUG, 1950s impressed marks 1cm high

88 EZ488/59 MOORCROFT ‘ORCHID’ FLAMBÉ PLATE, 1950s impressed marks, initialled in blue, bears paper label

89 EZ488/74 MOORCROFT ‘LEAF AND BERRY’ FLAMBÉ PIN DISH, CIRCA 1930 of circular form, impressed mark

90 EZ488/41 MOORCROFT ‘ANEMONE’ FLAMBÉ VASE, CIRCA 1950 impressed marks, initialled in blue

£150-180

21.5cm high

7.5cm diameter

22cm high

£150-250

£150-250

£300-400

92 EZ488/44 MOORCROFT ‘LEAF AND BERRY’ PLATE AND VASE, CIRCA 1930 each with impressed marks, plate initialled in blue (2)

93 EZ488/45 MOORCROFT ‘PLUM WISTERIA’ PRESERVE JAR AND PLATE, CIRCA 1930 each with impressed marks, plate initialled in blue (2)

21cm diameter and 8cm high (2)

9cm high and 18.5cm diameter

£150-200

£150-180

94 EZ488/50 MOORCROFT ‘POMEGRANATE’ VASE AND PRESERVE JAR AND COVER, CIRCA 1930 the baluster vase with impressed marks, the jar with plated mounts, impressed marks, initialled in green (2)

91 EZ488/43 MOORCROFT ‘PANSIES’ PLATE, CIRCA 1950 impressed marks, initialled in blue, 18.5cm diameter; and A MOORCROFT ‘PANSIES’ PIN DISH, circa 1930, impressed marks, initialled in green, 10cm diameter (2) £150-250

13cm and 9cm high

£100-150

19


LY O N & T U R N B U L L Decorative Arts

95 EZ488/98 MOORCROFT GROUP OF FOUR PLATES, 1950s AND 1960s ‘Lily’, 25.5cm diameter; ‘Clematis’, 18.5cm diameter; ‘Arum Lily’, 22cm diameter; and ‘Bougainvillaea’, 26cm diameter, each with impressed marks (4) £150-250 96 EZ488/98A MOORCROFT GROUP OF WARES, CIRCA 1950 to include a tapering ‘Hibiscus’ vase, 18cm high; a ‘Clematis’ tapered vase, 11cm high, a ‘Clematis’ bottle vase, 12cm high; and a ‘Hibiscus’ bowl, 13cm diameter, all with impressed marks (4) £150-250 97 EZ488/98B MOORCROFT GROUP OF FIVE PIN DISHES 1930s-1950s ‘African Lily’; ‘Orchid’; ‘Spring Flowers’; ‘Columbine’; and ‘Bermuda Lily’, each with impressed marks (5)

98 EZ488/98C MOORCROFT GROUP OF WARES, CIRCA 1950 TO 1970s to include ‘Anemones’ baluster vase, 13.5cm high; ‘Arum Lily’ trefoil tray, 13cm across; ‘Magnolia’ ashtray, 13.5cm across; ‘Magnolia’ pin dish, 12cm; ‘Clematis’ oval box and cover, 13cm across; and a ‘Clematis’ candle base, 13cm across, each with impressed marks (6) £150-250 99 EZ488/101 PHILIP GIBSON FOR MOORCROFT ‘MIDSUMMER SURPRISE’ GINGER JAR AND COVER, DATED 2002 limited edition of 25, impressed, painted and printed marks (2) 15cm high

£150-250

each approx. 11cm diameter

100 EZ488/111 MOORCROFT SIX ‘SPRINGTIME’ EGGCUPS, DATED 2004 printed, impressed and painted marks, boxed (6)

£150-200

each 5cm high

£150-250

101 EAA778/1B MOORCROFT TWO CERAMIC LAMP BASES, LATE 20TH CENTURY one of shouldered form, decorated with fruiting holly trees, the other of baluster form decorated with stylised trees, fitted for electricity and raised on a wooden plinth (2) 29cm and 34cm high

£200-300 102 EAA778/1A MOORCROFT TWO CERAMIC LAMP BASES, LATE 20TH CENTURY both of baluster form, one decorated with ‘Finches’ pattern, the other decorated with sunflowers, fitted for electricity and raised on a wooden plinth (2) 22cm and 27cm high

£200-300 103 EAA778/1 MOORCROFT TWO CERAMIC LAMP BASES, LATE 20TH CENTURY both of baluster form, one decorated with tulips, the other decorated with orchids and waterlilies, fitted for electricity and raised on a wooden plinth (2) 34cm and 33cm high

£200-300

20

103A MOORCROFT 'IRIS' JUG, DATED 1996 impressed and painted marks, 23.5cm high; and A RACHEL BISHOP FOR MOORCROFT 'A TRIBUTE TO C.R. MACKINTOSH' WAISTED VASE, 2004, impressed and painted marks, 25cm high; and A MOORCROFT 'SYMPHONY' BONBONNIERE AND COVER, BY EMMA BOSSONS, dated 2003, printed and painted marks, 23cm high (3) £150-250


LY O N & T U R N B U L L Decorative Arts

104 EZ488/112 EMMA BOSSONS FOR MOORCROFT ‘LA TULIPE NOIRE’, TALL BALUSTER VASE, DATED 2003 limited edition 12/100, painted and impressed marks 31cm high

£100-200

105 EZ488/105 SALLY TUFFIN FOR MOORCROFT ‘SWEET PEA’ BALUSTER VASE, 1991 impressed, printed and painted marks, 27.5cm high; and A MOORCROFT ‘COLUMBINE’ VASE, 1980-85, impressed mark, initialled in green, 19cm high (2) £150-250

106 EZ488/113 KERRY GOODWIN FOR MOORCROFT ‘WOOD NYMPH’, BOTTLE VASE, 2008 limited edition 8/150, painted and impressed marks

107 EZ488/103 SALLY TUFFIN FOR MOORCROFT ‘BLUE FINCHES’ BALUSTER VASE, 1988 impressed and painted marks

24cm high

£200-300

£350-400

26.5cm high

108 EZ488/116 PHILIP GIBSON FOR MOORCROFT ‘LIZARD ORCHID’ BALUSTER VASE, DATED 2000 impressed and painted marks, 21cm high; and A RACHEL BISHOP FOR MOORCROFT ‘PHOENIX BIRD’ BOTTLE VASE, dated 1996, painted and impressed marks, 21cm high (2)

109 EZ488/110 RACHEL BISHOP FOR MOORCROFT ‘WORDSWORTH’ SHOULDERED VASE, 2004 limited edition, 116/150, impressed and painted marks 21.5cm high

£200-300 110-113 No lots

£200-300

21


The Carole Berk Collection of Clarice Cliff Carole Berk stated collecting Clarice Cliff in the late 1980s on a trip to New York where she spotted Clarice Cliff for sale in Barneys. ‘It was love at first sight. I loved the vibrant colors and unusual shapes. When my husband and I travelled to London for Wimbledon that same year we were browsing at Alfie's. It was there again that I saw masses of Cliff pottery and decided to buy some pieces for myself.’

through her hands. Her house in Washington is filled with ceramics of the period including Keith Murray and Poole Pottery, which will also be included in the sale. ‘I was also starting to collect other ceramics; namely Keith Murray, Poole, Picasso ceramics, some Lalique glass and a few others. I love ceramics more than any other decorative art. I love the touch and the way the pattern moves around on it.’

‘The first piece I purchased was a magnificent tall baluster with the tulip pattern, and from there it was on to the globes, geometrics and other special patterns. I believe it was for the shapes more than the patterns that I began to collect.’

Carole Berk comments that she will miss living with her Clarice Cliff every day but that it is time to move on. ‘I am selling most of my collection because I am trying to simplify my life. The pottery is wonderful to look at and live with. I hope that it will go to someone that will enjoy it as much as I have.’

Carole went on to buy and sell Clarice Cliff in a big way and over the last twenty years many superb pieces have passed

114 EY784/60 CLARICE CLIFF ‘LATONA TREE’ CIRCULAR CHARGER painted in coloured enamels, printed and painted factory marks 45cm diameter

£800-1,200

23


LY O N & T U R N B U L L Decorative Arts

115 EY784/62 CLARICE CLIFF ‘MELONS’ JARDINERE painted in coloured enamels, printed factory marks 20cm high

£250-350

116 EY784/63 CLARICE CLIFF ‘POPLAR’ JARDINIERE painted in coloured enamels, printed factory marks 20cm high

£350-450

117 EY784/64 CLARICE CLIFF ‘BIZARRE’ TWIN HANDLED LOTUS VASE painted in coloured enamels, printed factory marks 28.5cm high

£300-400

24

118 EY784/45 CLARICE CLIFF LARGE ‘INSPIRATION’ BALUSTER VASE self-coloured turquoise glaze, printed and painted factory marks

119 EY784/38 CLARICE CLIFF ‘CROCUS’ MEDIUM BALUSTER VASE painted in coloured enamels, printed and painted factory marks

42cm high

31cm high

£300-400

£100-200


LY O N & T U R N B U L L Decorative Arts

120 EY784/61 CLARICE CLIFF ‘INSPIRATION KNIGHT ERRANT’ CIRCULAR CHARGER painted in coloured enamels, printed and painted factory marks 45cm diameter

£2,000-3,000

121 EY784/41 CLARICE CLIFF LARGE ‘INSPIRATION PERSIAN’ BALUSTER VASE painted in coloured enamels, printed factory marks 31.5cm high

£1,000-1,500

15.5cm high

123 EY784/44 CLARICE CLIFF ‘INSPIRATION’ DOUBLE CONICAL VASE painted in coloured enamels, painted factory mark ‘Inspiration’

£300-400

18cm high

122 EY784/48 CLARICE CLIFF ‘ORANGES AND LEMONS’ JUG painted in coloured enamels, printed factory marks

£400-600

25


LY O N & T U R N B U L L Decorative Arts

124 EY784/30 CLARICE CLIFF LARGE ‘CHERRY’ JUG painted in coloured enamels, printed factory marks 26.5cm high

£300-400

125 EY784/55 CLARICE CLIFF ‘RED GARDENIA’ GEOMETRIC JUG painted in coloured enamels, printed factory marks 17.5cm high

£300-400

126 EY784/49 CLARICE CLIFF ‘HONOLULU’ JUG painted in coloured enamels, printed factory marks 14cm high

£300-400

127 EY784/14 CLARICE CLIFF ‘LEAF TREE’ VASE, SHAPE 451 painted in coloured enamels, cafe au lait green ground, printed factory marks

128 EY784/39 CLARICE CLIFF ‘LILY’ FOOTED BOWL of circular form with paw feet, painted in coloured enamels, printed factory marks

129 EY784/33 CLARICE CLIFF ‘DELICIA PANSIES’ LONGBOAT painted in coloured enamels, printed factory marks

31.5cm diameter

28cm long

20cm high

£400-600

£200-300

£300-400

26


LY O N & T U R N B U L L Decorative Arts

130 EY784/31 CLARICE CLIFF ‘AUTUMN’ SMALL BALUSTER VASE painted in coloured enamels, green cafe au lait ground, printed factory marks 22cm high

£300-400

131 EY784/37 CLARICE CLIFF ‘GIBRALTAR’ MEDIUM BALUSTER VASE painted in coloured enamels, printed factory marks (minor restoration) 22.5cm high

£300-400

132 EY784/56 CLARICE CLIFF ‘BLUE W’ TWIN HANDLED LOTUS VASE painted in coloured enamels, printed factory marks 30cm high

£3,000-4,000

27


LY O N & T U R N B U L L Decorative Arts

133 EY784/36 CLARICE CLIFF ‘RODANTHE’ LARGE BALUSTER VASE painted in coloured enamels, printed factory marks 42cm high

£300-400

134 EY784/28 CLARICE CLIFF LARGE ‘LYDIAT’ YO-YO VASE painted in coloured enamels, printed factory marks 45.5cm high

£1,200-1,800

28


LY O N & T U R N B U L L Decorative Arts

135 EY784/25 CLARICE CLIFF ‘HONOLULU’ CONICAL SIFTER painted in coloured enamels, printed factory marks 13.5cm high

£600-800

136 EY784/24 CLARICE CLIFF ‘BERRIES’ CONICAL SIFTER painted in coloured enamels, printed factory marks 14cm high

£400-600

137 EY784/23 CLARICE CLIFF ‘PASTEL MELONS’ CONICAL SIFTER painted in coloured enamels, printed factory marks 13.5cm high

£300-400

138 EY784/15 CLARICE CLIFF ‘FOREST GLEN’, LYNTON SUGAR SIFTER painted in coloured enamels, printed factory marks (minor restoration) 12.5cm high

£200-300

29


LY O N & T U R N B U L L Decorative Arts

139 EY784/65 CLARICE CLIFF EXTENSIVE ‘SECRETS’ DINNER SERVICE comprising: 8 dinner plates; 8 fish plates; 8 side plates; a gravy boat; a large oval serving dish, 43cm across; two smaller oval serving dishes; a ‘Biarritz’ vegetable dish and cover, 19cm across; and a pair of ‘Biarritz’ sauce dishes and covers, each with original ladle, 15.5cm across, painted in coloured enamels, printed factory marks (31 pieces) £1,200-1,800 140 EY784/66 CLARICE CLIFF ‘MOWCOP’ DINNER SERVICE comprising: 6 dinner plates; 6 fish plates; 6 side plates; 4 twin handled soup bowls; a medium sized oval serving dish, 32cm across; another smaller; a ‘Stamford’ vegetable tureen and cover, 24cm across; and two ‘Stamford’ sauce dishes and covers, painted in coloured enamels, printed factory marks (27 pieces) £400-600

141 EY784/16 CLARICE CLIFF ‘RODANTHE’, GLOBE VASE, SHAPE 370 painted in coloured enamels, printed factory marks 15cm high

£200-300

142 EY784/17 CLARICE CLIFF ‘INSPIRATION’, GLOBE VASE, SHAPE 370 painted in coloured enamels on a turquoise ground, printed and painted factory marks

143 EY784/29 CLARICE CLIFF ‘LATONA TREES’ CYLINDRICAL VASE painted in coloured enamels, printed and painted factory marks (restored)

144 EY784/139 CLARICE CLIFF CONICAL BOWL painted in black with orange, red, blue and yellow coloured enamel supports, printed and painted factory marks

29cm high

20cm diameter

15cm high

£150-250

£150-250

£300-500

30


LY O N & T U R N B U L L Decorative Arts

145 EY784/13 CLARICE CLIFF ‘KINDINA’, GLOBE VASE painted in coloured enamels, painted and painted factory marks

146 EY784/10 CLARICE CLIFF ‘DELICIA CITRUS’, GLOBE VASE, SHAPE 370 painted in coloured enamels, printed factory marks

13cm high

£200-300

149 EY784/46 CLARICE CLIFF ‘BIZARRE’ OVOID VASE, SHAPE 362 painted with coloured enamels, printed marks, 20cm high; and A CLARICE CLIFF ‘BIZARRE’ JUG, painted with coloured enamels, printed marks, 20cm high; and A PAIR OF CLARICE CLIFF ‘BIZARRE’ CANDLESTICKS, painted with coloured enamels, printed and painted marks, 8cm high (4) £250-400

15cm high

147 EY784/11 CLARICE CLIFF ‘CHINTZ’, GLOBE VASE, SHAPE 370 orange colourway, painted in coloured enamels, printed factory marks

148 EY784/18 CLARICE CLIFF ‘INSPIRATION’, GLOBE VASE, SHAPE 370 painted in coloured enamels on a turquoise ground, painted factory marks

£200-300

15cm high

15cm high

£400-500

£400-600

151 EY784/57 CLARICE CLIFF GROUP OF ‘BIZARRE’ SIDE PLATES AND TRAY comprising: five octagonal side plates and a facetted oblong tray, each painted in coloured enamels, printed factory marks (6)

153 EY784/137 DOLLY CLIFF FOR WILKINSONS ‘DAHLIA’ WASHSET, CIRCA 1928 decorated with flowers and a lattice design and comprising: a ewer, basin, toothbrush beaker and soap dish, printed marks 940, ewer, 25cm high; and A SHORTER & SONS ‘AZTEC’ PATTERN JUG, designed by Mabel Leigh, 18.5cm high (2)

150 EY784/51 CLARICE CLIFF ‘DELICIA’ MOULDED AND STREAKED BALUSTER VASE covered in streaked coloured enamels, printed factory marks, 24cm high; and A CLARICE CLIFF ‘DELICIA’ THREE TREE SPILL VASE GROUP, printed marks, 11cm high (2) £300-400

plates 14.5 across, tray 29cm across

£250-350 152 EY784/136 CLARICE CLIFF ‘MY GARDEN’ PAIR OF JUGs each with moulded floral handles, printed, impressed and painted marks (2)

£250-350

23cm high

£200-300 31


In 1934, Harrods organised an exhibition called 'Modern Art for the Table', featuring ceramics and glass designed by leading artists of the day, including Paul Nash, Graham Sutherland, Eric Ravilious and Dame Laura Knight. Their creations, which consisted of hand-painted designs for pottery, and cut and engraved patterns on glass, were produced by leading tableware manufacturers such Clarice Cliff (A J Wilkinson's Ltd, and their subsidiary Newport Pottery) and Stuart Crystal. A year later the merits of this collaboration were displayed once again, this time in a high-profile exhibition at the Royal Academy, called British Art in Industry and the following seven lots by Dame Laura Knight were made for this venture.

154 EY784/58 DAME LAURA KNIGHT FOR CLARICE CLIFF GROUP OF EIGHT ‘CIRCUS’ DINNER PLATES, DESIGNED 1934 printed and painted in gilt and coloured enamels with clowns, acrobats and performing animals, printed factory marks (8) £1,500-2,000

32


LY O N & T U R N B U L L Decorative Arts

155 EY784/58A DAME LAURA KNIGHT FOR CLARICE CLIFF GROUP OF SIX ‘CIRCUS’ PLATES, DESIGNED 1934 including three dinner plates and three side plates, printed and painted in gilt and coloured enamels with clowns, acrobats and performing animals, printed factory marks (6) £800-1,200

33


LY O N & T U R N B U L L Decorative Arts

156 EY784/59 DAME LAURA KNIGHT FOR CLARICE CLIFF CIRCUS’ TUREEN AND COVER, DESIGNED 1934 printed and painted in gilt and coloured enamels with clowns and acrobats, printed factory marks (2) 29cm across

£800-1,200

157 EY784/100 DAME LAURA KNIGHT FOR CLARICE CLIFF ‘CIRCUS’ TEAPOT AND COVER, DESIGNED 1934 printed and painted in gilt and coloured enamels with clowns and acrobats, printed factory marks (2) 18cm high

£400-600

158 EY784/100A DAME LAURA KNIGHT FOR CLARICE CLIFF ‘CIRCUS’ OVAL SERVING DISH, DESIGNED 1934 printed and painted in gilt and coloured enamels with clowns and acrobats, printed factory marks (2) 47cm across

£400-600

34


LY O N & T U R N B U L L Decorative Arts

159 EY784/27 DAME LAURA KNIGHT FOR CLARICE CLIFF SIX ‘CIRCUS’ COFFEE CUPS AND SAUCERS, DESIGNED 1934 printed and painted in gilt and coloured enamels with clowns, printed factory marks (12) £600-800

160 EY784/138 EVA CROFTS FOR CLARICE CLIFF ‘KRAFTON’ BONJOUR TEA SET, CIRCA 1934 comprising: a teapot and cover, a milk jug and a sugar bowl, each painted with coloured enamels, printed marks (teapot restored) (3) teapot 13.5cm high

£200-300

35


Other Properties

161 EY812/1 CLARICE CLIFF ‘FARMHOUSE’ SANDWICH PLATE decorated in coloured enamels, printed factory marks 25cm diameter

£300-400

162 EY502/8 CLARICE CLIFF ‘CASTELLATED CIRCLES’ ARCHAIC VASE (SHAPE 374), CIRCA 1930 incised ‘374’, ‘Bizarre’ mark and facsimile signature (hairlines) 31cm high 31cm high Provenance: Sevi Guatelli Collection

£800-1,200

163 EY502/7 CLARICE CLIFF ‘DIAMONDS’ ARCHAIC VASE (SHAPE 374), CIRCA 1930 impressed 374 with Bizarre mark and facsimile signature (hairlines) 31cm high 31cm high Provenance: Sevi Guatelli Collection

£600-800

36


LY O N & T U R N B U L L Decorative Arts

164 EY502/6 CLARICE CLIFF ‘ORANGE ROOF COTTAGE’ YO VASE (SHAPE 378), CIRCA 1930 moulded 378, with Fantasque and Bizarre marks and facsimile signature (minor restoration) 15.5cm high Provenance: Sevi Guatelli Collection

£300-500

165 EY502/5 CLARICE CLIFF ‘SOLITUDE’ DAFFODIL BOWL (SHAPE 475), CIRCA 1930 moulded 475, Fantasque and Bizarre marks and facsimile signature 32cm diameter Provenance: Sevi Guatelli Collection

£500-700

166 EY502/4 CLARICE CLIFF RARE ‘SUNSPOTS’ ETON SHAPED JUG, CIRCA 1930 Bizarre mark and facsimile signature and stamped ‘registration applied for’ (lid lacking, minor overpainting to rim) 16.5cm high Provenance: Sevi Guatelli Collection

£800-1,200

37


LY O N & T U R N B U L L Decorative Arts

167 EY502/3 CLARICE CLIFF ‘RED CARPET’ VASE (SHAPE 362), CIRCA 1930 moulded 362, Bizarre mark and facsimile signature (minor restoration to rim) 20.5cm high Provenance: Sevi Guatelli Collection

£500-700

168 EY502/2 CLARICE CLIFF ‘SUMMERHOUSE’ ISIS VASE, CIRCA 1930 impressed ‘Isis’, with Fantasque and Bizarre marks and facsimile signature 25cm high 25cm high Provenance: Sevi Guatelli Collection

£600-800

169 EY502/1 CLARICE CLIFF ‘APPLIQUE GARDEN’ BOWL, CIRCA 1930 painted in black ‘Applique’, with Bizarre mark and facsimile signature 21.5cm diameter Provenance: Sevi Guatelli Collection

£500-700

38

170 EY806/10 CLARICE CLIFF BISCUIT BARREL AND COVER, CIRCA shape 673, moulded with flowers and covered with a streaky red glaze, printed and moulded marks 19cm high

£150-200


LY O N & T U R N B U L L Decorative Arts

171 EY662/1 DAISY MAKEIG JONES FOR WEDGWOOD ‘CANDLEMAS’ FAIRYLAND LUSTRE VASE, CIRCA 1925 of baluster form painted in coloured glazes and printed in gilt, printed, painted and incised marks, shape no. 3148, pattern Z5157 27cm high

£1,000-1,500

172 EZ614/1 DAISY MAKEIG-JONES FOR WEDGWOOD DRAGON LUSTRE VASE, 1920s of baluster form printed in gilt on a powder blue ground, printed and painted marks Z4829 23cm high

173 EZ582/32 DAISY MAKEIG-JONES FOR WEDGWOOD PAIR OF ‘CELTIC ORNAMENT’ GINGER JARS & COVERS, 1920s printed with Celtic motifs on a yellow ground, printed marks, 24cm high; and a matching bowl, 27cm across (3)

174 EAB886/1 CARLTON WARE CIRCULAR ‘HANDCRAFT’ CHARGER, CIRCA 1932 painted and glazed earthenware, decorated in the ‘Handcraft Anemone’ pattern on an orange lustre ground, printed and painted marks, no. 3694

£200-300

£300-500

39cm across

175 EY784/67 CHARLOTTE RHEAD FOR CROWN DUCAL BALUSTER JUG, 1930s decorated in gilt and coloured enamels with a band of flowers, printed and painted marks 25cm high

£100-150

£300-400

39


LY O N & T U R N B U L L Decorative Arts

176 EY784/70 KEITH MURRAY FOR WEDGWOOD SMALL BLACK BASALT VASE, 1930s of tapered form with impressed chevron bands, printed and impressed marks

177 EY784/69 KEITH MURRAY FOR WEDGWOOD BLACK BASALT VASE, 1930s of tapered form with vertically reeded decoration, printed and impressed marks 21.5cm high

178 EY784/76 KEITH MURRAY FOR WEDGWOOD PAIR OF BLACK BASALT FOOTED BOWLS, 1930s of circular tapering form with banded rims, printed and impressed marks (2)

179 EY784/75 KEITH MURRAY FOR WEDGWOOD PAIR OF BLACK BASALT BOWLS, 1930s of circular form with facetted rims, printed and impressed marks (2)

10cm high

£300-400

16cm diameter

23.5cm diameter

£200-300

£400-600

182 EY784/132 KEITH MURRAY FOR WEDGWOOD OVOID VASE, 1930s witt horizontal fluted banding, cream glaze, printed marks

183 EY812/2 POOLE POTTERY OVOID TERRACOTTA VASE, 1930s painted with a band of bluebirds and flowers, impressed, incised and painted marks

£200-300

21.5cm high

181 EY784/77 KEITH MURRAY FOR WEDGWOOD FOOTED BLACK BASALT VASE, 1930s of tapered form with everted rim, the rim with impressed bands, printed and impressed marks

£400-600

20cm high

180 EY784/68 KEITH MURRAY FOR WEDGWOOD BRONZE BASALT VASE, 1930s of tapered form with vertically reeded decoration, printed and impressed marks

£300-400

40

15.5cm high

£100-200

18cm high

£100-200


LY O N & T U R N B U L L Decorative Arts

184 EY784/100B POOLE POTTERY LARGE VASE, 1930s painted with banded decoration in shades of brown and umber, unglazed, impressed Carter, Stabler, Adams mark 34cm high

£300-500

185 EAA778/2 POOLE POTTERY GROUP OF CONTEMPORARY WARES, MODERN comprising: a large flared vase in the ‘Volcano’ pattern, 43.5cm high; a ginger jar and cover in the ‘Volcano’ pattern, 33cm high; a pair of vases in the ‘Odyssey’ pattern, 37.5cm high; a circular bowl in the ‘Gemstone’ pattern, 27cm diameter; and a ‘Forest Flame’ pattern lamp base,13 cm high (6) £200-300

186 EY784/71 KEITH MURRAY FOR WEDGWOOD ‘MOONSTONE’ DINNER SERVICE comprising: 5 dinner plates; 6 side plates; a fish plate and a soup plate; three graduated oval serving dishes, largest 42cm across; 4 twin-handled soup bowls and stands, a vegetable dish and cover, 29cm across; 2 sauce boats, covers and stands, 190cm across, each with fluted decoration, glazed in white with applied silver banding, printed marks (29)

187 EY784/78 KEITH MURRAY FOR WEDGWOOD ‘MOONSTONE’ DINNER SERVICE comprising: 6 dinner plates; 6 fish plates; 6 side plates; three graduated oval serving dishes, largest 37cm across; 6 twin-handled soup bowls and stands, a vegetable dish and cover, 29cm across; a sauce boat, cover and stand, 190cm across, each with fluted decoration, glazed in celadon green, printed marks (29)

188 EY784/140 KEITH MURRAY FOR WEDGWOOD NEAR PAIR OF CIRCULAR BOWLS, 1940s each with cylindrical foot and banded decoration, celadon glaze, 27.5cm diameter; and A KEITH MURRAY VASE, also Wedgwood, with banded decoration and celadon glaze, 20.5cm high, all with printed and impressed marks (3) £200-300

£200-300

£100-200

41


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189 EZ237/32 DAVID LEACH LARGE STONEWARE VASE, LATE 20TH CENTURY painted with abstracted form on a treacle glaze, impressed seal mark 35cm high

£400-600

190 EZ237/52 SETH CARDEW AT WENFORD BRIDGE LARGE STONEWARE PLATTER, CIRCA 1970 painted with a standing bird, impressed seal mark and Wenford Bridge seal mark 34cm diameter

£150-250

191 EZ237/58 JANET ADAM, EDINBURGH THREE LARGE STONEWARE JUGS, CONTEMPORARY covered in cream, treacle and buff glazes, impressed seal marks (3) 37cm high

£200-300

192 EZ237/54 MICHAEL CASSON STONEWARE JUG, CIRCA 1990 covered in a spotted brown glaze, impressed seal mark, 38cm high; and A COLDSTONE DISH BY CHRIS HARRIES, 1960s, decorated in cream slip with a horse on a treacle glazed ground, impressed marks and monogram, 42.5cm across (2) £150-250

193 EZ237/53 STUDIO POTTERY COLLECTION OF STUDIO POTTERY, CONTEMPORARY including a teapot and sugar bowl, 21cm and 26.5cm high; A FLAGON AND STOPPER, the stopper attached to the body with a chain, the body covered in a crackle glaze, impressed seal marks ‘RK’ and ‘90’, 18cm high; and A STONEWARE JUG, covered in a mottled green and blue glazes, impressed seal mark, 23cm high (4) £100-200

194 EZ237/29 STUDIO POTTERY COLLECTION OF CONTEMPORARY CERAMICS including AN IAN MCWHINNIE MOON FLASK, with crackled glaze, painted with a panel depicting a male and female figure in a coastal landscape, painted signature to base, 34cm high; A JEAN PAUL LANDREAU BOWL, incised decoration, signed to base, 24.5cm diameter; and A JOE CROUCH BOWL, inscribed ‘Zebra Zest Zebra Zest’, signed to base, 31cm diameter (3) £100-200

42


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195 EZ237/31 JOHN MALTBY LARGE JUG AND BOWL, 1980s each painted with abstract forms, painted marks to base ‘Maltby’ (2) 29cm and 29cm high

£300-500

196 EZ237/27 WALTER KEELER STONEWARE TEAPOT AND JUG, 1980s each covered in a blue salt glaze, the teapot with spherical body, the jug with broad spout and ribbed decoration, concentric circle seal marks (2)

196A EZ640/1 MICHAEL CASSON LARGE STONEWARE JUG, LATE 20TH CENTURY saltglazed, impressed seal mark

16cm and 25cm high

Note: Michael Casson (1925-2003) was one of the pioneers in the renaissance of studio pottery in the post-war period, a greatly respected and a charismatic teacher and educator who influenced several generations of potters. After reading Bernard Leach's 1940 'A Potter's Book', Casson responded positively to its concept of unity and wholeness, and its advocacy of functional and individual wares. Together with his wife, Sheila, he sought to put Leach's ideas into practice.

£250-350

39cm high Literature: Cooper, Emmanuel, Obituary, The Independant, 17th December 2003

196B EZ640/3 MICHAEL CASSON STONEWARE BOWL, LATE 20TH CENTURY saltglazed, impressed seal mark, 18cm high; and A MICHAEL CASSON BOWL AND COVER, salt glazed, impressed seal mark, 16cm high (2)

196C EZ640/2 MICHAEL CASSON LARGE STONEWARE URN AND COVER, LATE 20TH CENTURY salt glazed, impressed seal mark 35cm high

£200-300

39cm high

£150-250

£200-300 43


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197 EZ569/2 LAJOS MACK (ATTRIBUTED) FOR ZSOLNAY LARGE SCULPTURAL VASE, CIRCA 1900 eosin glazed earthenware, moulded with the figure of a maiden, moulded factory seal and impressed number 3945 43.5cm high

£1,500-2,000

198 EY935/4 ERNST BARLACH FOR SCHWARZBURGER WERKSTÄTTEN ‘RUSSISCHE BETTLERIN MIT SCHALE’, PORCELAIN FIGURE CIRCA 1906 impressed monogram to plinth, impressed marks under base ‘Schwarzburger Werkstatten fur Porzellankunst’ and ‘U11/ GW’ 24cm high

£1,000-1,500

44


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199 EZ517/10 VILLEROY & BOCH LARGE ‘METTLACH’ TUREEN, COVER AND STAND, CIRCA the tureen with pate sur pate panels depicting a male and a female Bacchanalian scene, the whole decorated with Art Nouveau flowering whiplash foliage, impressed marks ‘Mettlach VB/ 2806’ (3) 36cm high

£500-700

200 EY935/5 HOLLAND, UTRECHT ART NOUVEAU TWIN-HANDLED VASE, CIRCA 1905 of squat ovoid form painted with stylised whiplash foliage, painted mark, incised shape no. 377 34cm high

£600-800

45


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201 EZ582/16 VILLEROY & BOCH ART NOUVEAU TILE PANEL, CIRCA 1900 depicting a white stylised tree on a salmon ground, framed

202 EZ582/22 HERBERT HORNE (MANNER OF) TILE PANEL, CIRCA 1880 printed and painted with a repeating angel and tree design, framed 45cm x 61cm

£300-400

58cm x 28.5cm

£300-400

203 EZ582/7 SARREGUEMINES VASE, CIRCA 1890 with applied prunts to the neck and twin elephant handles, impressed marks 21cm high

£60-80

204 EY809/1 HERMAN A. KAHLER STONEWARE BOWL, DATED 1931 circular form with inverted rim, painted with abstract leaf designs on a speckled cream ground, incised marks 33cm diameter

£150-200

205 EZ217/2 CHRISTIAN JOACHIM FOR ALUMINIA, DENMARK POT POURRI DISH AND COVER, DATED 1905 the bowl of waisted form with pierced cover, the whole painted with floral and foliate motifs, painted and impressed marks ‘509/260 XVIII Copenhagen/ Denmark’ and ‘Alumnia/ 260’ 21cm high

£200-300 46

206 EZ514/10 CONTINENTAL SCHOOL CERAMIC LAMP BASE, 1950s of tapering cylindrical form, incised with classical female musicians on a textured ground, bears incised artist’s monogram to base 36cm high

£120-180


LY O N & T U R N B U L L Decorative Arts

207 EZ552/1 AFTER PABLO PICASSO SIX TILE PANEL, DATED 1959 each painted en grisaille with bullfighting scenes and inscribed with dates, one marked ‘Picasso’, all stuck down and framed (6) 15cm square

£300-500

208 EZ514/6 CONTINENTAL SCHOOL FIGURE OF ST FRANCIs the figure standing with attendant animals and raised on a square plinth, moulded monogram mark ‘M’ 29cm high

£200-300

209 EZ514/4 CONTINENTAL SCHOOL CYLINDRICAL MUG, MID 20TH CENTURY painted with silhouettes of characters from Alice in Wonderland on a yellow ground, gilt embellishments, printed factory marks 10cm high

£120-180

210 EZ283/32 JAVIER MARISCAL FOR BIDASOA ‘PARA’ SERVING DISH in the form of a stylised chicken, blanc de chine, printed marks, 40cm long; A PAUL CARDEW TEAPOT AND COVER, heart shaped body with pop art transfer decoration, printed and painted marks, 18cm high; and AN OVAL GLASS SERVING DISH ‘RSVP’, with powdered steel supports, 49.5cm across (3)

211 EZ517/2 LENCI ESPRESSO SET, 1930s comprising: two cups and saucers, a sugar bowl and cover and a tray, the tray and sucrier painted with stylised trees and houses, painted marks Lenci/ Made in Italy/ T.A.’, bears paper label (6) tray 30.5cm across

£300-400

£200-300

47


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212 EY935/8 KNUD KYHN FOR ROYAL COPENHAGEN STONEWARE SATYR FIGURE, CIRCA 1930 covered in mottled brown and buff glazes, printed and painted marks, no. 20501, incised monogram ‘KK’ 34cm high

£600-800

213 EY935/3 RENE HERBST FOR CUSENIER WINE FLAGON AND STOPPER, CIRCA 1925 with fruiting vine motifs in green and red, red painted mark ‘Cusenier’ and ‘RH’ monogram (2) 27.5cm high

£600-800

48


214 EZ569/1 JEAN BESNARD LARGE TAPERED VASE, CIRCA 1930 ovoid form, earthenware with impressed geometric decoration covered in a pale pink glaze, incised mark ‘Jean Besnard France’ 40cm high Literature: McCready, Karen ‘Art Deco and Modernist Ceramics’, London 1995, pages 135 and 136

Note: Jean Besnard (1889-1958) was an artist-potter known for his vases characterised by their incised or impressed surface decoration. Although his work is said to have been inspired by Mediterranean, tribal and Savoie pottery, he transformed these historical models into highly individual statements. He exhibited regularly in Paris at the Salon des Artistes Decorateurs, the Salon d’Automne, and the Salon des Tuilleries throughout the 1920’s and 1930’s, and won a silver medal at the 1925 Paris Exposition. His simple forms provided an appropriate background for complex surface treatments. As with the present example some of his works with impressed surface marks are related to African pottery that mimics basketry.

£8,000-12,000

49


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215 EZ283/31 NATHALIE DU PASQUIER FOR MEMPHIS, MILAN ‘CARROT’ VASE, CIRCA 1981 the tapering cylindrical body with a central design of pink and black cells within a yellow surround pale blue ground, printed marks ‘Memphis/ Milano/ Made in Italy/ Designed by Nathalie du Pasquier’

32cm high

31cm high

£300-400

216 EZ283/30 MARTINE BEDIN FOR MEMPHIS ‘CUCUMBER’ VASE, CIRCA 1985 with yellow glazed inverted rim and flattened circular body, black plinth base, printed mark ‘Memphis/ Milano/ Made in Italy by Flavia Montelupo F.no/ designed by Martine Bedin’

£150-250 217-218 No lots

50


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SILVER, JEWELLERY AND PLATED WARES 219 EZ554/1 ALEXANDER RITCHIE, IONA SILVER PENANNULAR MARRIAGE BROOCH, marked AR (in spectacle punch), AR, IONA, Glasgow 1927, of typical form with integral swing pin and engraved with M’s within arched panels 50mm diameter

£200-250 220 EZ554/2 ALEXANDER RITCHIE, IONA A SCARCE MARBLE SET RING marked AR, IONA, the oval cabochon Iona marked collet set with applied pierced Celtic knot work to shoulders and simple shank £250-350 221 EZ554/3 SCOTTISH CELTIC REVIVAL GROUP OF FOUR BROOCHES to include a penannular brooch by John Hart, with Celtic knot terminals and swing pin; an agate set brooch by John Hart, with openwork intertwined border; together with a ship brooch by I McCormick; and another smaller similar marked STERLING, SCOTLAND (4)

222 EY816/4 AN ART NOUVEAU SILVER NECKLACE AND BROOCH SUITE, CIRCA 1910 unmarked, the necklace formed of five graduated panels of foliate wreaths with heart shaped mother of pearl set to centre, the pendant drop with baroque mother of pearl details, the brooch similarly formed (2)

224 EZ554/4 J.D. DAVIDSON, GLASGOW SILVER PENANNULAR BROOCH, 1902 of penannular form with shaped round terminals with three bird head details to each, the bow of the brooch with knotwork panel and integral swing pin with Celtic boss, hallmarked Glasgow 1902

£200-300

Literature: McArthur, E. Mhairi ‘Iona Celtic Art’, page 28, illus 4d

223 EY895/4 HARALD NEILSEN FOR GEORG JENSEN SILVER JEWELLERY SUITE, LATE 1950s comprising: a necklace and matching bracelet, each composed of stylised foliate motifs, interspersed by pairs of spherical silver beads, with slightly domed circular clasp and safety clip, post 1945 maker’s mark, also stamped STERLING DENMARK and numbered 96, with import marks for London 1958 and 1959, 38.9g and 22.6g Lengths: 42cm and 19cm

Note: Little is known about James D. Davidson, other than he describes himself within known records as a manufacturing jeweller, however this brooch seems to add another facet to both his work and the work of Alexander Ritchie of Iona. This brooch, a known and recognised design produced by Ritchie, is obviously from the same mould however in this instance it features the maker’s mark of J D Davidson. Perhaps the most likely possibility is that Davidson bought an unhallmarked version of this brooch from Ritchie and had it hallmarked himself at Glasgow. This seems far more likely than the other way around as this type of work is much more in Ritchie’s hand than in Davidson’s.

£250-350

£400-600

£200-300

51


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225 EZ599/7 ARCHIBALD KNOX FOR LIBERTY & CO THREE PAIRS OF ‘CYMRIC’ SILVER NAPKIN RINGS, HALLMARKED 1903-4 comprising: a pair of plain bands, each with three embossed stylised foliate motifs, set with green and blue enamels, 4.8cm diameter, 3.7cm high; and two further pairs, each with moulded bands, embossed with three pairs of stylised plant motifs set with coloured enamels, 5cm diameter, 3.7cm high, all bear inscription ‘C/ 1878-1903’, hallmarked Birmingham 1903, within fitted box (6) £800-1,200

226 EZ551/4 ARCHIBALD KNOX FOR LIBERTY & CO. ‘CYMRIC’ SILVER AND ENAMEL NAPKIN RING, 1903 of cylindrical form, embossed with stylised plant forms and decorated with green and ochre enamels, hallmarked Birmingham 1903 (rubbed) 4.5cm diameter

£150-250

227 LB304/3 ARCHIBALD KNOX FOR LIBERTY AND CO. ‘CYMRIC’ SILVER AND ENAMEL MOUNTED GLASS PRESERVE JAR, 1906 with lobed globular sides and swing handle, the cover enamelled in shades of blue and green, overlaid with a Celtic knot and stylised plant forms, hallmarked Birmingham 1906 9cm wide

£2,500-3,000

52


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228 EY813/3 LIBERTY & CO. SET OF SIX SILVER AND ENAMEL COFFEE SPOONS, 1914 each with square section terminals cast with entwined tendrils and inset turquoise enamel, hallmarked Birmingham 1914 (6)

229 LB304/4 ARCHIBALD KNOX FOR LIBERTY & CO. ‘CYMRIC’ SILVER TOAST RACK, 1906 with seven divisions, each with entwined Celtic knot design, raised on squat bun feet

9cm long

£6,000-8,000

11cm wide, 14.5cm high

£300-500

230 LB304/7 JOHN PAUL COOPER SILVER TOAST RACK, CIRCA 1920 with seven divisions, each of ornate interlaced design, with triple loop handle, raised on an oval base with gadrooned edge and squat bun feet, inscribed ‘Vah! Calefactus Sum Vidi Focum’ and ‘T.&R.S.W. to R.&W.S./ 3rd April 1919’ 18cm wide

£2,500-3,000

53


LY O N & T U R N B U L L Decorative Arts

231 LB304/10 JAMES POWELL & SON ARTS & CRAFTS SILVER AND GLASS BOWL, 1908 the openwork circular frame above an embossed band of leaves and flowerhead motifs, raised on a spreading circular foot with a bead punch band and stylised fleur de lys border, the removable green glass bowl associated, hallmarked London 1908 22cm diameter

£500-700

232 LB304/2 ARTHUR DIXON (ATTRIBUTED TO) FOR BIRMINGHAM GUILD OF HANDICRAFT SILVER TWO HANDLED BOWL, 1900 the lightly hammered sides with ornate riveted scrolled handles, 10.5 oz, hallmarked Birmingham 1900 19cm wide

£1,500-2,000

233 LB304/5 LIBERTY & CO SILVER TOAST RACK, 1932 with five lightly hammered divisions engraved with knot motifs and surmounted by a loop handle 8cm wide, 9.5cm high

£500-700

18cm diameter

235 EAB489/5 ART NOUVEAU SILVER DRESSING TABLE SET, BIRMINGHAM 1904 comprising: a hair brush, a hand mirror and two clothes brushes, each embossed with an Art Nouveau maiden, hallmarks for Birmingham 1904-5 (4)

£200-300

Mirror 28cm long

234 EZ567/1 JAMES DIXON & SON ARTS & CRAFTS SILVER BOWL, 1910 of circular form with twin handles pierced with heart and raised on corresponding pierced scroll feet, hallmarked Sheffield 1910

£100-200

54

236 EY823/74 ARTS AND CRAFTS STYLE SILVER TAZZA, DATED 1920 makers mark Lawson & Co., hallmarked Glasgow 1920 15cm diameter, 12.5cm high

£250-300


LY O N & T U R N B U L L Decorative Arts

237 LB304/6 CHARLES ROBERT ASHBEE FOR THE GUILD OF HANDICRAFTS ROCK CRYSTAL AND SILVER MOUNTED VASE, 1902 the square baluster sides with twin mythical best scroll handles in high relief, the lightly hammered splayed foot applied to the corners with angel motifs, hallmarked London 1902 26cm high

£2,500-3,000

238 LB304/1 BIRMINGHAM GUILD OF HANDICRAFT TURNED OLIVEWOOD AND SILVER-MOUNTED LAMP, 1907 the globular base and baluster turned stem surmounted by a candle nozzle with drip pan and pierced shade, hallmarked Birmingham 1907 35cm high

£500-700

55


LY O N & T U R N B U L L Decorative Arts

239 EZ551/8 HEINRICH LEVINGER ART NOUVEAU SILVER AND ENAMEL PERFUME BOTTLE, 1901 of cylindrical form, the hinged lid with polychrome enamel panel depicting flowering waterlilies, import hallmarked for Birmingham 1901, maker’s mark ‘HL’ 7cm high Literature: Karlin, Elyse Zorn ‘Jewellery and Metalwork in the Arts & Crafts Tradition’, 1993, p. 190 for similar enamels

£150-250 240 EZ551/5 CHARLES RENNIE MACKINTOSH FOR MISS CRANSTON’S TEAROOMS SILVER PLATE TEASPOON, CIRCA 1905 with oval bowl and trefoil finial 12cm long

£100-200 241 EZ582/3 CHRISTOPHER DRESSER (STYLE OF) THREE PIECE SILVER PLATED TEA SERVICE, CIRCA 1880 by Walker & Hall, Sheffield, comprising: a teapot, sugar bowl and milk jug, each with ribbed decoration, stamped marks (3) teapot 7cm high

£300-400

56

242 EZ582/15 CHRISTOPHER DRESSER FOR HUKIN & HEATH ELECTROPLATED KETTLE ON STAND, CIRCA 1880 stamped marks 2110 (2) 21.5cm high

£200-300

245 EZ582/8 CHRISTOPHER DRESSER (MANNER OF) ELECTROPLATED BUTTER DISH, CIRCA 1880 the ebonised wood handles and with accompanying butter knife, stamped marks (2) 16cm diameter

243 EZ582/14 CHRISTOPHER DRESSER FOR HUKIN & HEATH ELECTROPLATED EGG CUP SET, CIRCA 1880 comprising: six eggcups, six spoons and a tray, stamped marks, ‘Designed by Dr Dresser’, 2336 (13) 17.5cm high

£300-400 244 EZ582/13 CHRISTOPHER DRESSER FOR ELKINGTONS THREE PIECE ELECTROPLATED TEA SERVICE, CIRCA 1865 silver plate, stamped marks ‘Elkington & Co. 16578’ teapot 21.5cm high Note: A drawing of the teapot for this set appears in Dresser’s notebook. Literature: See ‘Christopher Dresser Metalwork: The Andrew McIntosh Patrick Collection’ in these rooms, 19th April 2005, lot 44.

£400-600

£100-150

248 EY503/1 OLIVER BAKER FOR LIBERTY & CO., LONDON CIRCULAR PEWTER BOWL, CIRCA 1890 decorated with three applied moulded brackets with pad feet, stamped marks, ‘English Pewter/ Made By/ Liberty & Co./ 067’ 33cm diameter

246 EY784/73 KEITH MURRAY FOR MAPPIN & WEBB SILVER PLATED TAZZA AND BASKET, 1930s each of conical form with applied stepped foot, the cake plate with banded decoration and swing handle, cm across; the tazza with concentric circle decoration to the rim (2) 25cm and 24cm

£150-200

£150-250 249 EY565/3 WURTTEMBERGISCHE METALLWARENFABRIK (WMF) ART NOUVEAU ELECTROPLATED VASE, CIRCA 1900 of baluster form with twin handles formed as tendril, the body embossed with flowering poppies, stamped marks 29.5cm high

247 EZ551/7 FRENCH ART DECO SILVER PLATED CRUET SET, CIRCA 1925 comprising: a pair of oil and vinegar glass bottles with plated mounts and yellow Bakelite stoppers; a matching mustard pot and tray, makers mark ‘GC’ tray 26cm across

£100-200

£200-250


LY O N & T U R N B U L L Decorative Arts

250 EZ517/11 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) PEWTER MOUNTED WINE JUG, CIRCA 1910 with tapering green glass body, the mounts cast with Art Nouveau maidens and flowering whiplash foliage, stamped marks 42cm high

£800-1,200

251 EZ517/12 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) PAIR OF PLATED CANDLESTICKS, CIRCA 1910 decorated with pierced foliate details, stamped factory marks (2) 28cm high Literature: Wolf, Uecker ‘Art Nouveau and Art Deco Lamps and Candlesticks’ Thames and Hudson, London, 1986, p.130

£800-1,200

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252 EY935/9 HENRY WILSON FOR H.G. MURPHY PAIR OF SILVER MOUNTED BRONZE CANDLESTICKS, DESIGNED 1913 each with turned nozzles and dished drip trays above tapering facetted column with bulbous knop on a facetted plinth with disc feet, each plinth bearing cast and chased bosses depicting the Assyrian symbols of the planets; an owl, a fish, a scorpion, a sailing ship, a stag, a wolf, an animal's head and a leopards head against the sunrise (2) 35.5cm high Literature: Atterbury, Paul and Benjamin, John 'The Jewellery and Silver of H.G. Murphy', 2005, pages 14, 17 and 19 (illus.) Karlin, Elyse Zorn 'Jewelry & Metalwork in the Arts & Crafts Tradition', 1993 page 101

Note: Henry Wilson (1864-1934) was possibly the greated British jeweller was a leading figure in the British Arts & Crafts movement, and was described by C.R. Ashbee as the ‘arch individualist’. He trained as an architect and became chief assistant to J.D. Sedding. His interest in metalwork dates from about 1890 and it gradually came to dominate his work. He set up his own metalworking shop in about 1895 and entered into a brief but successful partnership with Alexander Fisher and was also a great influence to John Paul Cooper at this time. He taught metalwork at the Central School of Arts & Crafts from 1896 and the Royal College of Art from 1901. He joined the Art Worker's Guild in 1892 and became Master in 1917, selecting the English jewellery for the Paris Exhibitions in 1914 and 1925.In 1903 he published 'Silverwork and jewellery', still regarded as the best practical manual on the subject, and amongst his many commissions he designed the bronze doors for the Anglican Cathedral of St John the Divine in New York as well as completing and furnishing Holy Trinity Church, Sloane Street, London. Both his architecture and metalwork are distinguished by his remarkable use of symbolism, a reflection of his widely diverse literary and religious

254 EZ582/27 SCOTTISH SCHOOL BRASS WALL SCONCE, EARLY 20TH CENTURY repoussé decorated with stylised leafy trees

253 EY806/11 GLASGOW SCHOOL ARTS & CRAFTS BRASS WALL CLOCK, CIRCA 1910 the shaped square dial repoussé decorated with entwined dragons

33.5cm high

36cm x 37cm

£150-250

£200-300

interests, and demonstrated by the pair of candlesticks illustrated which are decorated with Assyrian symbols of the planets. The following was written of him; ‘Henry Wilson’s originality stemmed from his ability to combine the strictest disciplines of his craft with a multitudinous variety of influences, resulting in some of the most daringly individual jewels of the period’.

the early decades of the twentieth century. He had been apprenticed to Wilson at the age of 15, and with his apprenticeship completed stayed on with Wilson, gradually assuming the role of assistant rather than pupil, a 'harmonious and symbiotic relationship', that continued on a formal basis until 1912, and informally until Wilson's death in 1934.

H.G. Murphy, who made the current lot, was one of the most exciting English silversmiths and jewellers of

£6,000-8,000

255 EZ271/6 OSIRIS PAIR OF PEWTER CANDELABRA, CIRCA 1900 each with twin branches on tapering column on a spreading base, cast marks ‘Osiris/ 133’, 23.5cm high; and AN ARCHIBALD KNOX PEWTER VASE, of bullet form, hammered finish, stamped mark ‘Tudric 0226’, 18cm high (3)

256 EAB489/1 MARGARET GILMOUR CIRCULAR CHARGER, CIRCA 1910 brass and enamel, repoussé decorated with entwined central knot enclosed by reciprocal border set with three enamelled roundels, bears monogram mark

£200-300 58

59cm diameter

£400-600


LY O N & T U R N B U L L Decorative Arts

257 LB304/8 MARGARET GILMOUR SILVERED BRASS AND ENAMEL WALL SCONCE, CIRCA 1910 repoussé decorated with two owls on a branch and with stylised plant forms, with two applied candle sconces, bears monogram 74cm high, 31.5cm wide

£2,000-3,000

258 EZ570/5 GLASGOW SCHOOL COPPER WALL MIRROR, CIRCA 1910 with rectangular frame repoussé decorated with roses and centred with a square enamel panel

259 EY806/2 ARTS AND CRAFTS COPPER PICTURE FRAME, CIRCA 1910 repoussé decorated to the corners with thistles and inscribed with Burn’s Selkirk Grace

38cm x 54cm

52cm x 62cm

£300-500

£120-180

260 EZ582/40 A.W.N. PUGIN CAST BRASS GRILLE, CIRCA 1850 cast and pierced with Gothic tracery and foliate motifs 53cm high, 25cm wide Literature: Riding, Christine and Jacqueline ‘Palace of Westminster’, pub. London 2000, page 125 for similar example.

261 EZ582/6 CHRISTOPHER DRESSER BRASS SPIRIT KETTLE ON STAND, CIRCA 1890 the scrolled handle over bulbous body, also with scroll handle on base with scrolled supports 24.5cm high

£200-300

Provenance: Palace of Westminster, London

£300-500 59


LY O N & T U R N B U L L Decorative Arts

262 EZ582/5 GEORGE WALTON (ATTRIBUTED TO) FOR GOODYERS, LONDON SILVERED WALL CLOCK, CIRCA 1900 the circular dial, repoussé decorated with foliate motifs and central turquoise enamel panel flanked vertical strapwork and corresponding enamel panelling 50cm wide, 37cm high Literature: Larner, Gerald and Celia ‘The Glasgow Style’, Edinburgh, 1979 pl. 87

£800-1,200

263 EY935/1 HAROLD STABLER FOR KESWICK SCHOOL OF INDUSTRIAL ARTS OCTAGONAL COPPER MIRROR, CIRCA 1900 repoussé decorated with a band of stylised flowers, with circular bevelled plate to centre, stamped mark to rim 44cm across Literature: Bruce, Ian ‘The Loving Eye and Skilful Hand’, published Carlisle 2001, cover image, pl. 33, page 48

£600-800

264 EZ217/4 SCOTTISH ARTS & CRAFTS BRASS PLANTER, CIRCA 1910 of oval form, repoussé decorated with a band of fruit, 35cm across; and A BRASS FRAMED WALL MIRROR, of rectangular outline, repoussé decorated with trailing foliage and with applied butterfly motifs to the angles, 57cm x 45cm (2) £200-300

60

265 EZ582/11 NEWLYN STYLE COPPER WALL MIRROR, CIRCA 1890 the rectangular plate enclosed within elaborate frame, repoussé decorated with fruiting foliage 65cm x 49cm

266 EZ582/10 KESWICK SCHOOL OF INDUSTRIAL ARTS COPPER FIRE BELLOWS, CIRCA 1900 repoussé decorated with the arms of the City of Glasgow, stamped ‘Keswick’ and ‘K.S.I.A’

£300-400

46cm long

£200-300

267 EZ551/2 ARTS & CRAFTS BRASS CASKET, CIRCA 1900 repoussé decorated with panels of medieval beasts and set with coloured cabochons 18cm wide

£200-300


LY O N & T U R N B U L L Decorative Arts

267A EY570/3 ARCHIBALD KNOX FOR LIBERTY & CO COPPER WALL MIRROR, CIRCA 1900 the tapering rectangular frame with arched top, repousse decorated with a Celtic knot motif reserved on a hammered ground with riveted decorations enclosing a mirrored plate, bears label verso 74cm x 50cm Literature: Stephen A Martin, 'Archibald Knox', pub. London 2001, page 229, for a similar example

£1,000-1,500

268 LB304/9 NEWLYN SCHOOL ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 the rectangular bevelled plate within a wide frame, repoussé decorated with fish, seaweed and shells 31cm wide, 40.5cm high

£1,200-1,800

269 EZ582/36 KESWICK SCHOOL OF INDUSTRIAL ARTS THREE FOLD COPPER FIRE SCREEN, CIRCA 1895 with reeded mahogany frame enclosing three repoussé decorated panels depicting St George slaying the dragon, Daniel and the lion and a central panel of flowering foliage with further panels above bearing the legend ‘To Be Is More Than To Do’ each fold 121cm high, 43.5cm wide

£500-700

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LY O N & T U R N B U L L Decorative Arts

270 EZ551/1 MANNER OF OMAR RAMSDEN FINE SUITE OF SILVER PLATED DOOR FURNITURE, CIRCA 1900 each cast and chased with stylised masks and comprising: four door handles with integral finger plates, square four division light switch, rectangular two division light switch, and two additional door handles (8) door plates 49.5cm long

£600-800

271 EZ570/6 SIR ROBERT LORIMER WROUGHT IRON BALUSTRADE, EARLY 20TH CENTURY made by Thomas Hadden and worked as a foliate frieze with seated squirrel 196cm long, 47cm wide, 77cm total height

£800-1,200 62


LY O N & T U R N B U L L Decorative Arts

272 EZ568/2 SCOTTISH ARTS & CRAFTS BRASS WALL MIRROR, CIRCA 1900 the oval mirrored plate enclosed by a broad frame, repoussé decorated with fruiting vines and embellished with riveted strapwork, set with coloured Ruskin cabochons 85cm x 67cm

£800-1,200

273 EZ582/18 THOMAS OR HENRY JECKYLL (ATTRIBUTED TO) PAIR OF CAST IRON FIRE DOGS, CIRCA 1880 each cast with central bird roundel within ribbed geometric supports on plinth bases, registration marks (2)

275 EZ582/39 W.A.S. BENSON BRASS WALL SCONCE, CIRCA 1890 the elliptical backplate with twin scrolling branches, stamped maker’s mark

277 YE2010/6 W.H. MAWSON, KESWICK CIRCULAR COPPER CHARGER, CIRCA 1910 repoussé decorated to the rim with scrolled motifs, stamped maker’s mark

36cm wide

38cm diameter

£250-400

£100-200

276 EZ582/17 BIRMINGHAM GUILD OF HANDICRAFT COPPER COFFEE POT, CIRCA 1900 with domed lid and tapering body, stamped maker’s mark

278 LB186/3 ART NOUVEAU FIRE SCREEN, CIRCA 1915 adonised brass, decorated with a stylised plant form

21.5cm high, 16cm wide

£150-250 274 EZ582/41 THORNTON & DOWNER COPPER AND WROUGHT IRON PLANTER, CIRCA 1920 of cylindrical form with twin handles and repoussé faux rivet decoration, decorative wrought iron strapwork 40cm wide, 26.5cm high

23cm high

£150-200

65cm wide, 83cm high

£150-250

279 EY557/3 THOMAS ELSLEY (ATTRIB.) LARGE PAIR OF ARTS & CRAFTS FIRE DOGS, EARLY 20TH CENTURY copper and brass, each with pierced, circular foliate bosses raised on curved supports with scrolling brackets (2) 54cm high

£250-400 280 EZ283/38 ART DECO TWO CAST ALUMINIUM ASHTRAYS, CIRCA 1930 one cast as a car, the other as a boat (2) 21.5cm and 23cm long

£150-200

£100-200 63


LY O N & T U R N B U L L Decorative Arts

281 EZ517/4 J. A. HENCKELS CHROMIUM PLATED ‘AEROPLANE’ TRAVELLING COCKTAIL BAR, CIRCA 1930 the fuselage containing a screw top flask, cocktail shaker with strainer, four ‘tot’ cups, and funnel, the undercarriage containing four stirring spoons, the ‘wings’formed as removable hip flasks and the tail containing a corkscrew, stamped manufacturer’s marks ‘DRGM 89438’ and ‘J.A. Henckels, Twin Works, Solinsen, Germany’ 32cm long

£3,000-4,000

282 EY377/7 ALFRED STEVENS FIREPLACE INSERT, 1860s bronze, the moulded rectilinear frame inset with cast panel depicting opposed recumbent male figures 61cm wide, 77cm high (external), 41cm wide, 62cm high (internal) Literature: Susan Beattie, 'The New Sculpture', London 1983 Institute of British Architects: 'Alfred Stevens', Farnborough 1975 The Fine Art Society, 'Gimson to Gilbert', cat.51. Page 57, pl.51.

Note: Alfred Stevens (1817-1875) was born at Blandford Forum in Dorset. With the assistance of the Rector of Blandford, Stevens, at the age of fifteen, was sent to Italy. There he spent nine years, and in 1841 was employed in Rome by Thorwaldsen until they both left in the following year. In 1845 he was appointed to teach architectural drawing in the Board of Trade's design school. He resigned his post two years later but had already exercised a considerable influence on the younger English artists. In 1850 he was appointed chief artist to a firm of bronze and metal workers in Sheffield, H.E.HOOLE & Co. and his designs secured the firm an award at the Great Exhibition of 1851.

£400-600

283 EZ582/19 BIRMINGHAM GUILD OF HANDICRAFT COPPER AND BRASS BRANDY WARMER AND COVER, CIRCA 1900 the bulbous body with slender handle and gently domed cover, stamped maker’s marks

15cm high

£200-300

14cm high

£100-150 284 EZ582/23 BIRMINGHAM SCHOOL OF HANDICRAFT BRASS INKWELL, CIRCA 1890 with ceramic liner and overlapping riveted decoration on a shaped base, stamped make’s mark 12cm across

£150-250

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285 EZ582/9 FRANZ HAGENAUER COPPER AND BRASS COFFEE POT, CIRCA 1920 af tapering form with hinged lid and applied wooden handle shaped in the form of a leaf, stamped marks

286-287 No lots


LY O N & T U R N B U L L Decorative Arts

SCULPTURE 288 LB191/2 GEORGE WAGNER GILT BRONZE AND IVORY FIGURE, CIRCA 1910 cast and carved as a scantily clad maiden, raised on a green marble plinth, cast foundry marks in the bronze 'Akt Ges v H.Gladenbeck & Sohn, Berlin D 5013'’ 29cm high

£800-1,200

289 EZ215/14 DEMETRE H CHIPARUS ‘PIERROT’, PATINATED BRONZE AND IVORY FIGURE, CIRCA 1928 cast as a pierrot figure playing a mandolin, on naturalistic base, signed in the bronze ‘D.H. Chiparus’ (damage to one hand, one button lacking)

290 EZ551/3 WALTER GILBERT FOR THE BROMSGROVE GUILD CAST BRONZE PLAQUE, CIRCA 1900 depicting a mythological goddess surrounded by putti and inscribed ‘Bromsgrove Guild Worcestershire England’, mounted within rouge marble as a paperweight

30cm high

plaque 7.5cm diameter

£1,000-1,500

Literature: Cheltenham Art Galleries and Museums, ‘Simplicity or Splendour’, 1999, p. 127 Note: Walter Gilbert founded the Bromsgrove Guild around 1894. Examples of this plaque are held in the Cheltenham Museum and Art Gallery and Birmingham Museum and Art Gallery.

£200-300

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LY O N & T U R N B U L L Decorative Arts

291 EZ527/2 BRUNO ZACH FIGURE OF A GIRL, DATED 1929 patinated bronze, the figure in erotic pose, scanily clad in a chemise and tinted stockings, signed in the bronze 'B. Zach' and 'Monteagudo/ Platillo - 1929' 39.5cm high

£7,000-9,000

292 EZ568/1 GEORGE EDWARD WADE BRONZE BUST OF IGNACY JAN PADEREWSKI, DATED 1891 signed in the bronze ‘G.E. Wade/ Scr/ 91’ and inscribed ‘Paderewski’ 36cm high Note: Ignacy Jan Paderewski (1860-1941) was a pianist, composer, diplomat, politician, and humanitarian. As Prime Minister of Poland during its independence between the World Wars, he was one of the signers of the 1919 Treaty of Versailles. Paderewski was likely the most famous and admired pianists of all time. His popularity, bolstered by his dynamic personality, reached rock star proportions at the beginning of the 20th century. This bust of him, dated 1891, established the reputation of its sculptor George Edward Wade (1853-1933).

£800-1,200 66


LY O N & T U R N B U L L Decorative Arts

293 EZ527/1 JOSEF LORENZL CON BRIO, 1920s patinated bronze figure, signed in the bronze and raised on a stepped onyx base 41.5cm high Literature: Catley, Brian 'Art Deco and other figures' , Woodbridge 2003, page 225

£7,000-9,000

294 EZ215/15 LORENZL (STYLE OF) BRONZE AND IVORY FIGURE OF A GIRL, CIRCA 1925 cast as a girl in pyjamas and high heels, raised on a stepped onyx plinth base, unsigned

295 EZ488/146 ART DECO STYLE PATINATED METAL AND RESIN FIGURE after Ferdinand Preiss, on onyx base bearing etched mark ‘de *uos 1938’

296 EY957/1 ART DECO BRASS FIGURE, CIRCA 1930 cast as a naked female dancer in the manner of Lorenzl, and raised on a turned onyx base

22.5cm high

24cm high

24cm high

£150-250

£200-300

297 EY806/9 BENNO SCHOTZ HEAD OF A CHILD patinated plaster, signed ‘B. Schotz’, on stepped plinth 14cm high

£200-300

£400-600

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LY O N & T U R N B U L L Decorative Arts

298 EZ517/13 FRANZ HAGENAUER FEMALE HEAD chromed metal, modelled as a highly stylised female head with lock of hair and red enamelled lips, on flat rectangular base, stamped marks with WHW monogram, ‘Franz’ ‘Made in Austria’ and ‘Hagenauer Wien’ 45cm high

£2,000-3,000

299 EZ517/14 ATTRIBUTED TO FRANZ HAGENAUER FEMALE FIGURE, CIRCA 1930 chromed metal and ebonised wood, depicting a dancing topless girl in a long flowing skirt raised on an oval flat base, unmarked 30cm high

£600-800

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LY O N & T U R N B U L L Decorative Arts

LIGHTING AND EPHEMERA 300§ EAA624/42 MARK BRAZIER-JONES ‘DEW’ STEEL, CAST BRASS AND GLASS STANDING LAMP, CIRCA 1990 the open work elliptical shade set with glass orbs above a tapering faceted column on curved supports terminating in disc feet 242cm high

£800-1,200

301§ EAA624/44 MARK BRAZIER-JONES PAIR OF PATINATED STEEL AND GLASS WALL LIGHTS, CIRCA 1990 each with cased blue glass ‘flame’ shades fitted above tapering supports and issuing scrolling tendrils (2) 82cm wide, 98cm high

£400-600

302§ EAA624/43 MARK BRAZIER-JONES PAIR OF PATINATED STEEL AND GLASS WALL LIGHTS, 1990s each with cased blue glass ‘flame’ shades fitted above tapering supports and issuing scrolling tendrils; and another matching but lacking glass shade (3) 82cm wide, 98cm high

£400-600

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LY O N & T U R N B U L L Decorative Arts

303 EZ283/20 ETTORE SOTTSASS FOR MEMPHIS, MILAN ‘TAHITI’ TABLE LAMP, CIRCA 1980 enamelled metal and printed laminates 65cm high

£400-600

304 EY926/2 AESTHETIC MOVEMENT HALL LANTERN, CIRCA 1890 with stained and leaded glass panelled sides framed with embossed and painted metal mounts, 30.5cm high; and A SABINO OPALESCENT GLASS PLAFFONIER, moulded with hummingbirds (crack), moulded marks, 21cm diameter (2) £150-250 305 EZ582/35 GLASGOW SCHOOL SILVER PLATED AND LEADED GLASS HALL LANTERN, CIRCA 1900 of square section, the sides with leaded glass panels below a canopy supported by four chains 19cm wide, 26cm high

£200-300

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306 EZ582/4 ARTS & CRAFTS LEATHER HALL LANTERN, CIRCA 1900 43cm high

£100-200 307 EZ551/6 ARTS & CRAFTS WROUGHT IRON STANDARD LAMP, CIRCA 1910 with circular scalloped drip tray above partially spiral stem on triform supports 159cm high

£100-200

308 EY926/1 AFTER W.A.S. BENSON ARTS & CRAFTS COPPER AND BRASS CEILING LIGHT, CIRCA 1900 the central column with three curved branched with leaf terminals, supporting hanging leaf shades

54cm high

44cm diameter, 60cm tall

£400-600

310 EY959/1 MANNER OF JACQUES ADNET CHROME AND GLASS LAMP BASE, MID 20TH CENTURY comprised of clear orbs raised on a chromium plated base

£250-350 309 EY809/2 JÖRGEN WINDFELDSCHMIDT BRONZE LAMP, CIRCA 1910 cast as entwined dragons, signed in the bronze

311 EZ283/12 AFRA BIANCHIN AND TOBIA SCARPA FOR FLOS ‘PIERROT LAMP, DESIGNED 1990 coated steel and polypropylene, moulded mark

36cm high

arm 87cm long

£400-600

£100-200


LY O N & T U R N B U L L Decorative Arts

312 EZ272/10 AESTHETIC MOVEMENT EBONISED WOOD MANTEL CLOCK, CIRCA 1880 with twin train movement and circular brass dial, the case with spindle gallery above turned columns and inset with floral and foliate painted panels with gilt embellishments 44.5cm high

£300-500

313 EZ517/3 AUSTRIAN SECESSION MANTEL CLOCK, CIRCA 1910 the circular silvered dial with embossed numerals within beaten copper square case, supported on turned column with embossed silvered backplate, depicting a chariot race and inscription ‘Wettlauf der Zeit’ (‘Race against Time’), the corresponding copper base raised on a marble plinth, later contemporary quartz movement 49cm high

£200-300

314 EZ582/42 GLASGOW SCHOOL PAIR OF OVERPAINTED WOODEN CANDLESTICKS, CIRCA 1910 each painted with stylised florettes on a yellow latticed ground (2)

315 EZ528/3 ROBERT ‘MOUSEMAN’ THOMPSON CIRCULAR OAK BOWL, CIRCA 1930 the centre carved with typical mouse motif

316 EZ514/2 ART DECO JEWELLERY BOX, CIRCA 1925 painted with geometric designs and the stylised figure of a deer, silver-painted interior with mirrored panel

29cm diameter

28cm across

20cm high

£150-250

£200-300

£100-200

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LY O N & T U R N B U L L Decorative Arts

PICTURES 317 LB297/1 SIR ROBERT STODART LORIMER (SCOTTISH 1864–1929) FORMAKIN HOUSE, BISHOPTON drawings for a window, signed and dated 'May 1911', pencil and watercolour 50cm x 53cm (19.5in x 21in) and another by the architect studio, of a plan for Formakin House (2) Literature: Myers, Mary Country Life Article, 5th August 1999 Volume: CXCIII

£600-800

The house was commissioned by the son of a Lanark cotton manufacturer, John Augustus Holms, who had made his fortune on the Glasgow Stock Exchange during the city's lateVictorian golden age. Holms took his time realising his dream project and work didn't start on the house until 1912. Lorimer called the house the best 17th century he had ever done. The Z-plan mansion with red sandstone dressings and stoneslabbed roof has two-stories rising to four with turret stairs, a hall with minstrels' gallery and magnificent fireplace and decorative dormer heads and other detailing derived from Kellie Castle in Fife and Edzell Castle in Angus. The following year Holms fell into financial difficulties and the project was abandoned. Holms died with massive debts in 1938 and by the 1970s every building at Formakin was abandoned and the gardens were a wilderness. It was not until the 1980s that Formakin's future was assured when the developer Kit Martin restored and converted the house and outbuildingsinto homes.

318 EV490/6 LATE 19TH CENTURY ENGLISH SCHOOL THE ADORATION watercolour, highlighted with gilt 59cm x 78cm

£300-500

The current lot comprises a sheet drawings for a mullioned window, with some alterations and annotations, possibly by Lorimer himself and a second sheet, presumably drawn by Lorimer's office, of the Formakin Hunt Stables drain plan.

319 EY906/2 *** HOFWIESER PORTRAIT OF A GENTLEMAN pencil and watercolour, signed and dated 1920, framed and glazed

320 EY906/1 ELYSE ASH LORD BAMBOO MASK coloured print, bears monogram, dated 1921, framed and glazed

36cm x 34cm

34cm x 20.5cm

£400-600

£400-600

321 EZ267/6 1950s ITALIAN SCHOOL ROCK & ROLL, 1950s sixteen gouache studies depicting young couples dancing, one of a sunbathing couple, each signed with monogram ‘T.O.’ (17)

321A JOHN AUBREY (ISABELLA MARGARET CHALMERS) COLLECTION OF WATERCOLOUR STUDIES pen, ink and watercolour, each framed and glazed (19)

each approx. 24.5cm x 20.5cm

£300-500

£200-300

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Note: Formakin lies twenty miles to the west of Glasgow, in rolling countryside above the River Clyde, a seemingly immaculate example of 17th-century design, but infact designed by the eminent Arts & Crafts architect and designer Sir Robert Lorimer between 1903-11.

each approx. 20cm x 30cm


LY O N & T U R N B U L L Decorative Arts

322 EZ517/18 ERTÉ ‘CHAPEAU EVENTAIL’, CIRCA 1920 Pen and Ink Signed and accompanying book, signed by the author (Spencer, Charles ‘ Erté’, New York 1970) along with an explanatory letter from the author (3) 16cm x 14cm

Literature: Spencer, Charles ‘ Erté’, New York 1970, page 186, illus. page 52, plate 32 Exhibited: ‘Erté’, Camden Arts Centre, 1980 Note: This illustration appeared in the American ‘Harper’s Bazar’ for July 1921 with the caption ‘How delightfully convenient on a torrid afternoon to be able to lift one’s hat from its foundation and to use it as a fan’

£800-1,200

323 EZ582/38 NORMAN WEAVER FOR HEAL & SONS ‘METAL & GLASS FURNITURE’ EXHIBITION POSTER, CIRCA 1933 colour lithograph, framed and glazed

324 EY886/1 ELIZABETH MARY WATT FAIRIES AT DUSK ink and watercolour, signed 29cm x 26cm

£1,000-1,500

75cm x 48cm

£500-700

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LY O N & T U R N B U L L Decorative Arts

TEXTILES 325 EY784/9 MARY J. NEWILL ‘THE HOUSE OF HOLINESS’ AND ‘THE WANDERING WOOD’, EMBROIDERED PANELS each worked in coloured silks and applied fabric panels on an unbleached linen ground, one inscribed ‘Una and The Red Cross Knight’ and ‘The House of Holiness; the other panel inscribed ‘The Wandering Wood’, each framed and glazed; lot includes a copy of The Studio Yearbook 1899-1900 (3) 178cm x 91cm

£1,000-1,500

Literature: The Studio Yearbook 1899-1900, pages 186-188 and illustrated page190 Exhibited: Exposition Universelle et Internationale’, Paris 1901 Note: According to the The Studio magazine this pair of embroidered panels constitutes the most elaborate portions of a series for the decoration of a dining room. The panels represent scenes from Spencer’s ‘Faerie Queen’ and were a technical departure for Newill who wished to ‘emulate the effect of Japanese prints’ and ‘turning her

74

hand to appliqué’. The fact that she was satisfied with the results of this ‘experiment’ is certain as the panels were exhibited at the ‘Exposition Universelle et Internationale’ in Paris in 1901 as part of a display by the Bromsgrove Guild. Newill was born in 1860 and studied at the Birmingham School of Art, becoming an illustrator, stained glass designer and embroiderer, exhibiting most notably at the Arts and Crafts Exhibition Society. She subsequently taught needlework at the School from 1892 until 1919, apart from a brief period at the turn of the century when she went to Florence to study tempera painting,

just after the article mentioned above appeared The Studio. By 1906 Newill had her own studio in Great Western Buildings, Livery Street, Birmingham. She was a member of the Birmingham Group, the Arts and Crafts Exhibition Society and the Bromsgrove Guild. A series of embroidered panels for reredos designed by her were exhibited at the fifth exhibition of the Arts and Crafts Exhibition Society in 1896. She sometimes collaborated with the Bromsgrove Guild members Miss Talbot, Miss Bloxeidge, Miss Deakin and Miss Holdern, in executing large embroidered panels and a portion of bed hangings designed by May Morris, and worked

by her and Newill is illustrated in ‘The Studio Yearbook of Decorative Art’ 1917 (p.107). For her illustrations, she worked either in wash, or in a technique designed to simulate woodcuts and her work is often likened to that of Edward Burne Jones. Her embroidery work however, although having elements that link it to her illustration work, tends to have reference points outside the genre of illustration. Walter Crane admired particularly her ornamental rendering of landscape, and discussed it in his writings on the decorative use of ornament.


LY O N & T U R N B U L L Decorative Arts

326 EY119/1 GEORGE FAULKNER ARMITAGE (ATTRIBUTED TO) FOR ARTHUR H. LEE & SONS PAIR OF ARTS & CRAFTS WOOL HANGINGS, CIRCA 1900 woven with an allover design of flowering lilies and foliage on a deep blue ground (2) each panel 246cm x 232cm

£2,000-3,000

327 EZ283/34 AFTER ANDY WARHOL CONTEMPORARY WOOL CARPET, ‘DIAMOND DUST SHOES’, DESIGNED 1980 made by Ege Axminster with an allover shoe design

328 EY616/2 TANTRIC DESIGN TIBETAN WOOL CARPET, 1980s the swastika design in yellow, blue and red

183cm x 273cm

£250-350

178cm x 187cm

£100-200 329 No lot

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LY O N & T U R N B U L L Decorative Arts

FURNITURE 330 EZ570/1 E.W. GODWIN (MANNER OF) FOR COLLINSON & LOCK MAHOGANY SIDEBOARD, CIRCA 1880 the superstructure with dentil frieze above base with arrangement of drawers and cupboards and with decorative brass strap hinges raised on turned supports with platform stretcher 183cm wide, 114cm high, 61cm deep Literature: Soros, Susan Weber, 'The Secular Furniture of E.W. Godwin', Yale 2004, pages 202, 209, 211

£1,200-1,800

331 LB305/1 E.W. GODWIN (ATTRIBUTED TO) FOR WILLIAM WATT, LONDON ROSEWOOD CENTRE TABLE, CIRCA 1880 the octagonal top with moulded edge, above square and tapering reeded supports, with beaded knops, linked by panelled stretchers on outswept legs, terminating in carved claw and ball feet with pot castors 67cm diameter, 70cm high Note: See Sotheby’s ‘Applied Art and 20th Century Design’, 3rd May 2002; for a similar oak example with stamped mark ‘William Watt, Furniture Maker for E.W. Godwin, 40 345.0 (?)’

£1,000-1,500

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LY O N & T U R N B U L L Decorative Arts

332 EZ282/1 ART NOUVEAU FOUR PIECE OAK BEDROOM SUITE, CIRCA 1910 with marquetry inlaid panels depicting waterlilies, comprising: a three door wardrobe, with projecting cornice and with two drawers below, 176cm wide, 211cm high, 68cm deep; a dressing chest, with swing mirror above two short over two long drawers, 127cm wide, 157cm high, 51cm deep; a pair of double bed ends, 145cm wide; and a pot cupboard, 41cm wide (4) £800-1,200

333 EY791/13 E.W. GODWIN (MANNER OF) EBONISED BEECH CHAIR, CIRCA 1880 with curved back filled with Japanese fretwork, above open arms on a circular seat with turned legs and splay feet linked by turned and blocked stretchers £200-300

334 EAA855/2 AESTHETIC MOVEMENT OAK FRAMED FOUR FOLD SCREEN, CIRCA 1890 each fold with arched surmount and moulded frame enclosing embossed floral and foliate panel each fold 161cm x 58cm

£200-300

335 EAA794/1 ART NOUVEAU MAHOGANY BOOKCASE, CIRCA 1890 the dentil cornice with applied rosettes, above twin leaded glass doors enclosing adjustable shelves and flanked by turned columns, the base with two panelled doors on square tapered legs

336 EZ582/2 ELLEN WELBY (ATTRIBUTED TO) THREE FOLD SCREEN, CIRCA 1900 each panel embroidered with figures in Elizabethan dress each fold 88cm high, 29cm wide

£300-500

118cm wide, 180cm high, 54cm deep

£600-800

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LY O N & T U R N B U L L Decorative Arts

337 EZ582/1 WYLIE & LOCHHEAD, GLASGOW (ATTRIBUTED TO) INLAID ROSEWOOD OCCASIONAL TABLE, CIRCA 1900 the hexagonal top marquetry inlaid with mother of pearl and specimen woods with a fruiting and flowering band, raised above turned supports with arcaded pierced frieze, linked by an undertier 58cm diameter, 71cm high

£600-800

338 EZ570/4 GEORGE WALTON (MANNER OF) MAHOGANY FRAMED UPHOLSTERED ARMCHAIR, CIRCA 1910 the tall arched back above upholstered arms and seat raised on turned legs with pad feet £400-600

339 EAA794/2 ART NOUVEAU COPPER GONG AND STAND, CIRCA 1900 with repoussé decoration of stylised plant forms on a stepped plinth 70cm wide, 76cm high

£200-300

340 EZ582/26 ARTHUR SIMPSON, KENDAL (ATTRIBUTED TO) OAK LETTER RACK, CIRCA 1910 with shaped back plate carved with fruiting branches and with applied rack, carved with inscription ‘Letters’ 56cm wide, 24cm high

342 EY878/1 CELTIC REVIVAL OAK OFFICE CHAIR, CIRCA 1910 the back carved with Celtic knotwork and wrythen columns above curved arms and a shaped solid swivel seat supported by curved brackets on a tripod base

£200-300

£200-300

341 No lot

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LY O N & T U R N B U L L Decorative Arts

343 EZ582/37 ALFRED WICKHAM JARVIS (ATTRIBUTED TO) FIRE SCREEN, CIRCA 1900 the shaped mahogany frame enclosing a central panel with applied and overpainted gesso decoration of whiplash foliage and berries 65cm wide, 83cm high

£300-500

344 EZ582/12 HENRY TAYLOR WYSE (ATTRIBUTED) PAIR OF SIDE CHAIRS, CIRCA 1900 each with arched and pierced backs with applied painted gesso panels of flowering plants, raised on stuffover seats with square tapering legs (2)

Note: Henry Taylor Wyse (1870 - 1951) was born in Glasgow and became a founding member of the Scottish Guild for Handicraft and an influential art teacher. He ran the Holyrood Pottery between 1917 and 1927. While living in Arbroath in the early 1900’s, he designed an extensive range of furniture, made locally to order by W. Middleton, cabinetmaker, and characterized by simple forms designed for practical everyday use which he enlivened by painted decoration, often using applied gesso relief.

£600-800

345 EY695/1 SCOTTISH ARTS AND CRAFTS STAINED PINE AND POKERWORK HALL SETTLE, CIRCA 1900 the moulded top rail above tongue and groove back decorated in pokerwork and coloured paints with roses above a green upholstered squab seat flanked by open arms, raised on square tapering supports with corresponding decoration 187cm wide

£600-800

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LY O N & T U R N B U L L Decorative Arts

346 EZ570/2 SIR ROBERT LORIMER (MANNER OF) OAK TABLE CABINET, EARLY 20TH CENTURY the overhanging cornice above a pair of doors with linenfold panels raised on bracket feet 57cm wide, 53cm high, 30cm deep

£400-600

347 EZ237/44 AFTER CHARLES RENNIE MACKINTOSH STAINED OAK ARMCHAIR, MODERN after the original designed for the Billiards and Smoking Rooms at Miss Cranston’s Argyle Street Tea Rooms, Glasgow, circa 1898, the slightly arched top rail above curved arms and panelled sides enclosing a dished seat and supported by turned and tapering uprights. 61cm wide

£200-300

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348 EY912/12 MANNER OF SIR ROBERT LORIMER PAIR OF ARTS & CRAFTS OAK TERMS, CIRCA 1900 each carved as a female figure with elaborate headdress, one holding a bundle of sticks, the other a bunch of flowers (2) 68cm tall

£100-150

349 EZ584/2 WYLIE & LOCHHEAD, GLASGOW WALNUT ART DECO WRITING DESK, 1930s the rectangular top with inset leather writing surface above frieze of coromandel wood veneers and three drawers raised above twin columns of three drawers on corresponding coromandel wood veneered plinth bases

49cm deep

168cm wide, 78cm high, 87cm deep

£1,500-2,000

£1,000-1,500

350 EZ584/1 WYLIE & LOCHHEAD, GLASGOW WALNUT ART DECO BOOKCASE, 1930s the moulded cornice with decorative coromandel wood veneers above four astragal glazed doors and with four panelled doors below raised on a corresponding plinth 181cm wide, 176cm high,


LY O N & T U R N B U L L Decorative Arts

351 EZ514/8 JOSEPHINE MILLER ‘SEASONS OF THE YEAR’ FOUR FOLD MAHOGANY SCREEN, CIRCA 1926 each fold with upper panel painted in oils with a scene depicting the seasons within a moulded frame and with plain panel below, each panel signed and dated 1926 each fold 168cm x 52cm Literature: Burkhauser, Jude (Edit.) ‘Glasgow Girls’, Edinburgh 1993, fig 321, page 237 Note: Josephine Haswell Miller (18901975) trained at Glasgow School of Art from 1905 to 1914 under Anning Bell. Whilst still a student she executed a mural on canvas entitled ‘Science’ (1913) still in situ at Possilpark Library, Glasgow. She also studied in Paris and in London under Sickert. In 1916 she married fellow student A. E. Haswell Miller. She then taught etching at the School of Art from 1924 to 1932. When her husband became keeper at the Scottish National Portrait Gallery they moved to Edinburgh. In 1938 she became the first woman to be elected Associate of the Royal Scottish Academy. Her style is ‘unmistakebly of her time - clean cut and commanding.’

£3,000-5,000

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LY O N & T U R N B U L L Decorative Arts

352 EZ271/4 ANNE REDPATH 19TH CENTURY SHELVED CABINET, OVERPAINTED CIRCA 1950 the shelved superstructure above two panelled cupboard doors, painted with flower sprays on a white ground, raised on a plinth base 136cm wide, 140cm high, 40cm deep Provenance: Estate of John McNairn Note: Anne Redpath (O.B.E., R.S.A., A.R.A., A.R.W.S., R.O.I., R.B.A., L.L.D., 18951965) was a friend of the borders artist John McNairn (1910-2009) and his wife Stella. This cabinet was painted by her as a gift to them.

£3,000-5,000

353 EZ285/2 SHORTHOUSE, GLASGOW CHERRYWOOD ‘ARIEL’ DRESSING TABLE, 1990s the illuminating rectangular mirror above rectangular top and arrangement of drawers with brushed steel handles, raised on square section tapering legs, bears label 165cm wide, 122.5cm high, 46cm deep

£200-300

354 EY647/1 BETTY JOEL SYCAMORE BOOKCASE, CIRCA 1937 fitted with a single shelf and decorated with reeding to the angles, bears label ‘This set of The Encyclopaedia Britannica in it’s bookcase of English Sycamore was issued to celebrate the coronation of George VI, 12th May 1937./ Bookcase designed and made by Betty Joel, Knightsbridge’

355 EAA829/4 WHYTOCK AND REID ART DECO WALNUT CHIMNEY PIECE, 1930s with boxwood inlay 155cm wide, 135cm high, 49cm deep

£300-500

356 EZ283/27 ART DECO OCCASIONAL TABLE, 1930s the black glass square top above mirrored mosaic frieze, square column and corresponding base, 52cm across, 71cm high; and AN ART DECO STYLE CHROMIUM PLATED TROLLEY, with two oval tiers, each with removable mirrored glass panels, 66cm wide (2) £200-300

57cm wide, 75cm high, 23cm deep

£200-300

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357-358 No lots


LY O N & T U R N B U L L Decorative Arts

359 EZ285/1 NEIL MORRIS FOR MORRIS OF GLASGOW TEAK CHEST OF DRAWERS, 1950s with two banks of four drawers, each with ribbed fronts and inset handles, tapered legs £300-500

360 EZ281/1 HANS OFFNER (ATTRIBUTED) SET OF SIX OAK DINING CHAIRS, CIRCA 1900 each with tall back and latticed top rails above rush eats (four with replaced vinyl upholstery) on square supports linked by stretchers (6) £300-500

361 EY648/1 CONTINENTAL ART NOUVEAU OAK WRITING DESK, CIRCA 1910 the pierced superstructure with leaded and glazed panel and asymmetric single cupboard door, above a writing surface and two drawers and standing on slender supports with pad feet, linked by stretchers and an undertier 114cm wide, 124cm high, 50cm deep

£400-600

83


LY O N & T U R N B U L L Decorative Arts

362 LB261/9 CARLO BUGATTI WALNUT ARMCHAIR, CIRCA 1900 pewter inlaid with flowering plants and with embossed copper decorations, the square back with vellum covering above inlaid arms with spindle supports raised above a vellum seat on curved supports with spindle infill 64cm wide, 98cm high Exhibited: The Amazing Bugattis’, Royal College of Art, London, 1979

£5,000-7,000

363 LB261/8 CARLO BUGATTI WALNUT ARMCHAIR, CIRCA 1900 with embossed copper decorations, the rectangular back covered in vellum and painted with a frieze of poppies, supported by turned uprigghts on a studded vellum seat on crossed vellum covered supports 60cm wide, 104cm high Exhibited: The Amazing Bugattis’, Royal College of Art, London, 1979

£5,000-7,000

84

Note: Carlo Bugatti was born in Milan on 16 February 1856. Although he worked with ceramics, musical instruments, silverware, and textiles, he is best known for his furniture designs. The first show of Bugatti furniture was at the 1888 Fine Arts Fair in Milan. Influenced by Gothic, Moorish and Oriental styles, Bugatti used inlays of exotic woods, copper, pewter and vellum in his designs. In the summer of 1888 his work was displayed at the Italian Exhibition at Earls Court in London, his first international show. His furniture was awarded an honorary prize at this exhibition and his characteristic furniture style began to find avid devotees around the world. In New York, the Waldorf Astoria’s Turkish Salon was furnished with Bugatti pieces. Further shows followed in Amsterdam and Antwerp, and international newspaper reports and reviews contributed to his growing fame. In 1900 his furniture was awarded the silver medal at the Paris World Fair.


LY O N & T U R N B U L L Decorative Arts

364 LB261/10 CARLO BUGATTI WALNUT GAMES TABLE, CIRCA 1900 dark stained wood, the square top with inset vellum surface enclosed by an inlaid frieze of sketched motifs and removable covers to the angles revealing a well below, above an arcaded apron with corresponding inlay all raised on cluster columns with copper strapping and inlaid block feet 80cm square, 77cm high Exhibited: The Amazing Bugattis’, Royal College of Art, London, 1979

£10,000-15,000

365 EY369/3 HAYWOOD BROTHERS, WAKEFIELD COMPANY, NEW YORK ARMCHAIR, CIRCA 1920 gold painted wicker, bears paper label £100-200 366 EZ285/3 ARTS & CRAFTS OAK DINING SET, CIRCA 1930s comprising: a draw leaf table with rectangular top, 222cm extended, 84cm wide, 75cm high; and six chairs including two carver chairs (one matched), each with horizontal splats and drop in upholstered seats (7) £400-600

367 EZ517/1 FRENCH ART DECO WROUGHT IRON JARDINIERE AND PLANT STAND, CIRCA 1920 the frosted glass top above a mosaic frieze enclosing electric light fitting above four double column supports, the base with well for plants, having corresponding mosaic decoration, the whole on scrolled feet, bears label ‘Artesia/ Made in France’

368 EZ283/1 HARRY BERTOIA FOR KNOLL ASSOCIATES DIAMOND CHAIR, DESIGNED 1952 chromed steel wire frame with detachable white vinyl cushion seat, marked ‘Knoll’, 85cm wide; and A HARRY BERTOIA ‘CHAIR 420’, designed 1952 for Knoll Associates, chromed mesh steel and white vinyl seat pad (2)

108cm high

£150-250

£200-300

370 EZ283/36 GAE AULENTI FOR KARTELL ‘ARMCHAIR 4794’ DESIGNED 1974 moulded white rigid expanded polyurethane foam, moulded marks; AN AMAT CAST ALUMINIUM AND MOULDED POLYPROPYLENE ARMCHAIR, cast mark; and A JAVIER MARISCAL ‘GARRIRIS’ CHAIR, designed circa 1988 for Akaba, leather upholstery with steel and cast aluminium (3) £200-300

369 EZ283/25 VERNER PANTON FOR VITRA YELLOW ‘S’ CHAIR, DESIGNED CIRCA 1960 moulded signature mark, Vitra label £100-200 85


LY O N & T U R N B U L L Decorative Arts

371 EAA772/6 ROBERT ‘MOUSEMAN’ THOMPSON OAK SIDEBOARD, MID 20TH CENTURY the rectangular top with adzed surface decoration and canted angles, above three central drawers, flanked by panelled cupboard doors enclosing single shelves and raised on facetted supports 185cm wide, 77.5cm high, 45cm deep

£1,000-1,500

372 EAA772/5 ROBERT ‘MOUSEMAN’ THOMPSON LARGE OAK REFECTORY TABLE, MID 20TH CENTURY the rectangular top with adzed surface decoration above twin facetted baluster legs raised on platforms and linked by a stretcher

373 EAA772/4 ROBERT ‘MOUSEMAN’ THOMPSON SET OF EIGHT OAK DINING CHAIRS, MID 20TH CENTURY including two carver armchairs, each with rectangular panelled backs with adzed surface decoration above cream leather panelled seats on facetted front legs linked by stretchers (8)

244cm long, 73cm high, 90 cm wide

£2,000-3,000

£2,000-3,000

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LY O N & T U R N B U L L Decorative Arts

374 EZ288/1 JOHN CRAXTON PAINTED HARPSICHORD, DATED 1976 oil on harpsichord case, signed and dated ‘76 on the inside lid 230cm long, 91cm high, 90cm wide Note: This instrument was manufactured by John Barnes of Edinburgh for the Hope Scott Trust in 1976/7. In 1973 the Trust were approached by the Scottish Baroque Ensemble for help to fund the purchase of a new harpsichord to which they agreed. Mr Barnes was commissioned to build a two-manual instruments in the style of Joannes Ruckers as adapted by French makers in the 1730s. At a trustees meeting in July 1974 it was decided to ask four artists if they would be interested in decorating the case. The artists were Alexander Zyw, James Morrison, John Craxton and Barbara Balmer. Having considered the submitted designs the trustees chose Craxton to decorate the case. Both case and instrument were completed by August 1977 and the instrument was given on permanent loan to the Scottish Baroque Ensemble for its first performance at the Signet Library in Edinburgh in November 1977, to great acclaim. The instrument is no longer suitable for professional use, however the case by John Craxton remains in excellent condition.

£1,500-2,500

375 EZ283/9 LORD SNOWDON AND CARL TOMS PRINCE OF WALES INVESTITURE ARMCHAIR, 1969 produced by Remploy, vermilion stained plywood with gilt Prince of Wales feather crest to back and upholstered seat £100-200

376 EZ283/5 TERJE EKSTRÖM FOR STOKKE FABRIKKER EKSTREM ARMCHAIR, DESIGNED 1984 black wool upholstery on a steel frame

377 EZ286/2 YNGVE EKSTRÖM FOR STOLFABRIK 'AKRA' TEAK CHAIR, DESIGNED 1952 with slatted back and arms and elliptical seat

£100-200

£150-250

376A CONTEMPORARY ENGLISH SCHOOL BEECH CROSS FRAMED CHAIR with leather seat

378 EZ286/1 BENDER MADSEN AND EJNER LARSEN FOR WILLY BECK, COPENHAGEN THREE GRADUATED TEAK COFFEE TABLES each with rectangular tops on turned legs, impressed marks (3) largest: 50cm across

£150-250

£150-200

87


LY O N & T U R N B U L L Decorative Arts

379 EAA841/1 ILMARI LAPPALAINEN FOR ASKO, FINLAND ‘PULKKA’ LOUNGE CHAIR AND MATCHING TABLE, 1960s the chair with original black leather cushions with removable headrest and leather armrests, aluminum frame, seat angle adjusts in frame, with ‘Asko’ label; and A MATCHING COFFEE TABLE, with square glass top on corresponding aluminium base, 80cm square, 41cm high (2) £250-350

380 EZ283/13 AFTER GERRIT RIETVELD BERLIN CHAIR, DESIGNED 1932 contemporary model, painted wood £200-300

381 EZ283/14 AFTER GERRIT RIETVELD RED AND BLUE CHAIR, DESIGNED 1918 contemporary model, painted wood £200-300

88


LY O N & T U R N B U L L Decorative Arts

382 EZ283/3 MARIO BOTTA FOR ALIAS ‘SECONDA 602’ CHAIR, CIRCA 1982 epoxy coated steel frame and perforated sheet steel seat and an expanded polyurethane backrest £150-250

383 EZ283/4 ETTORE SOTTSASS FOR VITRA ‘TEODORA’ CHAIR, DESIGNED 1987 wood laminate, Perspex, manufacturer’s label, stamped mark ‘RZ896’ 81.5cm high

£300-500

384 EZ283/19 ALBERTO THUN FOR KRON ‘MANOLETE’ CHAIR turquoise upholstery on a beech frame

385 EZ283/10 CONTEMPORARY DESIGN UPHOLSTERED STOOL, 1990s printed plush upholstery on polished steel legs

£150-200

£100-200

386 EZ543/1 MODERNIST LEATHER UPHOLSTERED ARMCHAIR, 1970s with ebonised wood frame on steel supports £150-250

387 EZ283/8 MATTEO THUN FOR KARTELL DRESSING MIRROR, 1990s 184cm high; and ANOTHER POST MODERN DRESSING MIRROR, Cattalan, Italy,, 184cm high (2) £150-250

89


LY O N & T U R N B U L L Decorative Arts

388 EZ283/11 MICHELE DE LUCCHI FOR MEMPHIS ‘FLAMINGO’ SIDE TABLE, DESIGNED 1984 polychrome painted and laminated metal, bears label ‘Memphis Milano, M. De Lucchi, 1984, Made in Italy’ 40cm diameter, 91cm high

£400-600

389 EZ283/15 PHILLIPE STARCK GROUP OF CHAIRS, DESIGNED 1990s to include a ‘LORD YO’ CHAIR FOR ALEPH, DESIGNED 1994, polypropylene with aluminium base, moulded mark; A PHILLIPE STARCK ‘DR GLOB’ CHAIR FOR KARTELL, 1990s, pink coloured polypropylene and enamelled steel, moulded marks; A ‘LA MARIE’ CHAIR FOR KARTELL, designed 1998, clear Perspex, moulded mark; and A ‘LOUIS 20’ CHAIR FOR VITRA, designed 1991, blue polypropylene with cast aluminium back legs, cast marks, retail paper label, 84cm high (4) £200-300

390 YE2010/8 CONTEMPORARY DESIGN LEATHER SOFA AND COMPANION ARMCHAIR each with chromed steel facings and legs (2) sofa 276cm wide, armchair

391 EZ283/21 POST MODERN TWO PAIRS OF OCCASIONAL TABLES, 1990s each with circular glass tops raised on enamelled steel base formed as elephants (4)

253cm high, 50cm wide, 25cm deep

156cm wide, both 110cm deep

£200-300

£150-200

£800-1,200

392 EZ283/35 CONTEMPORARY DESIGN BEECH LADDER SHELVES, MODERN one with black painted removable divided shelf

393 EAB526/30 CAREW JONES, LONDON PAIR OF LACQUERED OCCASIONAL TABLES, MODERN each with square tops raised on square tapered legs and covered in a blue high gloss polyester lacquer finish (2) £300-500

90


LY O N & T U R N B U L L Decorative Arts

394§ EAA624/118 MARK BRAZIER-JONES SALVAGED STEEL ‘PALETTE’ CHAIR, CIRCA 1990 the circular back with applied garland and central eye motif above an openwork seat with scythe and sword supports 98cm high

£300-500

395§ EAA624/5 MARK BRAZIER-JONES SET OF TWELVE ‘ST. JAMES’ DINING CHAIRS, CIRCA 1995 each with cast and wrought iron frames, the canted elliptical backs with upholstered panels and upholstered seats raised on slender cabriole legs, each with cast mark ‘Mark Brazier-Jones’ (12) £700-1,000 END OF SALE

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Upcoming

American Design 04/19/10

James Mont (1904-1978) Moderne dining room table H: 30 in.; L: 95 3/4 in.; D: 44 in. $8,000-12,000 (£4,900-7,300)

Auction: Monday, April 19th at 11am Exhibitions: Thursday, April 15th 10am to 4:30pm

Inquiries: jim buckley 267.414.1233 lcain@freemansauction.com

Friday, April 16th 10am to 4:30pm

amy parenti 267.414.1223 aparenti@freemansauction.com

Saturday, April 17th noon to 5pm

Catalogue $35

Sunday, April 18th noon to 5pm

w w w. f r e e m a n s a u c t i o n . c o m

FREEMAN’S 1808 Chestnut Street Philadelphia, PA 19103 Telephone: 215.563.9275 Fax: 215.563.8236 www.freemansauction.com 126 Garrett Street Charlottesville, VA 22902 Telephone: 434.296.4096 Fax: 434.296.4011 www.freemanssouth.com


Modern and Contemporary Works of Art Wednesday 28th April 2010 33 Broughton Place, Edinburgh

ERNST BARLACH (GERMAN, 1870-1938) DER ZWEIFLER, 1931 Later cast Bronze with light brown patina, signed, stamped 50.5cm high

ÂŁ18,000-22,000

Viewing times Sunday 25th April 2pm - 5pm Monday 26th to Wednesday 27th April 10am - 5pm Morning of Sale strictly by appointment only Enquiries

Ben Hanly, Nick Curnow or Elena Ratcheva Tel: +44 (0)20 7930 9115 E-mail: ben.hanly@lyonandturnbull.com

Illustrated catalogue ÂŁ12 plus postage and packing

w w w. lyo n a n d t u r n b u l l . co m


Board of Directors

Specialist Departments

Chairman Sir Angus Grossart

Pictures, Watercolours and

Vice Chairman Paul Roberts Managing Director Nick Curnow Directors Campbell Armour Rachel Doerr Trevor Kyle John Mackie Gavin Strang

Prints Nick Curnow Elena Ratcheva Contemporary Art Ben Hanly Furniture, Clocks and Works of Art Lee Young Rugs and Carpets Gavin Strang

European and Asian Ceramics Campbell Armour Victoria Crake Book, Maps, Manuscripts and Photographs Simon Vickers Alex Dove Arms and Armour John Batty (consultant) Antique Sales Gavin Lindsay Harry Douglas-Hamilton

Jewellery, Silver, Coins and Medals Trevor Kyle Colin Fraser Decorative Arts and Design John Mackie Michael Krzyzanowski (consultant)

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

email: info@lyonandturnbull.com www.lyonandturnbull.com

w w w. lyo n a n d t u r n b u l l . co m 94

11-12 Pall Mall, London SW1Y 5LU Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 9629


Administration

Valuation Department Telephone: 0845 882 2794 UK Director Rachel Doerr Department Manager Evelyn Robertson Client Services Judith Hardie Linda Robinson Jane Lightfoot Scotland Trevor Kyle Campbell Armour Gavin Strang Northern England David Hall (consultant)

North West England and Ireland Rachel Doerr

Operations Manager Amy Symington Finance Manager Mhairi McFadden

Midlands Patrick Bowen Michael Mays London and Home Counties Sean McIlroy South West & Wales Robin Barlow Business Development Lady Middleton John Sibbald John Thomson Tessa Thomson

Accounts Flo Marshall Eileen Welsh Administration Edinburgh Moira Gow Liz Wilson Kate Bain Glasgow Linda Robinson Technical Services Sydney Drew Press and Public Relations Philip Gregory Marketing Matt McKenzie Photographer Mike Bascombe

London and Southern England Ben Hanly Tel: 020 7930 9115 Mobile: 07920 791252 ben.hanly@lyonandturnbull.com

Lee Young Tel: 020 7930 9115 Mobile: 07825 426555 lee.young@lyonandturnbull.com

Elena Ratcheva Tel: 020 7930 9115 Mobile: 07931 580 531 elena.ratcheva@lyonandturnbull.com

95


CONDITIONS OF SALE

5. VALUE ADDED TAX

Lyon & Turnbull 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.

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.

1. DEFINITIONS

(1) Immediately a lot is sold you will:

In these Conditions: (a) "Auctioneer" means the firm of Lyon & Turnbull 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 Lyon & Turnbull 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. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) 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. Antiques, Jewellery & Silver and Pictures (Not Fine Sales) 17.5%. All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law.

96

6. PAYMENT (a) pay to us the total amount due in cash or in such other way as is agreed by us. We accept cash, bank transfer (details on request), Switch or Debit Cards and Visa or MasterCard (please note there is a surcharge of 1.5% (VAT included) when using credit cards). We do not accept American Express. (2) 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.

retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on their behalf pursue these rights and remedies only as 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. 10. COMMISSION BIDS

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and other associated charges.

While 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 shall if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer or 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.

(3) No purchase can be claimed or removed until it has been paid for.

11. WARRANTY OF TITLE AND AVAILABILITY

(4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom.

The seller warrants to the auctioneer and to 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.

7. TITLE AND COLLECTION OF PURCHASES (1) 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.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) 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 their 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: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that lot and/or any other lots sold by us to you; (c) 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; (d) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) 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; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) 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

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. STANDARD VENDOR FEES AND CHARGES (Subject to VAT) (1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold. Photography: max £40 mono per lot, max £250 colour. Internet Service: £10 per lot. (2) If a vendor wishes to withdraw a catalogued lot, a withdrawal fee will apply at the auctioneer’s discretion; this will be charged at 10% mid estimate. 15. DESCRIPTIONS AND CONDITION (1) While 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 or our employees or agents or 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”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 16. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer's premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. GENERAL 17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 18 (1) 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. (2). 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. 19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 20. 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 at the commencement of the catalogue. 21. 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. 22. Scottish law applies to the interpretation of these Conditions.


Decorative Arts 14th April 2010  

Decorative Arts - Design from 1800 Auction - Wednesday 14th April at 11amat 33 Broughton Place, Edinburgh, EH1 3RR Including the Carole Be...

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