Decorative Arts | 8th May 2013 10am

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Decorative Arts Design from 1860 Wednesday, 8th May, 2013 33 Broughton Place Edinburgh

Decorative Arts Design from 1860 Wednesday, 8th May, 2013 11am Sale Number LT379

Viewing Sunday, 5th May, 2013 2pm - 5pm Monday, 6th May, 2013 10am - 5pm Tuesday, 7th May, 2013 10am - 5pm Morning of Sale from 9am Specialist John Mackie +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. †20% VAT chargeable on the lot itself *5% import VAT on the lot §Droit de Suite (artists’ retail 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.

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

Buying at Auction

buyer on the hammer price and in


This sale is subject to our standard

addition to the buyer’s premium. It

At the Sale

appropriate number to be called. We

Terms and Conditions of Sale. If

will not apply to works where the

To bid at the sale all potential

recommend that a covering bid is

you have not bought at auction

hammer price is less than €1,000

buyers must be registered with us

also left in the event that we are

before we will be delighted to advise

(euros). The charge for works of art

on or before the day of sale. We will

unable to make the call. We cannot


sold at and above €1,000 (euros) and

need proof of identification and

guarantee that lines will be

below €50,000 (euros) is 4%. For

residence, and may require a bank

available, or that we will be able to

items selling above €50,000 (euros),

reference. Potential buyers must

call you on the day, but will

charges are calculated on a sliding

collect a bidding number before the

endeavour to undertake such bids to


sale begins, and show that number

the best of our abilities.

All royalty charges are paid to the

if successful in purchasing a lot.

Methods of Payment

Estimates Estimates are printed below each lot and do not include the buyer’s premium. The sale will be conducted in pounds sterling. Dimensions

appropriate collecting organisation

Please ensure that the auctioneer

Goods purchased will not be

and no handling costs or additional

repeats the number correctly when

released until we have received full payment.

Dimensions are for guidance only; it

fees are retained by the auctioneer.

confirming the sale. If there is any

is the buyer’s responsibility to

Resale royalties are not subject to

doubt at this stage as to the

ensure that they are correct.


hammer price or buyer it must be

Please note that the royalty payment

brought to the auctioneer’s attention

is calculated on the rate of exchange

immediately. All lots will be invoiced

Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon. 25% up to £25,000 / 20% thereafter.

writing, listing the relevant lots and

Bank Transfer Please find details in any email invoice we issue or upon request from our accounts department.

at the European Central Bank on the

to the name and address given on

date of the sale.

your registration form, which is non-


More information on Droit de Suite

transferable. If you have purchased

Cash payments can be made at the

is available at

a lot you may take your bidding

accounts desk during or after a sale. Credit or Debit Cards

Damage and Restoration

number to the accounts department

at the rate imposed by law. (see our

Occasionally, when a lot has

and receive an invoice immediately.

Payment can be made by Visa Debit,

Terms and Conditions of Sale).

suffered extensive damage and/or

If you have not been successful

Maestro, Mastercard or Visa Credit

VAT will be charged on the premium

restoration it is indicated in the

please leave the number at the

cards. Please note there is a 2%

catalogue. This is mentioned entirely

Registration or Reception desks.

surcharge on credit card payments

at our discretion for the benefit of

In writing

and we do not accept Amex..

buyers. Where there is no mention

Bid forms are available at the sale

Online Payments

of damage and/or restoration this

and/or the back of the catalogue.

We no longer accept card payments

should not be taken to mean that

These should be submitted in

by phone, please use our online

there is none. It is the buyer’s

person, by post, or by fax as soon as

payment service (powered by

responsibility to ensure that the

possible prior to the sale and we will

Worldpay). You will find a link to this

condition of lots is to their

bid on your behalf up to the limit

service in any email invoice issue or

satisfaction (see our Terms and

indicated. In the event of receiving

you can visit the payments section of

Conditions of Sale).

two identical bids the first one

our website.

No VAT is payable on the hammer

Condition Reports

received will take precedence. They


price or premium for books bought

If potential buyers are unable to

must be received at the very latest

Cheques should be made payable to

at auction.

inspect lots in person our specialists

at least an hour before the sale. We

Lyon and Turnbull Ltd. We reserve

will be happy to prepare detailed

will do our utmost to execute these

the right to wait until cheques have

Condition Reports on individual lots

bids but we offer this service entirely

been cleared by our bankers before

as quickly as possible. These are for

at the bidder’s risk.

releasing bought goods. Cheques

guidance only and all lots are sold

By telephone

can be cleared prior to sale on

‘as found’ (see our standard Terms

Bids submitted by telephone must

request. Cheques drawn by third

and Conditions of Sale).

be confirmed in writing.

parties cannot be accepted. If paying

collect a royalty payment for all

Electrical Goods

Telephone bidding

by post please include the slip from

qualifying works of art. Under new

Lots that were once operated by

If you are unable to attend the sale

your invoice.

legislation which came into effect on

mains electricity are bought entirely

we can normally arrange for you to


1st January 2012, this applies to

at the buyer’s risk. They are offered

bid on the telephone. This service is

It is the buyer’s responsibility to

living artists and artists who have

for sale for display or historical

available entirely at our discretion

ascertain collection procedures,

died in the last 70 years.

purposes and may not comply with

and at the bidder’s risk. All

particularly if the sale is not being

This royalty will be charged to the

current regulations.

telephone bids must be confirmed in

held at our main saleroom.

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.

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. We are required to

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

Lot Numbers

WEDNESDAY, 8TH MAY at 11am 1-14


























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


Art Glass

1 FG2/1 RENÉ LALIQUE (1860-1945) ‘CALYPSO’ PATTERN CLEAR, FROSTED AND OPALESCENT GLASS PLAFFONIER, DESIGNED 1930 moulded with a frieze of naked sirens, chromium plated mounts with circular frosted glass diffuser, stencil etched mark ‘R. Lalique, France’ Bowl 33cm diameter, 58cm total diameter

2 FF138/11 TIFFANY & CO., NEW YORK ‘FAVRILE’ GLASS VASE, CIRCA 1910 of slender tapering form with spreading base, the opaque iridescent body with pulled ‘feathered decoration around the base, etched maker’s marks under foot 4424 J./ L.C.TIFFANY/ FAVRILE


40.5cm high


3 FE272/155A GERTRUDE JEKYLL (1843-1932) FOR JAMES POWELL & SONS ‘MUNSTEAD’ CLEAR GLASS FLOWER VASE, CIRCA 1890 the flaring neck above a tapering cylindrical body 36cm high Note: Gertrude Jekyll, the garden designer designed and commissioned the Munstead Flower Glasses when she failed to find vases to suit her needs. She used them to display the flowers grown in her garden at Munstead Wood.



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

4 FG2/4 ÉMILE GALLÉ (1846-1904) CAMEO GLASS BOTTLE VASE, CIRCA 1910 the frosted lemon glass body with crimson overlay, etched with leaves and berries, cameo signature GALLÉ

5 FG30/8 SCHNEIDER ART DECO GLASS VASE, CIRCA 1930 of cylindrical tapering form, acid etched with banded decoration, etched signature mark SCHNEIDER

6 FG30/4 MULLER FRÈRES OVOID GLASS VASE, EARLY 20TH CENTURY with coloured and aventurine inclusions, cased in clear glass, etched signature 20.5cm high

7 FG30/3 LEGRAS CAMEO GLASS VASE, EARLY 20TH CENTURY etched with seagull design on a mottled cream/white ground with chocolate brown banding, signed to body

19cm high

31.5cm high


39cm high



8 FE148/8 RENÉ LALIQUE (1860-1945) ‘MARGUERITE’ PATTERN CLEAR AND FROSTED GLASS BOWL, DESIGNED 1941 of circular form with rim moulded with daisies, stencil etched mark R.LALIQUE/ FRANCE

9 FE497/3 RENÉ LALIQUE (1860-1945) ‘PIS EN LIT’ PATTERN CLEAR AND FROSTED GLASS BOWL, CIRCA 1930 moulded with dandelion leaves, moulded and etched maker’s marks R. LALIQUE/ FRANCE/ NO. 3215

34cm diameter

24cm diameter




10 FG77/1 DAUM FRÈRES ETCHED GLASS LAMP BASE, CIRCA 1930 of ovoid form with hammered silvered metal mount, the glass with mottled blue inclusions, acid etched with vertical bands and entwined circle motifs, wheel etched mark to base DAUM/ NANCY/ FRANCE, and with Cross of Lorraine symbol 23cm high

£200-300 6

11 FF138/21 LOETZ TWO IRIDESCENT GLASS TILES, CIRCA 1900 each with spotted and waved decoration (2) 7.5cm square


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

12 FG14/47 SAM HERMAN (B. 1936) FREEFORM STUDIO GLASS VASE, DATED 1980 of tall tapered form with coloured and iridescent inclusions, engraved mark to base SJH13/ 1980/ SAMUEL HERMAN 33cm high Provenance: Lorbottle Hall, Whittingham, Northumberland


13 FD339/2 NILS LANDBERG (SWEDISH, 1907-1991) FOR ORREFORS ‘TULPANGLAS’ GOBLET VASE, CIRCA 1957 in amethyst and clear glass, engraved ORREFORS, EXPO, N, 310-57

14 FG14/106 CHRISTOPHER WILLIAMS (B. 1949) TALL GLASS JUG, LATE 20TH CENTURY ruby glass with applied blue glass handle, etched mark CHRISTOPHER WILLIAMS/ 1368

33.5cm high

40cm high


Provenance: Lorbottle Hall, Whittingham, Northumberland


15 FG14/200 STEVEN NEWELL (B. 1948) CIRCULAR ETCHED GLASS CHARGER, DATED 1986 clear, frosted and turquoise glass, etched with a man swimming through ambulant fish, etched mark NEWELL/ ‘86 55.5cm diameter Provenance: Lorbottle Hall, Whittingham, Northumberland


16 No lot



British Ceramics

17 FD39/5 CHARLES VYSE (1882-1971) ‘VINTAGE’ EARTHENWARE FIGURE GROUP, DESIGNED 1929 modelled as a young Bacchus supported astride a bull wearing a wreath of fruiting grapevine by a maiden, raised on a separate ebonised and canted rectangular base, incised to figure C. VYSE/ CHELSEA 33cm high


18 FE343/12 DUNMORE POTERY LARGE CENTREPIECE, CIRCA 1870 with circular bowl moulded as a clam shell and supported by three grotesque fish on a circular moulded plinth, apparently unmarked 28cm diameter, 31cm high


24cm high

20 FE153/4 CHARLES H. BRANNAM (1855-1937) THREE CHAMBER CANDLESTICKS, DATED 1899 each modelled as griffins holding a single candle nozzle, the tails forming the handle, incised script maker’s marks to base C.H. BRANNAM/ BARUM/ 1899, and to body RD. 44561 (3)


14cm, 15.5cm and 16cm high

19 FF138/9 CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY SINGLE HANDLED EARTHENWARE EWER, CIRCA 1890 with incised decoration, covered in a pink glaze, applied and impressed maker’s mark


21 FF138/17 GEORGE CARTLIDGE FOR S. HANCOCK & SONS ‘MORRISWARE’ EARTHENWARE BOWL, CIRCA 1920 decorated with a band of flowers, printed and painted marks 23cm across

£150-250 22 FF138/15 ENGLISH SCHOOL EARTHENWARE WALL MASK, CIRCA 1920 glazed in green, unmarked 30cm long

£200-300 9

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

23 FF136/5 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO ‘CORNFLOWER’ PATTERN EARTHENWARE VASE, CIRCA 1900 printed factory marks, signed in green 19cm high


24 FF100/2 MOORCROFT POTTERY ‘CORNFLOWER’ PATTERN EARTHENWARE VASE, CIRCA 1910 the flattened ovoid body with tall flared and knopped neck, painted externally and internally with cornflowers, impressed maker’s marks, signed in green W. MOORCROFT 30cm high


25 FF136/2 MOORCROFT POTTERY ‘ORCHIDS’ PATTERN EARTHENWARE VASE, CIRCA 1930 the tall tapered vase with inverted rim, impressed factory marks, signed in blue 42cm high


26 FF136/3 MOORCROFT POTTERY ‘ORCHIDS’ PATTERN OVOID EARTHENWARE VASE, CIRCA 1930 impressed factory marks, signed in blue 21cm high



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

27 FG2/5 MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN EARTHENWARE JARDINIERE, CIRCA 1920 of tapered cylindrical form with applied foot, impressed maker’s marks, signed in blue W. MOORCROFT 21.5cm high


28 FF136/4 MOORCROFT POTTERY LARGE ‘LEAF & BERRY’ PATTERN FLAMBÉ EARTHENWARE VASE, CIRCA 1930 impressed factory marks, signed in blue 31cm high


29 FE343/5 MOORCROFT POTTERY ‘EVENTIDE’ PATTERN EARTHENWARE BISCUIT BARREL & COVER, CIRCA 1930 tubelined and glazed, impressed marks and blue painted initials, chip to cover, crack to one handle (2) 17cm high



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

30 FF145/5 SALLY TUFFIN FOR MOORCROFT POTTERY IMPRESSIVE ‘FINCHES’ PATTERN EARTHENWARE VASE, CIRCA 1990 impressed maker’s marks, painted initials WM 67.5cm high


31 FF100/1 RACHEL BISHOP FOR MOORCROFT POTTERY IMPRESSIVE ‘KYOTO’ PATTERN LIMITED EDITION EARTHENWARE VASE, DATED 1995 of baluster form with flared rim, decorated with pink glazed cranes, amidst oriental flowers and foliage and reserved against a graduated blue ground, limited edition number 88 of 100, together with plaque/certificate; impressed mark, signed and dated 10/8/95 61cm high


32 FE412/6B MOORCROFT POTTERY COLLECTION OF WARES, LATE 20TH CENTURY comprising an ‘ORCHID’ PATTERN FOOTED VASE, impressed mark, bears maker’s paper label, 10.5cm high; a ‘LATTICE’ PATTERN JARDINIERE, impressed marks, initialled in green, 16cm high; a PAIR OF ‘HIBISCUS’ PATTERN MINIATURE OVOID VASES, printed maker’s marks, 4.6cm high; and a ‘HIBISCUS’ PATTERN CANDLESTICK, impressed maker’s marks, 8.5cm high (5) £200-300


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

33 FE342/82A MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN SQUAT BALUSTER EARTHENWARE VASE, CIRCA 1930 impressed maker’s mark, signed in green 19cm high

£200-300 34 FE342/82 MOORCROFT POTTERY LARGE ‘POMEGRANATE’ PATTERN SQUAT OVOID EARTHENWARE VASE, CIRCA 1930 impressed maker’s mark, signed in green, crack to body

37 FG78/1 MOORCROFT POTTERY ‘FISH’ PATTERN EARTHENWARE VASE, CIRCA 1930 of tall baluster for, decorated with an angel fish opposing a pair of swimming fish on a pale cream ground, impressed maker’s marks, signed W. MOORCROFT 33cm high


21cm high

38 FE351/5 MOORCROFT POTTERY ‘ANEMONES’ PATTERN OVOID EARTHENWARE VASE, 1940S impressed maker’s marks, initialled in blue


13cm high


£150-250 36 FF136/1 MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN EARTHENWARE VASE, CIRCA 1930 impressed factory marks, initialled in blue (2) vase 14.5cm high


39 FF145/14 MOORCROFT POTTERY ‘FAIRY RINGS’ PATTERN EARTHENWARE VASE, CIRCA 1990 decorated with mushrooms, printed maker’s marks, painted initials WM, 18cm high; a SMALL CIRCULAR PIN DISH, in the same pattern, 11.5cm diameter; a ‘VIOLETS’ PATTERN GINGER JAR & COVER, 11cm high; and a SMALL BALUSTER VASE, 10cm high (4) £150-250

40 FE412/6A SALLY TUFFIN FOR MOORCROFT POTTERY COLLECTION OF ‘FINCHES’ PATTERN WARES, LATE 20TH CENTURY to include a TALL BALUSTER VASE, 27cm high; a BOTTLE VASE, 17cm high; a MINIATURE BOTTLE VASE, 10cm high; a MINIATURE OVOID VASE, 7cm high; and a CIRCULAR DISH, 11.5cm diameter, each with impressed maker’s marks (5) £200-300 41 FE412/4 CHARLOTTE RHEAD (1885-1947) COLLECTION OF WARES, CIRCA 1930 to include a BURSLEY WARE SINGLE HANDLED VASE, printed and painted maker’s marks TL43/1, 25.5cm high; a CROWN DUCAL BALUSTER VASE, printed maker’s mark, painted signature, 18cm high; a BURSLEY WARE GINGER JAR & COVER, printed and painted makers marks, TL4, 15cm high; and a CROWN DUCAL BOWL, printed maker’s mark, painted signature, 15cm across (4) £150-250

42 FF135/5 KEITH MURRAY (1892-1981) FOR WEDGWOOD OVOID EARTHENWARE VASE, CIRCA 1940 with ribbed decoration, glazed in green, printed maker’s marks 18cm high

£200-300 43 FG13/1 CLARICE CLIFF (1899-1972) ‘GAYDAY’ PATTERN EARTHENWARE COFFEE SERVICE, CIRCA 1930 comprising six coffee cans and saucers, a creamer and a sugar bowl, printed and painted maker’s marks (14) £300-500 44 FF76/1 CLARICE CLIFF (1899-1972) ‘DELICIA PANSIES’ PATTERN EARTHENWARE SALT AND PEPPER CRUETS, CIRCA 1930 each with printed mark MADE IN ENGLAND, chip on one aperture (2) 8cm high

£150-250 45 FG13/2 CLARICE CLIFF (1899-1972) CIRCULAR EARTHENWARE WALL PLAQUE, 1930S moulded with flowers and painted in colours, printed maker’s marks 33cm diameter

£100-200 46-47 No lots


Studio Ceramics

48§ FG14/46 COLIN PEARSON (1923-2007) STONEWARE VASE WITH ‘WINGS’, LATE 20TH CENTURY glazed in blue, applied and impressed seal mark 41cm high Provenance: Lorbottle Hall, Whittingham, Northumberland


49 FG14/54 LARGE LIDDED STONEWARE JAR AND CHARGER, LATE 20TH CENTURY each painted with cross hatched panels and flowering tendrils on a buff ground, impressed seal marks (2) Jar 75cm high, charger 52cm diameter Provenance: Lorbottle Hall, Whittingham, Northumberland



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

50§ FG14/14A CLIVE BOWEN (B. 1947) STONEWARE JAR & COVER, LATE 20TH CENTURY of ovoid form with arcing slip decoration 35cm high Provenance: Lorbottle Hall, Whittingham, Northumberland


51§ FG14/72 CLIVE BOWEN (B. 1943) MONUMENTAL STONEWARE JAR & COVER, LATE 20TH CENTURY of shouldered tapering form, decorated with opposed panels of trailing slip, twin handles 68cm high Provenance: Lorbottle Hall, Whittingham, Northumberland



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

52§ FG14/11 RICHARD BATTERHAM (B.1936) LARGE STONEWARE VASE, LATE 20TH CENTURY of shouldered tapering form, covered with green and treacle glazes, and with a band of incised decoration

53§ FG14/12 RICHARD BATTERHAM (B.1936) STONEWARE VASE, LATE 20TH CENTURY of shouldered tapering form, covered with green and treacle glazes, and with a band of incised decoration

54§ FG14/13 RICHARD BATTERHAM (B.1936) STONEWARE VASE, LATE 20TH CENTURY of shouldered tapering form, covered with green and treacle glazes, and with a band of incised decoration

55§ FG14/14 RICHARD BATTERHAM (B.1936) STONEWARE VASE, LATE 20TH CENTURY of shouldered tapering form, covered with green and treacle glazes, and with a band of incised decoration

61cm high Provenance: Lorbottle Hall, Whittingham, Northumberland

39.5cm high

42.5cm high

37.5cm high

Provenance: Lorbottle Hall, Whittingham, Northumberland

Provenance: Lorbottle Hall, Whittingham, Northumberland

Provenance: Lorbottle Hall, Whittingham, Northumberland






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

56 FE183/1 SHOJI HAMADA (1894-1978) CYLINDRICAL FOOTED STONEWARE VESSEL, CIRCA 1960 covered in a Tenmoku glaze and with Kaki trailed decoration 11.5cm diameter, 10.5cm high Exhibited: London, The Crafts Centre of Great Britain, Hay Hill ‘Shoji Hamada: Exhibition of Pottery’, 13th 23rd November, 1963, no. 85, from where purchased.


57§ FG14/100 STEPHEN DIXON (B. 1957) ‘LET’S DANCE’, LATE 20TH CENTURY ceramic box and cover 33cm high Provenance: Lorbottle Hall, Whittingham, Northumberland

£150-250 58§ FG14/31 JANE HAMLYN (B. 1940) SALTGLAZED STONEWARE JAR AND COVER, LATE 20TH CENTURY of cylindrical form, decorated with a frieze of trees, impressed seal mark, 39cm high; and a JANE HAMLYN ELLIPTICAL SALTGLAZED VASE, allover foliate decoration, impressed seal mark, 37cm across (2) Provenance: Lorbottle Hall, Whittingham, Northumberland



59§ FE148/9 ROBIN WELCH (B. 1936) COLLECTION OF STONEWARE VESSELS, 1970S comprising a large CIRCULAR BOWL, with banded glazes, impressed maker’s mark, 40cm diameter; a group of FIVE CYLINDRICAL VESSELS, and a group of SIX CYLINDRICAL MUGS, each 18cm high; TWO FURTHER MUGS; and a related SINGLE HANDLED EWER, unmarked, 33cm high (15)

60 FF99/1 KATHERINE PLEYDELLBOUVERIE (1895-1985) STONEWARE BOWL, MID 20TH CENTURY covered with blue/ green glaze 12cm diameter Note: Purchased Scottish Gallery, 1986


48cm high

61§ FG14/48 DAVID LEACH (1911-2005) STONEWARE JAR AND COVER, 1960S with incised decoration and treacle glaze, impressed seal mark, 14cm high; ALAN CAIGER-SMITH (B. 1930) CIRCULAR BOWL, with calligraphic designs, painted makes, 18cm diameter; and FIVE FURTHER STUDIO WARES, to include two colanders; two shallow bowls and a dished tray (7)

Provenance: Lorbottle Hall, Whittingham, Northumberland

Provenance: Lorbottle Hall, Whittingham, Northumberland



£200-300 59A FG14/52 HENRY PIM (B. 1947) TAPERED STONEWARE VESSEL, LATE 20TH CENTURY with gilt embellishments, minor losses, incised signature

62 FG14/31A STUDIO CERAMICS GROUP OF WARES, 1980’S including a JUDITH GILMOUR (B. 1953) SLIT VASE, painted mark GILMOUR, 17cm high; a KATE WICKHAM (B. 1953) SCROLL VASE, decorated with the figure of a man, signed and dated 1984, 32cm across; a CAROL MCNICOLL (B. 1943) BOWL, black and white striped decoration, signed, 22.5cm across; a LARGE ESPERANZA VASE, of S shaped form, incised with horses and figures, signed and dated ESPERANZA ‘86, 42.5cm high and THREE FURTHER STUDIO CERAMIC VESSELS (7) Provenance: Lorbottle Hall, Whittingham, Northumberland

£200-300 63-64 No lots

Selected Items from the Collection of the Late Terry Brodie-Smith

Terence Garraway Brodie-Smith, known as Terry, was born in Newport, South Wales, in 1928. Terry studied dentistry at Bristol University, but decided it was not the path for him. He served his national service in North Africa before coming home to run his father's sock factory. The origin of his knowledge of and passion for art went back to these years in the early 1950s which he spent keeping production in the factory going to support his mother, father and younger sister. At that time, he found an outlet for his creativity in poring over art books and catalogues from auction houses. Before too long however, practical considerations led him to move to Bath where he set up business as a dealer in antique silver. His Scottish connection came about when The Scottish Gallery started to attend the annual Bath Art Fair, and a close association with the gallery continued until his death last year. He moved to Edinburgh in the mid-1980s and the collecting of British, and in particular, contemporary Scottish art, became a major preoccupation. By 1991 he had amassed a collection of 500 paintings, all packed into his first-floor flat on Great King Street, Edinburgh, and featuring artists such as S.J. Peploe, Barbara Hepworth, Alan Davie, John Bellany and many more. In the early 1990s, due to poor health, Terry downsized and moved into the old Assay office in Edinburgh's Old Town, which he decorated in primary colours and filled with post modern furniture, ceramics & glass. He remained a colourful character, attending private views and exhibitions festooned with objects, jewellery and placards; a walking work of art. Also in the flat was his collection of jewellery and silver and during his last years, when his eyesight was failing, these small precious objects continued to give him the greatest pleasure. The Terry Brodie-Smith Collection of jewellery and silver will be sold by Lyon & Turnbull in July 2013

65§ FE500/53 CRAIG MITCHELL (B. 1967) LARGE CERAMIC FIGURE GROUP, DATED 1996 etched mark to glaze C.M./ 96/ 1/6 Total height including base 97cm



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

66§ FE500/38 STEPHEN DIXON (B. 1957) ‘DEATH AND THE LOVERS’ CERAMIC BOX & COVER, CIRCA 1990 the lid modelled with elephants on an elephant, condom embellishments, bearing the inscription DEATH & THE LOVERS, and to the interior A STRANGE INTERIOR 33cm high


67§ FE500/63 CRAIG MITCHELL (B. 1967) ‘HIGHWAYMAN’, LARGE CERAMIC FIGURE GROUP, 2004 gazed earthenware, applied screen print, shoe laces Total height including base 70cm, 71cm long



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

68 FE500/60 STUDIO POTTERY GROUP OF CERAMIC FISH, CIRCA 1990 each painted in shades of blue, and mounted on a ceramic base (qty) Tallest 28.5cm high


69 FE500/59 STUDIO POTTERY GROUP OF CERAMIC FISH, CIRCA 1990 each painted in shades of blue, and mounted on a driftwood base (qty) Tallest 31.5cm high



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

70§ FE500/41 JOHN PIPER (1903-1992) FOR FULHAM POTTERY HOMAGE TO JOHN CROME, DATED 1982 hand painted ceramic plate, bears painted inscription to base JOHN PIPER/ X./ 82/ HOMAGE TO JOHN CROME/ FULHAM POTTERY 27.5cm across


71§ FE500/42 PHILIP SUTTON (B. 1928) CERAMIC PLATE, DATED 1984 painted with a raven and fruiting vine, signed and dated to base, 25.5cm across; and a CERAMIC PLATE, painted with Pan playing the pipes, painted initials C*E* to base, 25cm across; and FOUR PORCELAIN PANELS BY PHILIP EGLIN (boxed), 8.5cm x 6.5cm (6) £150-250

72§ FE500/61 DAPHNE CARNEGY (B. 1947) GROUP OF CERAMIC WARES, LATE 20TH CENTURY to include a SINGLE HANDLED JUG, 19cm high, a CIRCULAR BOWL, 20cm diameter and a FURTHER GROUP OF STUDIO CERAMICS (qty) £100-200

73§ FE500/45 JOHN MAGUIRE (B. 1962) CERAMIC VASE & COVER, LATE 20TH CENTURY covered in an ash glaze, impressed seal mark, 47cm high; and REMAINING STUDIO CERAMICS (qty) £200-300

74§ FE500/46 SOPHIE MACCARTHY (B. 1956) JUG AND TEAPOT, DATED 1996 the jug of tall tapering form with striped handle, incised signature to base, dated ‘96; the teapot with striped body, incised signature to base, dated ‘96, both covered in a yellow glaze (2) £100-200

75§ FE500/35 CLIVE BOWEN (B. 1943) COLLECTION OF WARES, CIRCA 1980 comprising a JAR AND COVER, 31cm high; a JAR AND COVER, 30cm high; JAR AND COVER, 24cm high; a SINGLE HANDLED JUG, 15cm high; a CYLINDRICAL JAR AND COVER, 21cm high; and a SINGLE HANDLED MUG, 11cm high (6) £200-300


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

76§ FE500/56 FRANCES PRIEST SINGLE CURVE, CIRCA 2003 carved and painted ceramic 38cm wide, 44cm high Note: Frances Priest graduated from Edinburgh College of Art in 1999. Her work has been shown across the UK, and in many different countries including America, Denmark, Italy, Japan and Korea, and she has undertaken residencies in Thailand and Scotland. Her work is included in a number of UK collections including the Victoria & Albert Museum, the Fitzwilliam Museum and the National Museum of Scotland.


77§ FE500/56A KATE NEAL CERAMIC FORM, LATE 20TH CENTURY porcelain and Perspex sculpture, raised on a Perspex stand, 68cm long; and an ASTRID GERHARTZ PORCELAIN VESSEL, painted with abstract design, moulded mark, 30.5cm high; and a GLASS SCULPTURE OF A TEAZLE, etched signature mark, cm long (3) £150-250


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

78§ FE500/52 SARAH JANE SELWOOD (B. 1969) CIRCULAR CERAMIC BOWL, LATE 20TH CENTURY covered in a dark celadon glaze, incised maker's mark, 15cm high; ANOTHER SMALLER by the same hand, 12cm diameter; a SULEYMAN SABA (B. 1969) BALUSTER VASE covered in a red oxide glaze, 33.5cm high; a CIRCULAR BOWL, similar decoration, 17cm across; a JAR & COVER, similar decoration, 9cm high; a PAIR OF BEAKERS, with cross hatched decoration, 7cm high, each with impressed seal mark; an IVAR MACKAY (B.1950) BOWL, covered in a mottled red oxide glaze, incised signature, 22cm across (8) £200-300 79§ FE500/51 ANNA LAMBERT (B.1957) CERAMIC SERVING TRAY, LATE 20TH CENTURY of organic oval form with shaped gallery and applied flying bird, incised maker’s mark, 59cm across; a KEVIN DE CHOISY BOWL, with frilled rim, impressed maker’s mark, 38cm across; a MORGEN HALL LIDDED VASE, with twin handles, covered in a polka dot design, impressed maker’s mark, 53cm high; and a MORGEN HALL WALL PLAQUE, impressed mark, 20cm across (4) £150-250


80§ FE500/40 PETER BEARD (B. 1951) OVOID CERAMIC VASE, LATE 20TH CENTURY allover blue and turquoise capillary decoration, impressed seal marks, painted mark M.71, 27cm high; DAVID HOWARD JONES (B. 1953), OVOID VESSEL, blue banded rim with Raku band and cracquelure glaze, incised mark, 15cm high; CHRISTINE JONES (B.1955), TAPERED OVOID TERRACOTTA VESSEL, with textured surface, incised signature, 19cm high (3) £200-300 81§ FE500/57 RUPERT SPIRA (B. 1960) CYLINDER VASE, LATE 20TH CENTURY pale blue glaze, moulded mark, 21.5cm high; FIVE VESSELS BY KIPP HENNAN (B. 1979), comprising three bowls, one plate and a cylindrical vase, plate, 18cm diameter; a SUE PARASKEVA BOWL, incised maker’s initials, dated ‘99, 13.5cm diameter; a SASHA WARDELL PORCELAIN VASE, incised with striped decoration, incised initials, 14.5cm high; and a SASH WARDELL BOWL, incised initials, 9cm high (9) £150-250

82§ FE500/58 DAVID LEACH (1911-2005) CIRCULAR STONEWARE BOWL, LATE 20TH CENTURY with prunt decoration, celadon glaze, impressed seal mark, 13cm diameter; a ST IVES PRESERVE JAR & COVER, the cover incised with an oak leaf, impressed seal mark, 9cm diameter (2) £150-250 83§ FE500/43 SUTTON TAYLOR (B. 1943) CIRCULAR CERAMIC BOWL, LATE 20TH CENTURY covered in blue and turquoise spattered lustre glazes, impressed seal mark, 32.5cm across; and a SUTTON TAYLOR FOOTED BOWL, covered in spattered yellow lustre glazes, impressed seal mark , 25cm across (2) £200-300 84§ FE500/37 WALTER KEELER (B. 1942) COVERED SALTGLAZED JAR, LATE 20TH CENTURY impressed maker's mark, 17cm high; a WALTER KEELER JUG, impressed maker's mark, 13cm high; DR PETER MEANLEY (B. 1944) SALTGLAZED TEAPOT, impressed seal mark, 17cm high; a DANIEL BOYLE JUG, 12.5cm high and a JOHN BRADLEY SALTGLAZED SINGLE HANDLED BASKET, impressed seal mark, 26cm high (5) £100-200

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

85§ FE500/34 JOHN MALTBY (B. 1936) JUG AND BOWL, CIRCA 1980 the jug of elliptical section with applied handle and painted decoration, painted mark to base MALTBY, 14cm high; and a bowl of rectangular outline and applied feet, impressed and applied seal mark, 21.5cm across (2) £300-500

86§ FE500/36 DUNCAN ROSS (B. 1943) CYLINDRICAL CERAMIC VESSEL, LATE 20TH CENblack and red leather, enamelled steel, with detachable table rests and hinged backsTURY inscribed makers monogram, 12.5cm high; and an EVELYN BEALE BOWL, painted maker’s mark, dated 2004, 20cm across (2) £150-250

87§ FE500/44 DAVE COHEN (B. 1932) SINGLE HANDLED LUSTRE VESSEL, DATED 1976 decorated with a tree in a landscape, painted signature to base, dated ‘76, 27cm high £100-200


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

88§ FE500/39 CATHERINE HOUGH (B. 1948) CARVED GLASS SCULPTURE, LATE 20TH CENTURY raised on a slate base, signed in script in the slate C. HOUGH, glass, 18cm across, whole, 22cm high; and a KEIKO MUKAIDE GLASS ‘WATER’ SCULPTURE, 25cm high (2) Note: Keiko Mukaide is a Japanese born Scottish based glass artist. This sculpture included in this lot, a ‘water’ element, formed part of an installation shown at the Scottish Gallery called ‘A Dry Landscape Garden’ in which Mukaide, then teaching at Edinburgh College of Art, converted the downstairs room at the gallery into a complete art work in glass - this element was part of a series which together formed a waterfall. Mukaide has gone on to do many site specific installations, for example at Hill House in Helensburgh and most recently a metal and glass work for Birmingham Museum.



89 FE500/47 STEVEN NEWELL (B. 1948) CIRCULAR GLASS BOWL, LATE 20TH CENTURY ruby glass with silver metal overlay, etched maker's mark NEWELL, 21cm across; and a CHRISTOPHER WILLIAMS (B. 1949) BLUE GLASS CREAM BOWL, with applied red lip, etched marks to base, 24cm across; and a BETTINA VISENTIN BLUE GLASS VASE, with silver foil inclusions, etched mark to base, 32.5cm high; and THREE FURTHER BLUE GLASS VESSELS, 11, 12 and 13cm high (6)

90§ FE500/55 BOB CROOKS (B. 1965) THREE GLASS VESSELS, LATE 20TH CENTURY comprising an ovoid vase, with blue latticed decoration, 16cm high; a TALL BOWL, with orange spiral decoration, 17cm diameter; and a FOOTED BOWL, with fine banded decoration, 20.5cm diameter, each vessel with etched signature; also a LINDEAN MILL FOOTED BOWL, with tall stem, etched maker’s mark, 21cm diameter and FIVE FURTHER GLASS VESSELS (9)



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

91 FE500/22 PHILLIPE STARCK (B. 1949) FOR FLOS ‘ARA’ TABLE LAMP, DESIGNED 1988 chromed steel, 56cm high; MICHELE LUCCHI AND GIANCARLO FASSINA FOR ARCHIMEDE ‘TOLOMEO’ FLOOR LAMP, steel and aluminium, with original paper label, 120cm high approx.; and an ARCHIMIDE ‘TIZIO’ BLACK STANDARD LAMP, approx. 157cm high (3) £200-300

92 FE500/17 MARIO BOTTA (B. 1943) FOR ARTIMEDE ‘SHOGUN’ FLOOR LAMP, DESIGNED 1986 enamelled aluminium, steel and plastic 220cm high


93 FE500/12 VICO MAGISTRETTI (19202006) FOR O-LUCE, ITALY ‘ATOLLO’ TABLE LAMP, DESIGNED 1977 black lacquered metal 68cm high



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

94 FE500/50 MAX SÖLLNER (1929-2003) SEATED FIGURE, LATE 20TH CENTURY Bronze, raised on a painted plinth with applied and painted geometric decoration, signed in the bronze MAX SÖLLNER/ 20/25, and with painted mark under base MAX SÖLLNER/ 20/25 (2)

94A FE500/62 ETTORE SOTTSASS (19172007) FOR ALESSI ‘TWERGI’ TURNED WOODEN BOWL, CIRCA 1988 stamped maker’s mark to base 29cm diameter


Total height 17cm


95 FE500/33A PHILIPPE STARCK (B. 1949) FOR ALESSI COLLECTION OF HOMEWARES, DESIGNED 1980S comprising a ‘HOT BERTAA’ KETTLE, 25cm high; a gold finish ‘JUICY SALIF’ LEMON SQUEEZER, 29cm high; a ‘MAK LE CHINOIS’ COLANDER & LINER, 30cm high, each with stamped maker’s marks, the squeezer and kettle with original labels; also a chrome plated and plastic FOOTED TAZZA, 29cm across (4) £200-300


96 FE500/33 MICHAEL GRAVES (B. 1934) FOR ALESSI COLLECTION OF HOME WARES, DESIGNED1980S comprising a CHROMIUM KETTLE, with bird whistle, 24cm high; TWO ‘MICKEY MOUSE’ KETTLES, each with mouse whistles, 23cm high; a SET OF SIX GLASS & CHROME ‘MICKEY MOUSE’ TEA CUPS & HOLDERS; MATCHING TRAY, SUGAR BOWL, SIX PLATES AND A CREAMER, tray 38cm across (18)

97 FE500/49 ROSENTHAL COLLECTION OF STUDIOLINIE WARES, 1980S to include a FLASH PATTERN TEAPOT & COVER, designed by Dorothy Hafner, 23cm high; a YANG BOWL, designed by Dorothy Hafner, 21cm across; and a ‘SCENARIO’ PATTERN TEAPOT & COVER, designed by Barbara Brennen, 25cm high, each with printed maker’s marks (3)




99 FE500/18 CONTEMPOARY DESIGN BIJOUTERIE CHEST, LATE 20TH CENTURY the glazed top with drawer below, above five further drawers raised on square front supports 44cm wide, 105cm high, 44cm deep

£200-300 100 FE500/14 CONTEMPORARY DESIGN BEECH AND CHROME SHELVES, LATE 20TH CENTURY each frosted glass shelf supported by cross frame metal supports, the whole with attached light fitting to one side 164cm wide, 182.5cm high,

50cm wide, 123cm high, 51cm deep

36cm deep



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

101 FE500/10 LODOVICO ACERBIS (B. 1939) & GIOTTO STOPPINO (1926-2011) ‘SHERATON’ BLUE LAMINATE SIDEBOARD, DESIGNED 1979 with blue lacquered top and sliding doors enclosing interior storage and drawers 228cm wide, 77cm high, 57cm deep


102 FE500/11 CONTEMPORARY DESIGN GLASS AND CHROME CENTRE TABLE, CIRCA 1990 the circular glass top raised on six supports, linked by stretchers 116cm diameter, 72cm high

£200-300 103-104 No lots


Continental Ceramics

105 FF138/23 CARLSIGMUND LUBER FOR JOHANN VON SCHWARZ ART NOUVEAU CIRCULAR EARTHENWARE TRAY, CIRCA 1900 decorated with an Art Nouveau maiden holding a glass of wine, within a brass gallery mount 40cm across


106 FF138/22 CARL SIGMUND LUBER FOR JOHANN VON SCHWARZ ART NOUVEAU OVAL EARTHENWARE TRAY, CIRCA 1900 decorated with an Art Nouveau maiden and poppies within a brass gallery mount 46cm across


107 FE354/11 CONTINENTAL ART NOUVEAU THREE PIECE EARTHENWARE DESK SET, CIRCA 1900 comprising an INKSTAND, with hinged lid and glass liner, 17cm across; a PAPERWEIGHT, 12 cm across; and a PEN TRAY, 24cm across, each moulded with stylised fruits and foliage and decorated with green and umber glazes, impressed serial numbers (3) £100-150

29cm across

110 FG30/12 RIESSNER, STELLMACHER & KESSEL ‘AMPHORA’ PORCELAIN FIGURE, CIRCA 1925 modelled as a tennis player, impressed and printed maker’s marks


30cm high

108 FF138/27 ERNST WAHLISS, VIENNA ‘TYROS’ EARTHENWARE CHARGER, CIRCA 1910 moulded with sea creatures, printed factory marks, painted mark ‘TYROS’ 2593

£300-400 109 FE148/10 JULIUS DRESSLER, AUSTRIA ART NOUVEAU SINGLE HANDLED EWER, CIRCA 1900 moulded with plant forms, impressed and applied maker’s marks 49.5cm high


111 FE515/2A EVA ZEISEL (1906-2011) FOR SCHRAMBERGER MAJOLIKAFABRIK GROUP OF THREE EARTHENWARE VESSELS, 1920S each painted with stylised flowers and geometric designs, printed factory marks (3) 22cm, 17cm and 8.5cm high


112 FE228/1 ERIK PLØEN, OSLO TWO OSLO OLYMPIC GAMES COMMEMORATIVE EARTHENWARE PLATES, DATED 1952 each of circular form with serrated borders, moulded with the Olympic rings symbol and centred with a figure skater, on ox blood and turquoise grounds, painted marks to one PLØEN/ MADE IN NORWAY, and PLØEN/ GREETINGS FROM THE/ VI. OLYMPIC WINTER GAMES/ OSLO 1952 (2) 21.5cm and 22cm diameter


113 FF138/7 JEAN BESNARD (1889-1958) OVOID EARTHENWARE VASE, CIRCA 1940 decorated with incised bands and covered in brown and pink craquelure glazes, incised makers mark to base JEAN/ BESNARD/ FRANCE 17cm high


114 FF420/1 GOUDA, ZUID-HOLLAND LARGE EARTHENWARE VASE, EARLY 20TH CENTURY of shouldered tapering form, decorated in bright colours with flowering foliage, painted maker’s marks

115 FF138/30 HUTSCHENREUTHER, SELB ART DECO PORCELAIN FIGURE, CIRCA 1930 modelled as a girl in a floral dress, gilt details, printed maker’s marks

42cm high



33.5cm high

116 FE436/1 JEAN BESNARD (1889-1958) LARGE OVOID EARTHENWARE VASE, CIRCA 1950 covered in an olive green glaze with central freeform band in craquelure gilt glaze, incised makers mark to base JEAN/ BESNARD/ FRANCE, damages 38cm high

117 FE148/3 BJORN WINBLAD (1918-2006) GLAZED EARTHENWARE TABLE CENTREPIECE, DATED 1978 the turned bowl with conical base, modelled as a female figure, the rim with applied candle sconces, painted marks WB/78/ DANMARK/ V.53


31cm high

£200-300 118-119 No lots


Jewellery, Silver & Metalwares

120 FF138/10 BENT GABRIELSEN (B. 1928) FOR GEORG JENSEN, DENMARK STERLING SILVER 115 NECKLACE, DESIGNED 1953 of articulated fin shaped link design, stamped maker’s marks GEORG JENSEN/ 925S/ DENMARK/ 115 36.5cm long


121 FE281/119 GEORG JENSEN (1866-1935) LARGE STERLING SALVER, CIRCA 1930 of rectangular outline with stepped detail to rim, stamped maker’s marks (rubbed) 30cm x 38cm


122 FE281/120 GEORG JENSEN (1866-1935) SMALL STERLING SALVER, CIRCA 1930 of rectangular outline with stepped detail to rim, stamped maker’s marks (rubbed) 24cm x 19cm


123 FC765/81 ROBERT EDGAR STONE (1903-1990) FOR HAMILTON & INCHES, EDINBURGH ART DECO SILVER DESSERT SET, DATED 1938 comprising a serving dish with twin finned handles and pierced gallery sides, and four matching serving dishes, impressed maker’s marks, hallmarked Edinburgh 1938, 43oz (5)

124 FE498/2 ATTRIBUTED TO CHRISTOPHER DRESSER FOR HUKIN & HEATH, LONDON ELECTROPLATED MUSTARD POT, CIRCA 1880 of cylindrical form with hinged cover and ebonised wood handle, stamped maker’s marks H&H/ 2479

serving dish 30cm across


7.3cm high



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

125 FF143/2 OMAR RAMSDEN (1873-1939) THREE PIECE SILVER COFFEE SERVICE, DATED 1927 each piece worked with a lobed panel design with planished finish and comprising a LIDDED COFFEE POT, of footed baluster form, with ivory knop handle to the lid, 22cm high; a CIRCULAR SUCRIER, with engraved crest, 10cm across; a CREAMER, of footed ovoid form, 8.5cm high, each piece with stamped maker’s marks and engraved OMAR RAMSDEN ME FECIT, hallmarked London 1927; also an associated SUGAR SPOON, 11.5cm long, stamped maker’s mark, hallmarked London 1929, 26oz (4) £2,000-3,000

126 FF143/1 OMAR RAMSDEN (1873-1939) SILVER MOUNTED OAK TRAY, DATED 1929 the tray of lobed oval outline, the moulded and planished gallery with twin applied ivory handles with stylised foliate cast brackets, the whole raised on flattened heart shaped feet, stamped maker’s mark, hallmarked London 1929 66cm long



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

127 FD555/3 OMAR RAMSDEN (1873–1939) RARE SILVER GILT MORSE, DATED 1934 of elaborate pierced foliate design, set with turquoise and coloured cabochons and hinged to each end, bears inscription verso OMAR RAMSDEN ME FECIT, hallmarked London 1934 17.5cm x 11.5cm


128 FF409/4 OMAR RAMSDEN (1873–1939) SILVER WAITER, DATED 1933 of circular form with moulded and castellated rim, planished surface and applied foot, bears inscription OMAR RAMSDEN ME FECIT, hallmarked London 1933, 10oz 16.5cm diameter


129 FD734/4 COLLECTION OF FIVE BROOCHES/PENDANTS, EARLY 20TH CENTURY to include a blue and green enamelled QUATREFOIL FORM PENDANT by William H. Haseler, hallmarked for Birmingham 1908, a similarly enamelled and blister pearl set floral SHAPED CIRCULAR PENDANT by Murrle Bennett & Co also stamped 950, an Art Nouveau stylised female cast SHAPED CIRCULAR PENDANT stamped 925 and two other brooches (5)

130 FF138/25 BERNARD INSTONE (1891-1987) SILVER AND ENAMEL CHRISTENING SET, DATED 1928 comprising a spoon and a napkin ring, each decorated with cloisonné enamel panels of flowering foliage, script mark BERNARD INSTONE, hallmarked Birmingham 1928, within fitted box (2) £350-400



Liberty & Co.

131* FF139/1 DAVID VEASEY FOR LIBERTY & CO., LONDON ‘CYMRIC’ SILVER AND ENAMEL MANTEL CLOCK, DATED 1903 the single train movement with circular enamel dial with chapters making up the inscription LENTE FESTINA, within case cast with stylised plant forms and polychrome enamel panel, the whole raised on flared bracket feet, maker’s marks L&CO/ CYMRIC, hallmarked Birmingham 1903 12cm high


132* FF139/16 DAVID VEASEY FOR LIBERTY & CO., LONDON ‘CYMRIC’ SILVER AND ENAMEL MANTEL CLOCK, DATED 1904 the single train movement with circular enamel dial with chapters making up the inscription LENTE FESTINA, within tapering case cast with stylised plant forms to the angles raised on a flared foot, maker’s marks L&CO, hallmarked Birmingham 1904 10cm high


133* FF139/15 DAVID VEASEY FOR LIBERTY & CO., LONDON ‘TUDRIC’ HAMMERED AND POLISHED PEWTER MANTEL CLOCK, CIRCA 1910 the single train movement with circular turquoise enamel dial, the case of shaped tapered form, cast with stylized tree and Celtic relief roots, on spreading rectangular plinth, impressed marks TUDRIC/ 0150 32cm high



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

134* FF139/14 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ PEWTER AND ENAMEL TWIN-BRANCH CANDELABRUM, CIRCA 1900 each with removable drip trays, the whole pierced and cast with stylised foliage and berries, raised on a square base with two turquoise enamels, stamped marks TUDRIC, and ENGLISH PEWTER/ MADE IN ENGLAND, serial no., 0530 (2) 28cm high Literature: Martin, Stephen A. (Edit.) ‘Archibald Knox’, London 2001, p. 217


135* FF139/13 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ PEWTER CANDLESTICKS, CIRCA 1900 of tapering cylindrical form on circular base with detachable drip tray, cast with stylised Celtic knot decoration, stamped marks to base, TUDRIC, serial no., 08 (2) 16cm high



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

136* FF139/8 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ PEWTER AND ENAMEL SET CANDLESTICKS, CIRCA 1900 each with square section nozzles on tapering stems, the rectangular pierced bases with stylised leaf motif decoration and enamel squares, stamped maker’s marks 0725 (2) 31.5cm high Literature: Martin, Stephen A. (Edit.) ‘Archibald Knox’, London 2001, p. 217


137* FF139/2 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ PEWTER CANDLESTICKS, CIRCA 1900 each with square section nozzles on tapering stems, the rectangular pierced bases with stylised leaf motif decoration, stamped maker’s marks 0725 (2) 31.5cm high Literature: Martin, Stephen A. (Edit.) ‘Archibald Knox’, London 2001, p. 217



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

138 FF138/8 WILLIAM H. HASELER, BIRMINGHAM TWO BOXED SILVER AND ENAMEL NAPKIN RINGS, DATED 1904 AND 1905 one embossed with opposed strapwork cartouches, the other embossed with a frieze of stylised plant motifs, stamped maker’s marks, hallmarked Birmingham 1904 and 1905 (2) 4.9cm diameter


139* FF139/5 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF LARGE ‘TUDRIC’ BULLET SHAPE PEWTER & ENAMEL VASES, CIRCA 1900 each cast with stylised entwined foliage on three strut supports, stamped marks ENGLISH PEWTER/ MADE FOR LIBERTY & CO/ 0927 (2) 29.5cm high


140 FF138/6 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND ENAMEL MANTEL CLOCK, CIRCA 1900 of arched rectangular form, the dial with Roman numerals above two enamel cabochons, the front cast with symmetrical stylised plant forms, with a Lenzkirch movement, stamped marks to base 0370 20.5cm high Literature: Martin, Stephen A. (Edit.) ‘Archibald Knox’, London 2001, p. 239



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

141 FF138/2 JAMES DIXON & SONS, SHEFFIELD PAIR OF SILVER CANDLESTICKS, DATED 1906 each with circular dished drip trays above square tapering columns and spreading bases with riveted decoration, hallmarked Sheffield 1906 (2) 22cm high


142* FF139/12 FAY LUCAS, LONDON PAIR OF SILVER MOUNTED SLATE CANDLESTICKS, DATED 1997 each with cylindrical nozzles and drip trays on column supports and square bases, overlaid with silver straps, inscribed FAY LUCAS/ ‘97, hallmarked London 1996 (2) 15cm high


143* FF139/3 ATTRIBUTED TO ARCHIBALD KNOX FOR LIBERTY & CO., LONDON PEWTER MOUNTED PHOTOGRAPH FRAME, CIRCA 1900 with mahogany back and frame, inset with shaped pewter band set with abalone shell 22cm high


144 FE148/18 ARCHIBALD KNOX (18641933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER CAKE DISH, CIRCA 1910 cast with stylised foliage and centred with a turquoise enamel panel, single handle, stamped mark 0357, 31cm across; and a LIBERTY & CO. ‘TUDRIC’ PEWTER PAPER KNIFE, also designed by Archibald Knox, 14.5cm long (2)

145 FF145/8 DUNHILL, LONDON PLATED TABLE LIGHTER, 1940S with inscription, JIM AND BEITHA/ XMAS 1947, stamped maker’s marks 10.5cm high

146 FF137/3 ENGLISH ARTS & CRAFTS WHITE METAL VASE, CIRCA 1900 of flaring form with planished surface and four applied lugs, the body set with turquoise cabochons


17.5cm high




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

147 FF145/9 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) PLATED AND GLASS CLARET JUG, CIRCA 1900 of tall tapering form, the green glass body with single handle and pierced stopper cast with whiplash foliage, stamped maker’s marks 38cm high


148 FF138/3 WMF (WURTTEMBERGISCHE METALLWAREN FABRIK) PAIR OF ELECTROPLATED PEWTER FIGURAL TWIN BRANCH CANDELABRA, CIRCA 1900 each cast in the form of a maiden supporting two brass scrolling arms and floral sconces, stamped maker’s marks, numbered 269/269a (2) 26.5cm high


149 FF138/5 WMF (WURTTEMBERGISCHE METALLWAREN FABRIK) ELECTROPLATED PEWTER INKSTAND, CIRCA 1900 cast in the form of a maiden, with dished pen tray and lidded inkwell, enclosing a glass line, stamped maker’s marks, numbered 232 18.5cm across



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

150 FF183/1 HUGO LEVEN (1874-1956) FOR J. P. KAYSER SOHN, KREFELD PAIR OF THREE BRANCH ‘BAT’ PEWTER CANDELABRA, CIRCA 1900 model number 4506, cast mark KAYSERZINN 4506 (2) 30.5cm high


151 FE148/17 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) ART NOUVEAU PEWTER AND GLASS FLOWER VASE, CIRCA 1900 cast with whiplash foliage and opposed moth motifs, with blue glass liner, stamped marks, losses to handles 28.5cm across

£150-250 152 No lot 153 FF138/26 EDUARD HUECK GMBH & CO. KG SILBER-ZINN PEWTER CHARGER, CIRCA 1900 of circular form cast with grotesque masks and flowers, applied cast mark SILBERZINN/ DAUTZENBERG

154 FG30/10 CHRISTOFLE ART DECO DINANDERIE CHARGER, CIRCA 1930 with silvered foliate frieze decoration, stamped maker’s marks

156 FG11/7 HAGENAUER, VIENNA CHROMED HAND MIRROR, CIRCA 1930 the circular plate with pierced handle depicting a stylised figure, unmarked

42cm diameter

31cm long



155 FG30/9 CAMILLE FAURÉ (1874-1956) FOR LIMOGES ENAMEL PLAQUE, EARLY 20TH CENTURY depicting a pastoral scene, painted maker's marks C. FAURÉ/ LIMOGES/ FRANCE, framed

157 FG11/2 AUSTRIAN SCHOOL NICKEL WALL MIRROR, EARLY 20TH CENTURY the rectangular frame surmounted by stylised foliate bracket 66cm x 57cm

158 FD40/1 PHILIPPA MERRIMAN SUITE OF SILVER CUTLERY, DATED 1992 comprising six soup spoons; six dessert spoons and six dinner forks, each with planished surface and applied stepped decorations to the terminals, hallmarked Sheffield, 1992 with maker’s marks; also an associated set of SIX SILVER AND STEEL DINNER KNIVES, AND MATCHING SIDE KNIVES, hallmarked Sheffield 1995 (30) Weighable silver 36oz

8.5cm x 13.5cm

Note: Philippa Merriman is the director of Merriman Silver Ltd.




40cm across



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

159 FF137/1 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON COPPER WALL MIRROR, CIRCA 1900 the rectangular landscape frame with Celtic knot repoussé decoration, reserved on a planished ground with riveted seams 61cm x 90cm


160 FE354/15 ARTS & CRAFTS LARGE COPPER SERVING TRAY, CIRCA 1900 rectangular with rounded angles, the canted gallery with faux rivet decoration, the tray set to the angles with four green glazed heart cabochons 71cm wide


161 FE374/4 ARTS & CRAFTS IMPRESSIVE COPPER MANTEL CLOCK, CIRCA 1910 the single train movement with circular dial having applied silvered numerals, the case with riveted brackets to the angles embossed with lowering tendrils and bearing the inscriptions TIME FLIES and I MARK THE HOURS ALIKE FOR THE HAPPY AND THE SAD 44cm high



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

162 FD39/3 WILLIAM ARTHUR SMITH BENSON (1854-1924) DISHED COPPER TRAY, CIRCA 1900 of circular form, embossed with divided panels, the lobed edge enclosing repoussé decorated band of flowering rose branches, stamped maker’s mark 48cm across Literature: Hammerton, Ian (edit.) ‘W.A.S. Benson’, Woodbridge 2005, page 254, plate 28, for similar examples


163 FF127/6 MANNER OF SIR ALFRED GILBERT ART NOUVEAU BRASS DOOR BELL PLATE, CIRCA 1910 of shaped rectangular outline, cast to the centre with a crouching winged angel in relief 14cm x 8cm


164 FF140/1 WILLIAM ARTHUR SMITH BENSON (1854-1924) BRASS AND COPPER TABLE, CIRCA 1910 the circular embossed top raised above three tubular supports on turned column and tripod base (adapted) 38.5cm diameter, 81cm high



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

165 FE239/21 ARTS & CRAFTS PAIR OF WROUGHT IRON FIRE DOGS AND GRATE, CIRCA 1930 each dog worked as a fantastical creature with webbed feet, the simple grate with horizontal bars and scrolled decoration (3) Dogs 57cm high, grate 75cm x 19.5cm x 31cm


166 FF111/1 MANNER OF MARGARET GILMOUR BRASS INKWELL, CIRCA 1920 with Celtic knot repoussé decoration, the hinged lid enclosing an aperture for liner, the whole raised on a spreading base 8.5cm high



36cm across

168 FE148/19 ARTS & CRAFTS BRASS WALL MIRROR, CIRCA 1920 the rectangular plate enclosed by frame, repoussé decorated with scrolling foliage


44cm x 29cm

169 FF420/3 GERMAN SCHOOL ART NOUVEAU SILVERED METAL AND GLASS VASE, CIRCA 1910 the tapering green glass vase fitted to a circular embossed base with three totem upright embellishments


27cm high

167 FF420/2 GLASGOW STYLE BRASS TRIVET, CIRCA 1910 the rectangular top repoussé decorated with stylised plant forms, raised on curved supports


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

170 FF146/6 VICKERS LIMITED .303 DE-ACTIVATED MACHINE GUN, INTRODUCED 1912, UNTIL 1968 nickel polished steel, cast marks MOUNT TRIPOD/ M.G./ MK IV and serial no. 57566

171 FF147/2 WILLIAM ARTHUR SMITH BENSON (1854-1924) BRASS AND COPPER TABLE CANDELABRA, CIRCA 1900 with three curved branches having broad drip trays, raised on a quadruped base

112cm long, approx. 100cm high


34cm high


172 FF127/5 SCOTTISH SCHOOL BRASS TEA CADDY, CIRCA 1920 of square section, the hinged lid inlaid with turquoise enamel roundel, the sides repoussé decorated with Celtic knotwork 12.5cm high

174 FF137/2 WMF (WÜRTTEMBERGISCHE METALLWAREN FABRIK) COPPER BOUND GLASS CLARET JUG, CIRCA 1920 the glass body of barrel form, etched with vertical lines and bound with riveted copper straps, single brass handle, stamped mark


25.5cm high

£200-300 173 FF147/4 AESTHETIC MOVEMENT PAIR OF BRASS WALL SCONCES, CIRCA 1890 each with rectangular backplates, cast with fruiting foliage, and with twin removable sconces (2) 41cm high, 26cm wide


175 FF138/18 CONTINENTAL ART NOUVEAU COPPER WALL SCONCE, CIRCA 1920 repoussé decorated with a bat, on hammered ground and with twin applied candle sconces 35cm long



177 FE354/4 BLANCHE POCCARD DE SAINTILAU PAIR OF ART NOUVEAU BRONZED VASES, CIRCA 1902 each cast in relief with iris design, stylised handle, green/ brown patinated finish, cast maker’s marks to body SALON 1902/ BL. POCCARD (2) 32cm high

£150-250 178 FE339/8 ARTS & CRAFTS SET OF STEEL AND BRASS FIRE IRONS AND FIRE DOGS, CIRCA 1900 comprising a poker; a pair of coal nippers; an ash shovel; and a pair of fire dogs (5) Ash shovel 66.5cm long




179 FD39/4 WILLIAM ARTHUR SMITH BENSON (1854-1924) COPPER AND BRASS ELECTROLIER, CIRCA 1900 with leafy copper ceiling rose, and turned brass support, with leaf formed corona suspending three copper cylindrical collars with three Vaseline glass shades by James Powell & Sons 53cm across, approx. 105cm high Literature: Hammerton, Ian (edit.) ‘W.A.S. Benson’, Woodbridge 2005, page 258, plate 14, for similar examples


180 FG2/3 ART DECO PATINATED SPELTER TABLE LAMP, CIRCA 1930 cast as a girl leaning on a table, with reeded column support and green glass shade, the whole raised on stepped alabaster base

181 FF146/3 GERMAN DESIGN INDUSTRIAL DESK LAMP, CIRCA 1970 chromed steel 82cm high


40cm high


182 FG83/1 WILLIAM ARTHUR SMITH BENSON (1854-1924) SILVERED TABLE LAMP, CIRCA 1900 with adjustable head and facetted knopped column, raised on leaf-cast quadruped base, stamped maker’s mark BENSON

183 FE484/1 ART NOUVEAU STYLE ADONISED COPPER EXTENDING STANDARD LAMP the shaped column support cast with masks of Art Nouveau maidens, raised on a pierced and tapered base with bracket feet

183AFE354/7 CONTINENTAL SCHOOL PAIR OF PLATED OIL LAMPS, CIRCA 1900 each with ovoid acid etched shade and glass mantel shade, raised above brass mounted wick holder and cut glass reservoir supported by a plated stand (2)

35cm high

153cm high

59cm high





182A FF127/2 ATTRIBUTED TO WILLIAM ARTHUR SMITH BENSON BRASS TABLE LAMP, CIRCA 1910 with curved support and later shade raised on a shaped circular base 25.5cm high


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

184 FF146/7 ITALIAN DESIGN MONUMENTAL CHANDELIER, CIRCA 1979 brass, steel and textured glass 118cm square, approx. 180cm high Note: Commissioned for the ballroom at the Grosvenor Hotel, Great Western Road, Glasgow, circa 1979 which had been re-buit after a fire destroyed the original building in 1978. Please note that the purchaser of lot 184 has the opportunity of purchasing one or more of the following seven lots at the same price.


















193* FF139/21 ATTRIBUTED TO CHARLES ROBERT ASHBEE FOR THE GUILD OF HANDICRAFT EMBOSSED AND GILDED LEATHER PANEL, EARLY 20TH CENTURY with opposed peacock design centred by a fountain, framed 109cm x 68cm Note: Decorative leather panels as fashionable wall coverings were popular in the16th and 17th centuries, and the fashion was revived in the 1890s. Ashbee designed several panels as wall coverings, and smaller objects, and Bill Hardiman, a member of the Guild of Handicraft, made the panels. The subject and style of the present lot, the peacock being a favorite motif, suggests an attribution to Ashbee.


194 FE354/3 WILLIAM ARTHUR CHASE (1878-1944) FOR THE ROWLEY GALLERY ‘GIRLS WITH FRUIT BOWL’, CIRCA 1920 circular marquetry panel, within gilt and gesso frame, bears maker’s label verso 58cm diameter



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

195 FF141/1 JAEGER LE COULTRE, GENEVA SWISS GILT-BRASS AND PLEXIGASS ATMOS ‘MARINA’ CLOCK, CIRCA 1960 the circular dial with applied gilt chapters, signed JAEGER LE COULTRE/ATMOS and MARINA, gilt hands, the movement of typical form, with original case and documents 23.5cm high


196 FG11/3 MANNER OF OMEGA WORKSHOP PAINTED SERVING TRAY, EARLY 20TH CENTURY decorated with swimming fish and foliate designs 41.5cm across


196A FRANK EGERTON (1942-2003) 'GIRAFFE', AUTOMATON, DATED 2000 carved and painted wood, signed F. Egerton 2000

197 FF80/1 JAEGER LE COULTRE, GENEVA BRASS CASED INLINE DESK CLOCK, CIRCA 1960 the circular dial with visible movement on a stepped base

99cm high

19cm high

198 FE354/17 ART DECO PAIR OF HARDWOOD AND METAL MOUNTED BOOKENDS, 1930S each carved as stylised sailors steering a ship, with brass and copper mounts (2)



25cm high


199 FF144/1 ASPREY & CO. (RETAILERS) ITALIAN FOUR PIECE DESK SET, 1960S slate and onyx, inlaid with coloured stones, comprising a CIGARETTE BOX, 11.5cm across; TWO ASHTRAYS, 7.5cm across; and a LIGHTER, 6cm high (4) £250-350



200 FF138/12 JOSEF LORENZL (1892-1950) SILVERED BRONZE FIGURE, CIRCA 1925 cast as a naked dancing girl, signed in the bronze LORENZL, and raised on a green onyx and black slate hexagonal base with square plinth 47cm high


201 FF138/14 JOSEF LORENZL (1892-1950) BRONZE FIGURE, CIRCA 1925 cast as a naked girl with outstretched arms, signed in the bronze LORENZL, and raised on a turned green onyx plinth 35cm high


202 FF138/13 JOSEF LORENZL (1892-1950) SILVERED BRONZE & IVORY FIGURE, CIRCA 1925 cast as a dancing girl, signed in the bronze LORENZL, and raised on a green onyx and black slate hexagonal base with square plinth 39.5cm high



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

203 FF138/24 JOSEF LORENZL (1892-1950) PATINATED AND PAINTED BRONZE AND IVORY FIGURE, CIRCA 1920 depicting a pierrot modelled playing a lute, the bronze painted with stylised motifs by Crejo, seated on an onyx plinth, painted mark ‘Crejo’ 16.5cm high


204 FF138/16 HANS KECK PATINATED BRONZE & IVORY FIGURE, CIRCA 1925 cast as a page boy, carrying a jewelled casket, signed in the bronze H. KECK FEC., and raised on a black slate hexagonal plinth 26cm high


205 FD41/1 ATTRIBUTED TO DOMINIQUE ALONZO BRONZE AND IVORY FIGURE, CIRCA 1910 cast as a female figure wearing medieval dress and holding a jewellery casket, descending a white marble staircase with balustrade, the whole raised on turned feet 43cm high



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

206 FG30/11 FRANZ HAGENAUER (1906-1986) BRASS HEAD, CIRCA 1930 hammered finish with applied stylised hair, stamped maker’s marks HAGENAUER/ WIEN/ MADE IN AUSTRIA 51.5cm high


207 FF138/1 SERGE PONOMAREV (1911-1984) HERO OF THE GODS, DATED 1949 Bronze, signed and dated in the bronze S. PONOMAREV/ 1949 55cm high


208 FF147/3 MANNER OF MAURICE PICAUD ART DECO STYLE PLASTER PANEL the rectangular panel moulded with leaping antelope amidst luxuriant foliage 43.5cm x 182cm



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

209 FF182/1 CARL JOHAN BONNESEN (1868-1933) DANCING FIGURE, DATED 1907 Bronze, signed with initials and dated in the bronze C.J.B./ 1907, raised on a circular plinth 54cm high


210* FF139/4 JEAN VICTOR BADIN (1872-1949) ‘PEACE, PERFECT PEACE’ Relief plaster panel, traces of polychrome decoration, signed lower right BADIN 84cm x 31cm



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

211§ FG14/201 JIM PARTRIDGE (B. 1953) THREE SCORCHED OAK VESSELS, LATE 20TH CENTURY to include a freeform vessel, with red painted interior, 28cm high; a circular bowl, 22cm diameter and an ovoid ribbed vase, 12cm high, each stamped J.B. PARTRIDGE (3) Provenance: Lorbottle Hall, Whittingham, Northumberland Literature: Britton, Alison and Swift, Katherine ‘Jim Partridge’, London, 2003, pp. 66-83 for similar examples


212§ FG14/202 JIM PARTRIDGE (B. 1953) SCORCHED OAK VESSEL, LATE 20TH CENTURY of dished oblong form, with circular bowl, 28cm high; stamped J.B. PARTRIDGE; and a SMALLER DISHED VESSEL, in un-scorched wood, unsigned, 31.5cm across; also a book ‘JIM PARTRIDGE’ by Alison Britton and Katherine Swift (3) Provenance: Lorbottle Hall, Whittingham, Northumberland Literature: Britton, Alison and Swift, Katherine ‘Jim Partridge’, London, 2003, pp. 66-83 for similar examples



213 FF138/20 FRENCH ART DECO PATINATED BRONZE, IVORY AND MARBLE CINDRIER, CIRCA 1930 the black fossilized marble tray mounted with a standing bronze stork with ivory beak

214 FF138/19 FRENCH ART DECO PATINATED BRONZE AND MARBLE VIDE POCHE, CIRCA 1930 the black fossilized marble tray mounted with a standing bronze stork

15cm diameter

25cm diameter



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

215§ FG14/21 GUY TAPLIN (B. 1939) FISH SCULPTURE, LATE 20TH CENTURY painted wood 103cm long Provenance: Lorbottle Hall, Whittingham, Northumberland


216§ FG14/21A GUY TAPLIN (B. 1939) ‘RUNNING CURLEW’ SCULPTURE, LATE 20TH CENTURY painted wood on a driftwood base 61cm long Provenance: Lorbottle Hall, Whittingham, Northumberland

£400-600 217-218 No lots


Stained Glass & Stained Glass Designs

219§ FD39/7 PATRICK REYNTIENS (B. 1925) ‘COMMEDIA DELL’ARTE: TOTENTANZ’, STAINED AND LEADED GLASS PANEL, CIRCA 1990 within gilded frame Panel 41cm x 29cm Provenance: The Fine Art Society, London Note: Patrick Reyntiens is renowned for his work in churches and cathedrals in the UK and internationally. His early career was spent working predominantly as the artist/interpreter for John Piper and during the 1960s he collaborated with Piper on glass designs for such buildings as the Metropolitan Cathedral of Christ the King in Liverpool and the Baptistery Window of Coventry Cathedral. During the late 1980s and early 1990s he made a series of panels intended for private collections and interiors on themes that have long interested him, such as Greek mythology, the Commedia del Arte and other subjects, of which this present example is one.


220§ FG78/3 BERNARD DEAN WALMSLEY (1893-1985) ‘THE CALLING OF SAMUEL’, STAINED GLASS PANEL, CIRCA 1920 within oak frame, bears paper label inscribed in ink “THE CALLING OF SAMUEL”/ B.D. WALMSLEY, and with number ‘120’

221§ FG78/2 BEATRICE WALMSLEY (18841966) AND BERNARD DEAN WALMSLEY (1893-1985) HERALDIC STAINED GLASS PANEL, CIRCA 1920 depicting a dragon with heraldic motifs, etched signature bottom right B . AND B.D. WALMSLEY

63cm x 53cm




73cm x 43cm

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

222§ FG78/4 BERNARD DEAN WALMSLEY [1893-1985] AND BEATRICE WALMSLEY [1884-1966] THREE CARTOONS & A DESIGN FOR STAINED GLASS, CIRCA 1920 CARTOON OF NUNC DIMITTIS, signed, 104cm x 71cm; CARTOON OF ST PAULINUS WITH MAIDEN, unsigned, 137cm x 61cm; a CARTOON OF A SAINT WITH YOUNG GIRL, unsigned, 137cm x 61cm; and DESIGNS FOR ROYAL COAT OF ARMS, SAMLESBURY HALL, LANCS, signed, 48cm x 30cm (4) Note: Bernard Dean Walmsley was born in 1893 in Blackburn, the son of Luke Slater Walmsley, art dealer, carver & gilder. He served in the RAMC from Oct 1915 to Feb 1919 when he was discharged on medical grounds [asthma] with the rank of acting corporal. He subsequently entered into partnership with Arthur Todd, trading as Designers and Craftsmen from an address in Wood Street, St Annes on Sea, Lancs. In March 1922 this partnership was dissolved, he married Beatrice Partington, daughter of Harold Partington, carver & gilder, and continued, as an artist and craftsman in stained glass, at the same address. In the late 1920s he moved with his wife to Chapel Stile in Langdale, Cumberland, where they continued the stained glass work at their

newly-established St Anne’s Studio. They also designed vases and plaques which were made by the firm of Hartley Wood & Co in Sunderland. Examples of their stained glass may be found at Samlesbury Hall, Lancs [Royal Coats of Arms], Holy Trinity Church, Langdale, Cumbria [St Francis, ca 1937], Blackburn Grammar School, Lancs [seven windows, ca 1926], St Mary’s Church, Ambleside, Cumbria [Mary the Virgin/ St Anne] and Kirkham United Reform Church, Lancs [Adoration of The Magi]. Beatrice Walmsley died in 1966, aged 82 years, and Bernard Dean Walmsley in 1985, aged 92 years.

£300-400 223 FG78/5 JOHN CHARLES BEWSEY (1881-1940) DESIGN FOR EAST WINDOW OF ST MARKS CHURCH, HARLESDEN watercolour, signed, in original mount with inscription and original trade labels

224 FG85/1 SCOTTISH SCHOOL SET OF THREE ETCHED GLASS WINDOWS, 1940S etched with a girl and cocktail shaker; men playing dominoes; and a man with dartboard and pint (3) each 59cm high

£300-500 225 FG85/2 SCOTTISH SCHOOL PAIR OF ‘BELHAVEN ALES’ GLASS WINDOWS, 1940S each etched with inscription BELHAVEN ALES/ TRADE MARK/ DUDGEON & CO. LTD./ DUNBAR/ EST. 1719 (2) each 57.5cm high

£200-300 226-228 No lots

74cm x 44.5cm Note: John Charles Bewsey [1881-1940] was a pupil of Charles Kempe and was associated with Shrigley & Hunt from 1904-1908. Subsequently he worked from his own studio in London. This design was exhibited at the Royal Academy in 1920, catalogue number 1283.



Pictures & Books

229 FE442/1 DAVID KLEIN (1918-2005) FOR TWA ‘CHICAGO’ TRAVEL POSTER, 1960’S and ‘BOSTON’ TRAVEL POSTER (2) 102cm x 62cm

230 FE442/1B DAVID KLEIN (1918-2005) FOR TWA ‘HONG KONG’ TRAVEL POSTER, 1960’S 102cm x 62cm





232 FG11/12 ATTRIBUTED TO SIR FRANK BRANGWYN SKETCH OF A LABOURER pencil, bears initials lower right FB 21cm x 13cm


233 FE354/18 PERCY ANDERSON (1851-1928) PORTRAIT OF A LADY pastel and watercolour, signed with monogram bottom right, 15.5cm x 16cm; and another PORTRAIT OF A LADY, watercolour, by the same hand, signed with monogram bottom right, 18cm x 15cm (2) £400-600

234 FF151/47 ERIC GILL (1882-1940) THE CRICIFIXION, 1926 framed print 17cm x 12cm


235 FF151/52 ELYSE ASHE LORD (1900-1971) ‘ARABIAN NIGHTS’ coloured drypoint etching, signed in pencil lower right ELYSE ASHE LORD, 35/75, 35cm x 32cm and ‘ZINNIAS’, coloured drypoint etching by the same hand, signed in pencil lower right ELYSE ASHE LORD, 100/100, 30cm x 32cm (2) £200-300


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

236 FF145/11 EXHIBITION OF BRITISH ARTS & CRAFTS, PALAIS DU LOUVRE EXHIBITION POSTER AND CATALOGUE, DATED 1914 the POSTER after an original design by WALTER CRANE, 71cm x 48cm; the CATALOGUE, entitled, ARTS DECORATIFS EXPOSITION, PALAIS DU LOUVRE, published Arden Press, Letchworth, 1914, cloth boards, illustrated (2) Literature: Brown, Alison, McKenzie, Ray and Proctor, Robert ‘The Flower and the Green Leaf: Glasgow School of Art in the Time of Charles Rennie Mackintosh’, 2009, p.108, fig. 6.17 Note: This Exhibition of British Arts & Crafts took place from April to October 1914 at the Pavillion De Marsan in the Palais Du Louvre.


236A FG14/86 RICHARD KIDD (B. 1917) ‘FIRST MOVEMENT’ Acrylic and graphite on canvas, inscribed verso RICHARD KIDD/ 1980/ 72” X 84”/ ACRYLIC AND GRAPHITE ON CANVAS/ “FIRST MOVEMENT” 215cm x 180cm Provenance: Lorbottle Hall, Whittingham, Northumberland


236B FG14/64 RICHARD KIDD (B. 1917) ‘DRAWING 7/78’ Mixed media collage, signed and dated in pencil lower right RICHARD KIDD ‘78, 53cm x 74cm and a companion by the same hand ‘DRAWING 8/ 80’, mixed media collage, signed and dated in pencil lower right RICHARD KIDD ‘80, 60cm x 40cm (2) Provenance: Lorbottle Hall, Whittingham, Northumberland


237 FE672/5 LAURA STEINFORTH (EXH.1913-1933) MOONLIT GARDEN gouache, signed, 24cm x 17.5cm; and THREE FURTHER ILLUSTRATIONS, including work by WILSON NISBET and WALTER HUBERT (4) £200-300

238 FF121/2 ARCHIE BRENNAN ‘MOHAMMAD ALI’, DESIGN FOR A TAPESTRY framed print 50cm x 35cm

£200-300 239 FF145/10 AFTER JAMES MCINTOSH PATRICK ‘CRIEFF’ BRITISH RAILWAYS POSTER showing a view of the town from Knock 98cm x 59cm



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

240 FF145/12 THE STUDIO AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART London: The Studio, 1893-1963. Full run of volumes 1-78, 4to, green cloth gilt (volume 67 in red half morocco, volumes 1 and 2 black printed cloth), volume 79 in original parts (March-July 1920 only) with original covers, volumes 81-87 and 94 in green cloth gilt, volume 95 in original parts (January-June only), run of volumes 133-149, 8vo, various colour cloth and volumes 155, 156, 159, 160, 165 and 166, 8vo, blue or green cloth, spines gilt; and General index to The Studio. London: [1901?]. 4to, quarter calf; [Idem] General index to The Studio. London: Simms and Reed, 1979. 4to, green cloth gilt; sold not subject to return £500-700

241 FF145/13 THE STUDIO YEAR-BOOK OF DECORATIVE ART London: The Studio, 1906-1935. 4to, volumes 1906-1933 original paper covers (apart from 1934 in purple cloth gilt), and 1941 in original wrappers; [and] A quantity of Studio Special Numbers, including: The Studio Beauty’s awakening, 1899. Large 8vo green cloth, spine gilt; Christmas Cards, 1894; Modern British water-colour drawings, 1900. 4to, original paper covers; Modern woodcuts and lithographs, 1919. 4to, original paper wrappers; and others, full list available; [and] A selection of other works published by The Studio, including: Cox, David A treatise on landscape painting in water colours. London: The Studio, 1922. 4to, 181 of 250 copies, vellum? gilt, and 7 others £500-700 242-243 No lots



244* FF139/11 CONTINENTAL ART NOUVEAU PAIR OF EMBROIDERED VELVET CURTAINS, CIRCA 1890 each russet velvet panel with applied bands of stylised flowering foliage, lined and with fringed edges (2) each 219cm x 122cm


245 FE424/1 ATTRIBUTED TO ARTHUR H. LEE & SONS, BIRKENHEAD PAIR OF ARTS & CRAFTS CURTAINS, CIRCA 1900 mercerised cotton, lined, each with allover repeating foliate pattern on a turquoise ground (2) 229cm x 120cm


246 FG11/1 JEAN-CLAUDE DUPREZ ‘DO MAJEUR’, WOOL TAPESTRY PANEL, CIRCA 1960 signed in the field J.C. DUPREZ 80cm x 130cm



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

247* FF139/7 ARTS & CRAFTS EMROIDERED BEDSPREAD, CIRCA 1900 linen, embroidered in yellow silk threads with an allover design of flowering tendrils 225cm x 218cm


248§ FF121/1 MAUREEN HODGE (B. 1941) EMBROIDERED HANGING, CIRCA 1970 of shaped outline with abstracted check design and with asymmetric hanging black wool threads and knotted cotton threads, brass hanging pole 157cm x 85cm


249* FF139/6 ATTRIBUTED TO THE LEEK SCHOOL OF EMBROIDERY SILKWORK EMBROIDERED PANEL, LATE 19TH CENTURY worked in coloured silks and metal threads with an allover design of flowering tendrils, and reserved on a russet silk ground 116cm x 110cm



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

250§ FE729/1 MICHAEL O’CONNELL (1898-1976) BATIK PANEL, CIRCA 1960 paste-resist wool and rayon, depicting abstract panels and totemic figures on a black ground, signed MICHAEL O’CONNELL 303cm x 53cm Note: Michael O’Connell, was a British textile artist who worked in Australia in the 1920s and 30s and in Britain from the 1940s until his death in 1976. O’Connell’s fabric designs were printed by the Edinburgh Weavers and London department stores, Heal & Sons and Harrods. He also made large fabric hangings, such as the backcloth for St Martin’s Church, Manchester, and textile panels for the Festival of Britain in 1951, which were widely exhibited. He developed a unique combination of batik and resist dyeing techniques. Specially formulated resists and dyes were painted and piped onto mordanted fabric, and then the whole work, once dry, was dyed. Only after washing and scrubbing were the colours revealed.


252* FF139/18 ARTS & CRAFTS LARGE EMBROIDERED BEDSPREAD, CIRCA 1900 the buff cotton ground with allover rectangular panels enclosing stylised floral sprigs worked in ruby red threads, lined 282cm x 241cm


251§ FE467/1 ARCHIE BRENNAN (B. 1931) FOR EDINBURGH WEAVERS ‘BOBOLI’, DATED 1964 wool tapestry with lurex threads, signed with monogram in the weave, bears paper label verso EDINBURGH WEAVERS/ DOVECOT STUDIOS/ DOVECOT ROAD/ EDINBURGH 12, and inscribed to stretcher ARCHIE BRENNAN ‘BOBOLI’ 70cm x 161cm


253* FF139/10 PRE-RAPHAELITE SCHOOL LINEN TABLE CLOTH, EARLY 20TH CENTURY reversible design in yellow and cream, with panels depicting groups of elongated figures, 163cm square; also a MACHINE WOVEN TABLECLOTH, with allover foliate design on a red ground, 210cm x 171cm (2)

254* FF139/17 AMERICAN ARTS & CRAFTS PAIR OF CHENILLE HANGINGS, CIRCA 1910 each with buff ground and bands of decoration depicting fruiting trees, fringed to the edges (2) each 248cm x 154cm




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

255 FE398/1 ATTRIBUTED TO GAVIN MORTON AND G. K. ROBERTSON FOR ALEXANDER MORTON & CO. MACHINE WOVEN WOOL CARPET, CIRCA 1910 the buff field with cruciform design of stylised foliage within multiple bands 367cm x 269cm Note: Possibly manufactured by Blackwood Morton & Sons of Kilmarnock


256 FE353/1 ATTRIBUTED TO GAVIN MORTON AND G. K. ROBERTSON FOR ALEXANDER MORTON & CO. DONEGAL WOOL CARPET, CIRCA 1900 the sea green field with central blue palmette and red line cruciform design, within salmon pink palmette and vine border between bands 515cm x 370cm



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

257 FF405/1 GEORGE BAIN (1881-1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER CELTIC ‘HUNTING’ WOOL CARPET, CIRCA 1948 the machine woven ivory field with central red octagonal Celtic knotwork medallion surrounded by huntsmen with dogs, deer, boar and horses within red and polychrome strapwork border 358cm x 272cm Note: George Bain was born in Scrabster in northern Scotland, and was an art teacher who almost single-handedly revived interest in Celtic and Insular art. His book ‘Celtic Art: The Methods of Construction’ was published in 1951. Although it had little impact at the time, on its re-issue in 1971 it introduced a generation to Celtic knotwork, the Pictish stones, the Book of Kells and the Book of Durrow. As well as describing and illustrating over 200 historical examples, his book was notable for giving detailed instructions on creating similar interlace, spiral, and trumpet designs, and encouraging their use in craftwork.

£1,000-1,500 258-259 No lots




260 FC765/53 LIBERTY & CO., LONDON MAHOGANY THEBES STOOL, CIRCA 1900 with leather upholstered dished seat, raised on ring turned supports linked by stretchers 44cm across, 37cm high


261 FC765/49 LIBERTY & CO., LONDON MAHOGANY THEBES STOOL, CIRCA 1900 the square dished seat raised on ring turned legs linked by stretchers 48cm across, 40cm high


262 FE178/1 CARLO BUGATTI (1856-1940) CORNER CHAIR, CIRCA 1902 walnut, stained walnut, vellum, cord, with bone, pewter and brass inlay, with later vellum covered drop-in seat 65cm wide, 72cm high, 65cm deep



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

263 FE511/1 SHAPLAND & PETTER, BARNSTAPLE OAK AND MARQUETRY INLAID BEDROOM SUITE, CIRCA 1910 each piece inlaid with stained woods with a Glasgow rose marquetry design and comprising a WARDROBE, with central mirrored door flanked by panelled doors with two drawers below, plinth base, 200cm wide, 211cm high, 62cm deep, DRESSING CHEST, the central mirror with inlaid frieze, flanked by jewellery drawers, the base with arrangement of five drawers, square tapered legs, 122cm wide, 180cm high, 58cm deep; a PAIR OF SINGLE BEDS, 204cm long, 105cm high, 109.5cm wide; a BEDSIDE CUPBOARD, 39.5cm wide, 84cm high, 37.5cm deep (5) Literature: Bennett, Daryl 'Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture', pub. Devon 2005, p. 121, fig. 7.9 for example of Glasgow Rose motif.



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

264 FE354/1 SHAPLAND & PETTER, BARNSTAPLE OAK BOOKCASE, CIRCA 1900 the projecting cornice above a copper embossed frieze with the inscription VITA SINE LITTERIS MORS EST, above open shelves surrounding a single glazed door with pierced foliate copper grille, the base with two drawers, open shelf and single panelled door, bracket feet 135cm wide, 225cm high, 49cm deep Literature: Bennett, Daryl 'Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture', pub. Devon 2005, p. 80, fig 5.25 for bookcase with similar characteristics.


265 FE515/3 ART NOUVEAU PAIR OF MOORISH OCCASIONAL TABLES, CIRCA 1920 each with octagonal tops raised above an arcaded frieze on eight supports, painted pokerwork foliate decoration with studded embellishments (2)

266 FE354/2 ARTS & CRAFTS OAK ARMCHAIR, CIRCA 1910 the back with egg and dart moulding and carved inscription IT IS THE MIND/ THAT MAKES THE BODY RICH, above shaped open arms and upholstered seat raised on square tapered legs linked by stretchers

267 FD39/8 ARTS & CRAFTS MAHOGANY AND COPPER MOUNTED WALL CABINET, CIRCA 1910 the projecting cornice above two panelled doors inset with repoussé plaques depicting stylised plants and with decorative hinges

36cm diameter, 46cm high



268 FF105/2 ART NOUVEAU MAHOGANY OCCASIONAL TABLE, CIRCA 1910 the hexagonal top raised above a lower tier, supported by slatted uprights with applied stylised plant forms 54cm diameter, 70cm high


51cm wide, 51cm high, 20cm deep



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

269 FC799/1 AFTER CHARLES FRANCIS ANNESLEY VOYSEY MAHOGANY CORNER CABINET, CIRCA 1900 the slatted heart-pierced back with overhanging cornice, above serpentine top with applied moulding and twin panelled doors with brass escutcheons enclosing a shelf, the whole raised on square supports with broad moulded feet 117cm wide, 166cm high, 74cm deep Literature: ‘The Furnisher’, Volume 1, 1899, p. 96 and supplement (illustrated) Christies, London, ‘Important 20th Century Decorative Arts’, 9 November 2000, Lot 111 Note: Voysey designed a similar cabinet to the present example for the Pre-Raphaelite artist E.R. Hughes for the dining room of his house at 7 Lodge Place, London in 1898. In the following year detailed drawings of the cabinet appeared in The Furnisher magazine. The present example has minor stylistic and size discrepancies from the original Hughes commission and may have been made as a result of the publication of the original design.


270 FF127/1 ART NOUVEAU INLAID MAHOGANY PIANO STOOL, CIRCA 1910 the lidded seat supported by slatted sides, inlaid with stylised plant forms 57cm wide


271 FF137/4 MANNER OF WILLIAM ARTHUR SMITH BENSON MAHOGANY OCCASIONAL TABLE, CIRCA 1900 the oval top on ring turned columns with oval side supports and lower tier, the whole raised on angular legs 55.5cm across, 68cm high



272 FG11/13 ARTS & CRAFTS PAIR OF OAK HALL CHAIRS, CIRCA 1900 each with slatted backs above moulded solid seats on square legs linked by stretchers (2)

273 FF137/5 ENGLISH ARTS & CRAFTS OCTAGONAL WALL MIRROR, CIRCA 1900 the ebonised frame with painted frieze of poppy flowerheads 53.5cm across



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

274 EP977/1 FRANK LLOYD WRIGHT INTEREST KEUFFE & ESSER, NEW YORK CAST IRON ARCHITECT’S EASEL, CIRCA 1880 manufactured by Peabody of Providence R.I. circa 1875/85, painted cast iron and pine wood, bears later brass labels inscribed THE EASEL/ OF/ FRANK/ LLOYD/ WRIGHT/ NR. 1898 and TO ERNST WASMUTH BERLIN/ IN REMEMBRANCE OF KIND MEMORY/AND WARM APPRECIATION OF...../ PAST WORK...................FRANK LLOYD WRIGHT. TALIESIN/ JUNE 1925 and with faint inscription to the board FRANK LLOYD WRIGHT/ AUSGEFÜHRTE BAUTEN UND ENTWÜRFE/ BERLIN/ FUR/ ERNST WASMUTH approx 103cm high, 66cm wide, 59cm deep Provenance: Dr Ernst Wasmuth, Berlin The Westfair Estate, Malibu Note: In October 1909 Frank Lloyd Wright left America for Europe, in part to experience European art and architecture, and also to promote the publication of a folio of his work the following year. The folio, entitled 'Ausgeführte Bauten Und Entwürfe von Frank Lloyd Wright' contained plans and perspectives of buildings from 1893-1909, and was published by the Berlin publisher Ernst

Wasmuth. The folio was the first publication of Wright's work to appear anywhere in the world, including the United States and its publication had significant influence on the early modernist architects in Europe including Peter Behrens, Le Corbusier a nd Walter Gropius. The current lot, an American made easel of late 19th century manufacture, is thought to have belonged to Wright at the time of his European visit and was

presented to his publisher Ernst Wasmuth as an appreciation. A faint inscription on the pine board, and a brass plaque mark the presentation and a further plaque on the reverse bears an inventory number and the inscription ‘The Easel of Frank Lloyd Wright’. In 1932 Wasmuth is thought to have lent his easel to the Werkbundsiedlung in Vienna. The Werkbundsiedlung was an exhibition involving thirty famed architects from Austria, Europe and America

such as Richard Neutra, Adolf Loos, Margarete Schütte-Lihotzky, Otto Niedermoser, Ernst A. Plischke and Gerrit Rietveld, who completed 70 fully furnished houses for the exhibition, before they were made available for sale to potential residents. In the 1940s the easel was was passed to Dr Hans Herzfeld for a post-war exhibition at the Kärntnerstrasse in Vienna. Until the mid 1980s it was in the possession of The Westfair Estate in Malibu, a Savings and Loan company who had been buying architectural memorabilia from Europe for display. It was exhibited there until the mid 1980's when the Estate and its holdings were sold and the easel returned to Europe.



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

275 FF126/1 SIR AMBROSE HEAL (1872-1959) ‘FINE FEATHERS’ OAK AND INLAID SIDE CHAIR, CIRCA 1898 the serpentine top rail above back with shaped stretcher inlaid with pewter and specimen woods with a peacock, raised above drop in seat on square legs 104.5cm high Literature: White, Gleeson ‘A Note on Simplicity of Design in Furniture for Bedrooms’, 1898, pp.16&17, illustrated. Note: The ‘Fine Feathers’ suite was so called as the pewter inlaid wardrobe bears the inscription FINE FEATHERS MAKE FINE BIRDS


276 FF114/1 SIR ROBERT LORIMER (1864-1929) PAIR OF OAK LIBRARY TABLES, CIRCA 1900 each with rectangular moulded tops raised on panelled ends with scrolling brackets and moulded feet linked by a stretcher (2) 152cm long, 76cm high, 76cm wide Literature: Sotheby's Billingshurst Fettercairn House,14th September 1999, Lot 144 Country Life Image Library, 517767, 28 the August 1906 Note: These library tables demonstrate similar characteristics to Italianate designs by Lorimer for a library at Fettercairn House in 1898. Photographs of the Drawing Room at Kellie Castle in 1906 for Country Life also show the base of a library table with a similar base to the current lot.



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

277 FE298/1 SIR FRANK BRANGWYN (1867-1956) FOR MESSRS. NORMAN AND STACEY SET OF EIGHT WALNUT DINING CHAIRS, CIRCA 1903 including two carvers, each with slatted backs centred with a carved rose to the top rail, above drop in seats and square legs linked by stretchers, bear retailer's marks (8) Literature: Konody, P.G. ‘The Work of An Unprofessional Designer – Mr Frank Brangwyn’s Furniture’, 1903, for a set of dining chairs of the same design with inlaid rather than carved top rails.

£5,000-8,000 279 FE477/2 AFTER GERRIT RIETVELD ASH ‘ZIG-ZAG’ CHAIR, DESIGNED 1934 of later manufacture

280 FG11/11 ATTRIBUTED TO ALFRED WATERHOUSE REFORMED GOTHIC OAK BOOKCASE, CIRCA 1870 the panelled back with tongue and groove panels and three open shelves, the pierced sides with foliate brackets

281 FG2/2 AFTER E. W. GODWIN WALNUT OCCASIONAL TABLE, CIRCA 1880 the square moulded top above ring turned and incised legs, linked by a lower tier with spindle gallery below

51cm x 62cm

198cm wide, 122cm high,



27.5cm deep

278 FE354/36 CONTINENTAL ART NOUVEAU MAHOGANY FRAMED WALL MIRROR, CIRCA 1910 the rectangular plate within shaped frame with applied cast brass stylised foliate motifs


42cm wide, 66cm high

£300-500 75

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

282 FF147/1 HENRI HAMM (1871-1961) RARE ART NOUVEAU CARVED FRUITWOOD PERFUME BOTTLE STAND, CIRCA 1900 of tall and slender organic form, carved with flowering plants and sinuous leafy tendrils, with two open shelves enclosing a single door with inscription LE SOUVENIR EST UN PARFUM, the door with cast escutcheon and original leaf cast key, the whole above slender column with four further open shelves and spreading base, engraved signature H. HAMM 167cm high, 26cm wide Literature: Cappa, G., ‘L’Europe de l’Art Verrier’, Mardaga, Liège, 1991 Note: Born in Bordeaux, Henri Hamm was most particularly known for his work in the glass industry, creating over 350 designs for perfume bottles before the outbreak of the First World War. Although he had a talent for design on a small scale, he was equally at home on a larger scale and was also known for his execution of small cabinet pieces, and works in rich materials such as ivory, bone, mother-of-pearl and silver, including boxes, buttons, hair combs etc. The present lot was doubtless made by Hamm as a display for his perfume bottles. At 26, Hamm founded the Societé d’Art Moderne de Bordeaux and by 1925 he became a professor at L’Ecole des Arts Appliqués. Hamm collaborated with many designers, most notably fashion designer Jacques Doucet and many of his works can be found in Musée d’Art Moderne and the Musée des Arts Décoratifs, Paris.



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

283 FE354/27 FRENCH ART DECO OAK PARQUETRY INLAID PARTNER’S DESK, CIRCA 1930 the rectangular top with moulded edge, above to one side two central doors, two slides with doors below enclosing drawers and shelves, to the reverse with two drawers flanked by cupboards, the angles with swollen reeded brackets, the whole raised on divided bun feet 175cm wide, 76cm high, 100cm deep


284 FE341/1 ART DECO WALNUT AND MACASSAR EBONY BANDED DINING TABLE, CIRCA 1930 with two draw leaves, the canted rectangular top above a plain frieze, on tapered central support with plinth 152cm long (closed), 244cm long (open), 76cm high, 106cm wide


285 FE341/2 ART DECO SET OF TEN WALNUT FRAMED TUB DINING CHAIRS, CIRCA 1930 each with red rexine upholstered curved back and arms above close nailed upholstered seat on moulded square legs linked by stretchers (10) £800-1,200


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

286 FG86/1 BETTY JOEL (1896-1985) FOR TOKEN HAND MADE FURNITURE, PORTSMOUTH WALNUT DINING ROOM SUITE, SIGNED AND DATED 1929 made by W.R.Hamilton, comprising SIX DINING CHAIRS, including one carver, each with latticed backs and leather upholstered seats with close nail detail, raised on square legs, linked by stretchers, 55cm wide, 92cm high, 53cm deep, seat: 52cm high; and a DINING TABLE, with canted rectangular top and moulded edge, above reeded supports on block feet, linked by a stretcher, bears paper label under top with ink inscription “TOKEN HANDMADE FURNITURE/ DESIGNED BY BETTY JOEL/ MADE BY W.R. HAMILTON/ AT TOKEN WORKS PORTSMOUTH/ 1929, 183cm long, 75cm high, 76cm wide (7) £1,800-2,200

287 FG84/1 DAVID BOOTH (1908-1962) & JUDITH LEDEBOER (1901-1990) FOR GORDON RUSSELL LTD., BROADWAY ‘UTILITY’ MAHOGANY SIDEBOARD, DESIGNED 1950 with rosewood doors routed to reveal a helix pattern in white birch, brass drop handles, bears copper finish metal label inscribed GORDON RUSSELL/ LIMITED/ BROADWAY WORCS, with circular saw and plane motif 122cm wide, 83.5cm high, 45.5cm deep Note: Designed for the Festival of Britain Exhibition in 1951



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

288 FE148/2 EERO SAARINEN (1910-1961) FOR KNOLL INTERNATIONAL SET OF EIGHT ‘TULIP’ DINING CHAIRS, DESIGNED 1956 aluminium and fibreglass with upholstered cushions (8) £800-1,200

289 FE148/4 CHARLES EAMES (1907-1978) AND RAY EAMES (1912-1988) FOR HERMAN MILLER 670 LOUNGE CHAIR AND 671 OTTOMAN, DESIGNED 1956 aluminium and rosewood with black leather upholstery, bears maker’s label (2) £1,000-1,500


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

290 FF135/2 EERO SAARINEN (1910-1961) FOR KNOLL INTERNATIONAL SET OF SIX 150 ‘TULIP’ DINING CHAIRS, DESIGNED 1956 including two armchairs, each with fibreglass shells, upholstered seats and enamelled aluminium spreading bases (6) £800-1,200

291 FF135/3 EERO SAARINEN (1910-1961) FOR KNOLL INTERNATIONAL ‘TULIP’ DINING TABLE, DESIGNED 1956 the circular rosewood top on tapered pedestal with spreading enamelled aluminium base

292 FF135/1 EERO SAARINEN (1910-1961) FOR KNOLL INTERNATIONAL PAIR OF 150 ‘TULIP’ DINING CHAIRS, DESIGNED 1956 each with fibreglass shells, upholstered seats and enamelled aluminium spreading bases (2)

152.5cm diameter, 72cm high




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

293 FF146/4 WARREN PLATNER (1919-2006) FOR KNOLL INTERNATIONAL TWO ‘1725’ EASY CHAIRS, DESIGNED 1966 nickel wire and red wool upholstery (2) £1,000-1,500

294 FF146/2 VITTORIO PARIGI & NANI PRINA FOR MOLTENI ‘ORYX’ DESK, DESIGNED 1973 in moulded yellow plastic, glass and chromium plated steel with built-in light 102.5cm wide, 82.5cm high, 65cm deep


295 FE563/14 ARNE JACOBSEN (19021971) FOR FRITZ HANSEN SET OF EIGHT MODEL 3107 CHAIRS, DESIGNED 1955 black lacquered ply and steel (8)

296 FE563/15 ARNE JACOBSEN (19021971) FOR FRITZ HANSEN SET OF EIGHT MODEL 3107 CHAIRS, DESIGNED 1955 black lacquered ply and steel (8)

297 FE563/16 ARNE JACOBSEN (19021971) FOR FRITZ HANSEN SET OF EIGHT MODEL 3107 CHAIRS, DESIGNED 1955 black lacquered ply and steel (8)





298 FE148/13 NIELS EILERSEN, DENMARK ROCKING CHAIR, CIRCA 1960 white painted wood, purple wool upholstery and leather straps £300-500

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

299 FE563/6 CONTINENTAL SCHOOL SET OF FIVE MAHOGANY FRAMED ARMCHAIRS, 1960S each square back with oval buttonupholstered vinyl panel above corresponding upholstered seat and open arms raised on moulded tapering legs with brass caps (5) £300-500

300 FF129/2 MAISON JANSEN, FRANCE ROCKING CHAIR, CIRCA 1965 chromed steel and wool upholstery £500-700

80cm long, 40cm wide, 35cm high

302 FG11/10 FRENCH SCHOOL CERAMIC TILED STEEL COFFEE TABLE, 1950S the circular top with ‘sunburst’ tiled insert on painted steel legs


77cm diameter, 40cm high

301 FE148/15 CONTEMPORARY DESIGN INLAID COFFEE TABLE, CIRCA 1980 of S shaped outline, inlaid with specimen wood bands


303 FF84/1 EGON EIERMANN (19041970) FOR WILDE & SPIETH, ESSLINGEN FOUR ‘SE-68’ DINING CHAIRS, DESIGNED 1962 each with coloured ply back and seat and with chromium frame, bears maker’s label (4) £300-500

304 FG11/9 JOHANNES ANDERSEN FOR ULDUM MØBELFABRIK, DENMARK SET OF SIX ROSEWOOD FRAMED DINING CHAIRS, 1970S each with upholstered backs and seats, bears maker’s label (6) £200-300


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

305 FF146/1 JEAN-MICHEL WILMOTTE (B. 1948) FOR TECNO THREE SEAT REVERSIBLE "TODO MODO" SOFA, CIRCA 1993 black and red leather, enamelled steel, with detachable table rests and hinged backs 267cm long


306 FF146/5 CONTEMPORARY DESIGN PAIR OF ARMCHAIRS, LATE 20TH CENTURY chromed steel and leather (2) 76cm wide


308 FE148/6 CONTEMPORARY DESIGN EXTENDING ASH DINING TABLE, LATE 20TH CENTURY the rectangular top with two folding leaves raised on square supports

307 FG11/8 GINO CAROLLO FOR PORADA, ITALY SET OF SIX ‘ANXIE’ CHAIRS, LATE 20TH CENTURY each upholstered with cream suede material, bears maker’s marks (6)

226cm long; 75cm high (closed),

100cm wide, 193cm high,


72cm high (open), 72cm high

40cm deep

(closed); 74cm wide (closed,


148cm wide (open)



309 FE148/12 VICO MAGISTRETTI (1920-2006) FOR CASSINA ‘NUVOLA ROSSA’ BOOKSHELVES, DESIGNED 1977 black lacquered wood

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

310 FE148/5 VICO MAGISTRETTI (1920-2006) FOR CASSINA ‘MARALUNGA 675’ SOFA AND ARMCHAIR, DESIGNED 1973 covered in a striped and ribbed velour material (tear to arm of sofa) (2) sofa 154cm wide, armchair 89cm wide


311 FF82/1 SIMON WHATLEY AMERICAN MAPLE WRITING DESK, CIRCA 2000 the canted elliptical writing surface covered to both sides with tan leather, raised above two drawers on triangular section tapering legs, linked by stretchers, 185cm wide, 73.5cm high, 63cm deep; AND MATCHING AMERICAN WALNUT STOOL, the divided trefoil top raised on tapered legs divided by stretchers, 35cm across, 44.5cm high (2) £800-1,200 END OF SALE



prevailing by law at the date of sale and is payable by buyers of relevant lots.

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.


1. DEFINITIONS 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, which must be raised before the next lot is offered, 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. 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk (*) or dagger (†). Value Added Tax is charged at the appropriate rate


(1) Immediately a lot is sold you will: (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 2% (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. 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. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than four 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. (3) No purchase can be claimed or removed until it has been paid for. (4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom and the potential storage charges for lots not collected by the appropriate time. 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 of 1.5% per month above the current base rate on the total amount due, to the extent it remains unpaid for more than four 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 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 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. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and 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. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

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.



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.

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

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 Marketing Service: £10 per lot. (2) If a vendor wishes to withdraw a lot organized for sale, a withdrawal fee will apply; (a) If withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancilliary incurred (such as photography), all subject to VAT at the current rate. (b) If withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancilliary incurred (such as photography), all subject to VAT at the current rate. 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

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 (Books, Jewellery, paintings, guns, firearms etc) in which case the descriptions must be interpreted in accordance with any glossary or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 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.

Scottish Design & Wemyss Ware Monday, 19th August, 2013 33 Broughton Place, Edinburgh EH1 3RR

Enquiries John Mackie Tel: +44 (0)131 557 8844

Further selected entries are invited until 22nd June, 2013

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 Associate Directors Lee Young Mhairi McFadden

Prints Nick Curnow Charlotte Riordan Emily Johnston (London) Furniture, Clocks and Works of Art Douglas Girton Lee Young Lydia Stoke Asian Works of Art Lee Young Lydia Stoke Rugs and Carpets Gavin Strang Jewellery, Silver, Coins and Medals Trevor Kyle Colin Fraser Decorative Arts and Design John Mackie

Rare Books, Maps, Manuscripts and Photographs Simon Vickers Cathy Marsden Arms and Armour John Batty (consultant) Interiors Theo Burrell Charlotte Riordan

Valuation Department Telephone: 0845 882 2794 UK Director Rachel Doerr

Business Development Lady Middleton John Sibbald John Thomson Tessa Thomson Lindsey Michie Nicholas Campbell Ian Peter MacDonald

European and Asian Ceramics Douglas Girton Campbell Armour

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


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

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274

Waverley Station


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




Smaller items & Pictures Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF The direct link to the ordering form is: art-and-antiques.php Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email:



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.



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



Lyon & Turnbull saleroom

St Andrew Square








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: 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: Fine Art Carriers Gallery Support Group 37 Cremer Street London E2 8HD Tel: +44 (0)20 7729 6692 Email:

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale. Thereafter lots will be removed to store in Edinburgh and a charge incurred. Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon and Turnbull Ltd. 2013. 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.

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

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

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274