Decorative Arts: Design Since 1860 | 26th October 2016 | 11am

Dec Arts cover.qxp_L&T MASTER COVER 04/10/2016 12:00 Page 1

LYON & TURNBULL AUCTIONEERS EDINBURGH DECORATIVE ARTS: DESIGN SINCE 1860

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

26TH OCTOBER, 2016

33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844 Fax. +44 (0)131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Wednesday, 26th October, 2016 33 Broughton Place Edinburgh

Decorative Arts: Design since 1860

Dec Arts cover.qxp_L&T MASTER COVER 04/10/2016 12:00 Page 2

Decorative Arts: Design since 1860

Wednesday, 26th October, 2016 at 11am Sale Number LT475

Viewing Times Sunday, 23rd October 12 noon - 4pm Monday, 24th October 10am - 5pm Tuesday, 25th October 10am - 5pm Morning of sale from 9am

Enquiries Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ10

Front Cover Lot 54 (detail) Inside Front Cover Lot 536 (detail) Inside Back Cover Lot 537 (detail)

Buyer’s Guide This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website).

If you have not bought at auction before we will be delighted to advise you.

Buyer’s Premium & Other Charges The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

25% up to £100,000 / 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale).

Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction.

Droit de Suite [§] indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk

Registration

Catalogue descriptions

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

All item descriptions, dimensions and estimates are provided for guidance only.

It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement).

We may, at our option, also ask you to provide a bank reference and/ or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

Bidding & Payment For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.

Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites

Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you; whether you are looking for something in particular for your home or collection; require more detailed information about the history or current condition of a lot or just want to ďŹ nd out more about the auction process.

John Mackie

Theodora Burrell

Carly Shearer

Hannah Willetts

Decorative Arts & Design john.mackie@lyonandturnbull.com

Decorative Arts & Design theo.burrell@lyonandturnbull.com

Paintings carly.shearer@lyonandturnbull.com

Administrator hannah.willetts@lyonandturnbull.comom

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Lot 165 (detail)

Decorative Arts: Design since 1860 5

2 HE860/11 ATTRIBUTED TO JOHN HARDMAN & CO.

1 HE693/2 GOTHIC REVIVAL PAIR OF BRASS TABLE CANDELABRA, LATE 19TH CENTURY each with three angular branches with serrated drip trays and scrolling brackets with florets set with coloured cabochons, the whole lifting off to reveal single nozzle with corresponding serrated drip tray on writhen twist column set with cabochons and raised above weighted base (2) 46cm high £200-300

PAIR OF GOTHIC REVIVAL BRASS CACHE POTS, MID-19TH CENTURY each of flared form, inscribed DOMINUS LIBERATOR MEUS, above a roundel depicting a coronet and the initials S P, variously inscribed to base O COSSONS (2) 18cm high, 19.5cm diameter (at top) Note: A silver beaker made by John Hardman with a similar reserve was sold

by Cheffins, Cambridge, 4th March 2015, Lot 335

£200-300

3 HF691/12 ATTRIBUTED TO SHRIGLEY & HUNT, LANCASTER AESTHETIC MOVEMENT TILED PANEL, CIRCA 1870 painted with figures in a Classical interior, framed panel, 95cm x 103cm £1,500-2,000

6 Lyon & Turnbull

4 HE80/4 ENGLISH SCHOOL SET OF SIX PLASTER RELIEF PANELS, LATE 19TH CENTURY each cast in relief with winged putti playing music (6) 57.5cm x 21.5cm £400-600

5 HE335/4 KURT BIEDER STAINED, LEADED AND PAINTED GLASS PANEL, LATE 19TH CENTURY depicting two girls collecting water from a spring, signed lower right KURT BIEDER 46cm x 39cm £300-500

6 HE860/5 J. W. SINGER & SONS LTD., FROME LARGE COPPER AND BRASS GOTHIC REVIVAL CHARGER, CIRCA 1880 with central roundel cast with three dancing maidens enclosed by the motto LET US SHARE IN JOY AND CARE within floral and foliate enamelled border 45cm diameter Note: For a similar panel see Victoria & Albert Museum Collection 99-1885

£200-300

Decorative Arts: Design since 1860 7

7 HE763/1 MARTIN BROTHERS STONEWARE VASE, DATED 1889 of tapering ovoid form, incised with opposed beasts amongst foliage and reserved on a bronze coloured ground, incised mark under base MARTIN BROS/ LONDON & SOUTHALL/ 4-1889 22cm high £1,500-2,000

8 HF613/1 MARTIN BROTHERS STONEWARE VASE, DATED 1904 of rounded square section, decorated in relief to four sides with various species of crab and reserved on a textured ground, incised mark under base MARTIN BROS/ LONDON & SOUTHALL/ 5-1904 19.5cm high £1,000-1,500

9 HC954/2 MARTIN BROTHERS STONEWARE VASE, LATE 19TH CENTURY of ovoid form, incised with grotesque and exotic sea creatures, indistinct incised maker’s mark to base 10cm high £600-800

10 HC954/1 MARTIN BROTHERS STONEWARE VASE, DATED 1892 of shouldered ovoid form, incised with grotesque and exotic sea creatures, incised maker’s mark to base 9. 1892/ MARTIN BROS./ LONDON & SOUTHALL 20cm high £1,500-2,000

8 Lyon & Turnbull

11 HE860/18 GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH TERRACOTTA PANEL, CIRCA 1870 of rectangular outline, modelled in bas relief with a biblical scene depicting Herod and Salome, and bearing inscriptions form the gospels of Mark and James THEN THE KING WAS EXCEEDING SORRY.....and BUT THE TONGUE CAN NO MAN TAME, IT IS AN UNRULY EVIL, FULL OF DEADLY POISON, bears incised maker’s marks H. DOULTON & CO/ LAMBETH and with artist’s mark G. TINWORTH with monogram 14.5cm x 31.5cm £500-800

12 HE952/1 DOULTON, LAMBETH ‘SLATER’S PATENT’ STONEWARE BALUSTER VASE, CIRCA 1880 decorated by Eliza Simmance with sprigs of flowers, impressed and incised marks 38cm high £200-300

13 HF702/6 FLORENCE BARLOW FOR DOULTON, LAMBETH PAIR OF STONEWARE AND BRASS-MOUNTED CANDLESTICKS, CIRCA 1880 each incised with foliate and rosette motifs, impressed maker’s marks, incised artist’s signatures F.E.B./ E.S. (2) 20.5cm high £200-300

14 HD865/3 LINNIE WATT (1875-1908) FOR PINDER, BOURNE & CO. PAINTED EARTHENWARE WALL PLATE, CIRCA 1880 decorated with two young girls by a woodland stream, signed L. WATT, impressed maker’s marks and painted numbers 31.5cm diameter Note: Pinder, Bourne & Co. were established by Thomas Shadford Pinder and Joseph Harvey Bourne in Burslem in the 1850s.

The company operated under this name until 1882, having been bought by Doulton in 1877, and later adopted the name of Doulton & Co.

£400-600

15 HD970/62 GOTHIC REVIVAL

16 HE592/1 GOTHIC REVIVAL

17 HE590/1 GOTHIC REVIVAL

PAIR OF WALNUT SIDE CHAIRS, CIRCA 1870 each with reeded slat filled backs and close nailed upholstered seats on corresponding reeded legs with arched brackets linked by stretchers (2) 45cm wide, 87cm high, 41cm deep £200-300

OAK WALL SCONCE, LATE 19TH CENTURY the canted top with fleur de lys pierced bracket 42cm wide, 36cm high, 29cm deep £150-250

OAK FRAMED ALTARPIECE, CIRCA 1900 the frame with lancet arched outline and twin doors, opening to reveal a painted panel of a saint, above quatrefoil pierced frieze and leafcarving 54cm x 23.5cm (closed) £200-300

Decorative Arts: Design since 1860 9

18 HE413/3 ALFRED MASSON FOR MINTON’S LTD. ‘SEVEN AGES OF MAN’ TILE PANEL, CIRCA 1876 comprised of seven framed tiles, each tile painted in blue and black on a white ground, and comprising; ‘Ye Infants’; ‘Ye Schoolboye’; ‘Ye Lovers’; ‘Ye Soldyer’; ‘Ye Justyce’, ‘Ye Pantaloone’; and ‘Ye Seconde Childehoode’ and contained within original ebonised wood frame each tile 15cm x 15cm, whole including frame 27cm x 125cm Literature: Carruthers, Annette & Mary Greensted, Mary (edit.) ‘Simplicity or Splendour’, Cheltenham Art Gallery & Museums, 1999. p. 143 and p. 72, fig. 100, cat. 181 where a set, which was exhibited at Howell & James Art Pottery Exhibition in 1876, is illustrated Note: The tiles depict the Seven Ages of Man as described by Shakespeare.

£500-700

19 HF700/2 POWELL, BISHOP & STONIER CELTIC REVIVAL EWER & BASIN, CIRCA 1880 moulded with Celtic beasts and floret bands in black, red and gilt paint on a white ground, bears registration mark basin 39cm diameter, 34cm high £200-300

20 HF693/1 AESTHETIC MOVEMENT

21 HE145/7 GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH STONEWARE TEAPOT AND COVER, CIRCA 1880 decorated with an incised band of scrolling foliage, incised artist’s monogram to body, impressed marks to base 6976 12cm high £200-300

PAIR OF EARTHENWARE CHARGERS, DATED 1883 decorated by Bessie F. MacLellan on Minton blanks with head and shoulder profiles reserved on floral and foliate ground, each painted to the reverse BESSIE M. MACLELLAN/ 9/6/83 (2) 41.5cm diameter £200-300

10 Lyon & Turnbull

22 HE769/2 WALTER CRANE (1845-1915) AESTHETIC MOVEMENT THREE-FOLD DRAUGHT SCREEN, CIRCA 1890 each reversible rectangular fold covered with printed panels designed by the artist 174cm wide, 170cm high £1,500-2,500

23 HE445/1 WALTER CRANE (1845-1915) FOR PILKINGTON’S TILE AND POTTERY COMPANY GROUP OF FIVE ‘FLORA’S TRAIN’ RELIEF-PRESSED TILES, CIRCA 1900-1901 comprising ‘Poppy’; ‘Columbine’; ‘Daffodil’; ‘Bluebell’ and ‘Anemone’, moulded mark (5) each 15cm square Literature: Cross, Anthony ‘Pilkington’s Royal Lancastrian pottery and tiles’, 1980, p. 16, pl. XIII Note: Renowned Victorian artist and illustrator Walter Crane (18451915) worked for several manufacturing firms, but most notably for Pilkington’s Tile and Pottery Company. Crane began designing interior decoration, wallpapers, tiles and embroidery from the mid-1870s and in 1880 he was made Art Superintendent of London Decorating Company, which specialised in encaustic tiles. The design of these reliefpressed tiles for Pilkington’s, which show all the influences of the Art Nouveau, are similar in style to Crane’s imaginative book illustrations, on which he built his reputation.

£1,000-1,500

24 HE445/2 WALTER CRANE (1845-1915) FOR PILKINGTON’S TILE AND POTTERY COMPANY GROUP OF THREE ‘FLORA’S TRAIN’ RELIEFPRESSED TILES, CIRCA 1900-1901 comprising ‘Poppy’; ‘Columbine’ and ‘Bluebell’, moulded mark P (3) each 15cm square £400-600

Decorative Arts: Design since 1860 11

25 HF691/7 WALTER CRANE (1845-1915) FOR PILKINGTON’S ROYAL LANCASTRIAN LUSTRE BOWL, DATED 1932 decorated by William S. Mycock with a band of lions, on a blue ground with rose and heart motifs, impressed makers mark, painted artist’s and decorator’s monograms, with date mark 13cm high, 19cm wide £1,800-2,200

26 HF691/9 WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S ROYAL LANCASTRIAN LUSTRE VASE, DATED 1926 of bottle form, decorated with panels of flowering foliage, impressed maker’s marks, painted artist’s monogram and dated 1926 26cm high £1,500-2,000

27 HF691/8 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S LUSTRE VASE, DATED 1907 of shouldered form, decorated with a frieze of deer and trees on a mauve and red lustre ground, impressed maker’s marks, painted artist’s monogram and date cypher 20cm high £1,800-2,200

28 HC954/6 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S LUSTRE VASE, DATED 1910 decorated with a band of deer, on a mottled ruby ground, impressed maker’s marks, painted artist’s monogram and date symbol, restored rim 15cm high £400-600

12 Lyon & Turnbull

29 HE860/12 ATTRIBUTED TO CLEMENT HEATON LARGE CLOISONNÉ ENAMEL PANEL, CIRCA 1900 the framed panel centred with a lion rampant within a strapwork filled with floral and foliate motifs 210cm x 82cm £300-400

30 HC954/5 WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S LUSTRE VASE, DATED 1908 decorated with bands of roses and lions on a ruby ground, impressed maker’s marks, painted artist’s monogram and date symbol, restored rim 19cm high £400-600

31 HE710/1 WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S ROYAL LANCASTRIAN CIRCULAR WALL CHARGER, CIRCA 1920 painted with foliate panels on an orange glazed ground, impressed marks 2477, painted artist’s monogram 48cm diameter £200-300

32 HC954/8 GLADYS ROGERS FOR PILKINGTON’S

33 EC798/4 AFTER E.W. GODWIN

34 HD970/66 AFTER E. W. GODWIN

LUSTRE BOX AND COVER, DATED 1907 decdecorated with bands of foliage, impressed maker’s marks, painted artist’s monogram 8.2cm diameter £300-500

TWO AESTHETIC MOVEMENT OCCASIONAL TABLES, CIRCA 1890 each with square top above ring turned legs supporting a lower tier with spindle gallery, one ebonised (2) 40cm square, 67cm high £200-300

PAIR OF AESTHETIC MOVEMENT EBONISED SIDE CHAIRS, CIRCA 1880 each with gilt incised decoration, with upholstered panel back and seat on turned legs linked by stretchers (2) 41cm wide, 72cm high, 36cm deep Note: Made after the original design for Dromore Castle, Limerick circa 1869

£200-300

Decorative Arts: Design since 1860 13

35 HE769/1 ATTRIBUTED TO DANIEL COTTIER AESTHETIC MOVEMENT EBONISED CORNER CABINET, CIRCA 1870 the superstructure with open shelves and mirrored back above a base with open shelf and panelled door, centred with a painted panel and enclosed by further shelves, turned legs 92cm wide, 191cm high, 56cm deep Note: See ‘Daniel Cottier, Holmwood’s Forgotten Genius’ exhibition, National Trust for Scotland, Holmwood House, Glasgow, 2016 where a similar cabinet is exhibited

£2,000-3,000

36 HE817/2 MINTON’S LTD. LARGE MA JOLICA JARDINIÈRE, CIRCA 1880 moulded with bamboo shoots and flowering orchids, impressed maker’s marks 38cm diameter, 30.5cm high £300-500

37 HE860/3 WILLIAM ARTHUR SMITH BENSON (1854-1924) FOR MORRIS & CO. ‘GARDEN CRAFT’ WALLPAPER PANEL, CIRCA 1908 printed by Jeffrey & Co., framed 67cm x 118cm Note: For a similar panel see Victoria & Albert Museum Collection CIRC.250-1964

£200-300

14 Lyon & Turnbull

38 HE860/14 LEWIS FOREMAN DAY (1845-1910) FOR HOWELL, JAMES & CO., LONDON EBONISED BIRCH AND PORCELAIN MANTLE CLOCK, CIRCA 1880 the painted porcelain dial with maker’s mark HOWELL JAMES & CO/ THE QUEEN/ LONDON, the eight day movement striking on a gong, all enclosed within a carved ebonised case raised on turned legs united by a galleried undertier overall 23cm wide, 56cm high Note: For a similar version of this clock please see the Victoria & Albert Museum Collection CIRC.662-1972

£600-800

39 HE860/16 BRUCE JAMES TALBERT (1838-1881) FOR BROWN, WESTHEAD & MOORE TWO TIER MAHOGANY FRAMED OCCASIONAL TABLE, CIRCA 1880 the circular moulded top enclosing blue & white printed ceramic panel in the “Indian Empress” pattern, raised on faux bamboo legs linked by a lower tier with corresponding ceramic panel 38cm diameter, 53cm high £300-500

40 HE998/2 THOMAS JECKYLL (1827–1881) FOR BARNARD, BISHOP & BARNARD CAST IRON FIRE SURROUND, CIRCA 1880 the projecting mantle shelf above cast panels of birds and flowering plants enclosing a ribband and rosette insert with fire grate and flue, bears registration mark verso 67cm wide, 91cm high, 20cm deep £500-700

Decorative Arts: Design since 1860 15

41 HE747/2 [§] CARTON MOORE-PARK (1877-1956) ILLUSTRATIONS FOR ‘A BOOK OF BIRDS’, CIRCA 1900 to include STORK, pen and wash, inscribed TWENTY-SIX BIRDS, the design for the back cover, 30.5cm x 20.5 CASSOWARY, watercolour, 25.5cm x 23cm ROBIN, watercolour, 22cm x 21cm and a copy of A BOOK OF BIRDS, published 1900 (4) Note: These are original artworks for ‘A Book of Birds’, first published by Blackie & Son, London, 1900

£500-800

42 HE743/6 BURMANTOFTS FAIENCE LARGE TWIN-HANDLED VASE, CIRCA 1900 of baluster form, incised and tubelined with peacocks on a flowering peony tree, impressed factory marks, BURMANTOFTS / FAIENCE/ 2121 and painted mark COLN. NO. 108/2 52cm high £1,000-1,500

43 HF700/1 MANNER OF CHRISTOPHER DRESSER FOR BENHAM & FROUD, LONDON LATE 19TH CENTURY copper kettle on a scrolling wrought iron stand, with inset copper burner, stamped maker’s mark, 28cm high; and a BRASS CHAMBER CANDLESTICK, with ebonised wood handle, 14.5cm high (2) £150-250

44 HE610/1 LONGWY, FRANCE PAIR OF GILT BRONZE MOUNTED CERAMIC LAMPS, CIRCA 1890 each of ovoid form decorated with foliate and floral design, with inset ceramic mounted reservoir and glass flue and frilled Vaseline glass shade, the whole raised on cast giltmetal bases with elephant feet (2) 59.5cm high £1,000-1,500

16 Lyon & Turnbull

45 HF700/5 MANNER OF CHRISTOPHER DRESSER, HUKIN & HEATH, LONDON ELECTROPLATED CRUET SET, CIRCA 1880 with angular handle above a base with four divided sections containing glass and electroplate mounted cruets, stamped marks H&H/ 555 22.5cm high £300-400

46 HE933/1 JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ GLASS VASE, LATE 19TH CENTURY acid etched stamp mark CLUTHA 23.5cm high £500-800

47 HE933/3 ATTRIBUTED TO CHRISTOPHER DRESSER FOR BENHAM & FROUD BRASS HOT WATERING CAN, CIRCA 1885 the six-sided vessel with scrolled handle and wicker insulation, stamped maker’s marks 22cm high Literature: Lyons, Harry ‘Christopher Dresser: The Peoples Designer’, 2005, p. 212, pl. 418 where a similar example is illustrated

£300-500

48 HE933/6 CHRISTOPHER DRESSER FOR LINTHORPE POTTERY GLAZED EARTHENWARE VASE, CIRCA 1880 with frilled rim and incised geometric banded decoration, impressed maker’s marks LINTHORPE/ 167 and facsimile signature 27.5cm high £300-500

49 HE933/5 CHRISTOPHER DRESSER (1834-1904) FOR RICHARD PERRY, SON & CO., WOLVERHAMPTON PLATED CLARET JUG, CIRCA 1880 with later-silvered angular body and ebonised wood carrying handle, apparently unmarked 23cm high Literature: ‘Christopher Dresser’, An Exhibition arranged by Richard Dennis and John Jesse. London: The Fine Art Society, 1972. Catalogue number 42.

Halen, Widar ‘Christopher Dresser’, 1990. Page 188, fig. 220 a similar, signed jug in copper and brass.

£300-500

Decorative Arts: Design since 1860 17

50 HE933/15 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON RARE ELECTROPLATED TOAST RACK, CIRCA 1880 with six dividers for toast, raised on a curved base, stamped marks H&H/ 2554 15cm wide, 12cm high Literature: ‘Christopher Dresser & Japan’, exhibition catalogue, Koriyama City Museum of Art, 2002, page 135, no. 107 illus.

Note: For a similar example see Victoria & Albert Museum, London, Museum no. M.31-1971

£300-500

51 HE860/13 JAMES NESFIELD FORSYTH (1827-1910) OAK-CASED MARBLE RELIEF PANEL, CIRCA 1880 worked as the profile of a young woman, within oak case with panelled doors, each with decorative brass hinges panel 36cm x 46cm, case 50cm x 60cm x 15cm

52 HE139/1 SELWYN IMAGE (1849-1930) AND THE ROYAL SCHOOL OF ART NEEDLEWORK ‘JUNO’ EMBROIDERY PANEL, CIRCA 1880 woollen embroidery on linen, depicting the goddess against a stylised foliate ground, framed 114cm x 28cm £400-600

Note: James Forsyth, sculptor and furniture maker, had a long association with the architect and designer Richard Norman Shaw (1831-1912). In 1867 Shaw’s architectural partner W.E. Nesfield designed a Japanese screen (V&A W.37-1972) which Forsyth made and gave to Agnes and Richard Norman Shaw for their wedding present in 1867. Together they collaborated on several architectural and furniture projects including an oak and inlaid cabinet designed by Shaw and made by Forsyth circa 1861 (V&A CIRC.96:1 to 12-1963). It is possible that the present lot was another example of this collaboration.

£300-500

53 HE498/1 SIR LAWRENCE ALMA-TADEMA (1836-1912) THE GOLDFISH POOL engraving, signed in pencil lower left 18cm x 39cm £100-200

18 Lyon & Turnbull

54 HE860/10 ATTRIBUTED TO E.W. GODWIN FOR MINTON, HOLLINS & CO. GROUP OF THREE TWO-TILE FRAMED PANELS, CIRCA 1880 painted as a Classical maiden and allegorical of Summer, Winter and Spring, framed (3) each tile approx 15cm square Literature: Soros, Susan ‘E. W. Godwin: Aesthetic Movement Architect and Designer’, Yale University Press 1999, p.308, fig. 11-18 where two out of the three panels are illustrated and attributed to Godwin.

Note: Articles in the architectural press and his ledger book indicate that Godwin produced several designs for Minton Hollins & Co. On March 10th 1881 his diary entry states “With Minton Hollins & Co. re tile designs. Offering 24 for the same price Edis pd for his birds.” The group included four “Seasons” tiles.

The designs don’t survive but the figures in the tiles of the current lot are identical to those in stained glass panels by the maker G.E. Cooke, a contact of Godwin’s, and they also have stylistic similarities to Godwin’s ‘Kalandar’ drawings for the ‘British Architect’.

£1,000-1,500

55 HE860/9 MANNER OF E. W. GODWIN EBONISED WOOD AND PARQUETRY INLAID OCCASIONAL TABLE, CIRCA 1880 the square top inset with a parquetry panel above chamfered legs linked by a lower tier with fretwork panel and scrolled feet 46cm wide, 89cm high, 46cm deep £800-1,200

56 HE631/1 WEDGWOOD TWIN-HANDLED JARDINIÈRE & STAND, CIRCA 1900 printed in blue on white with a frieze of flying birds in a landscape and embellished with gilt (2) 45cm diameter, 115cm total height £200-300

57 HE939/11 JOHANN MARESCH, BOHEMIA TERRACOTTA FIGURE, CIRCA 1880 modelled as a boy sitting on a rocky base with bamboo stems, impressed maker’s marks JM/ 6489 37cm high £600-800

Decorative Arts: Design since 1860 19

58 HE743/4 DELLA ROBBIA POTTERY, BIRKENHEAD SQUAT BALUSTER VASE, LATE 19TH CENTURY incised and painted with a frieze of flowering foliage, incised maker’s mark to base with painted initial ‘A’ and incicised initial ‘F’ 27cm high Literature: Hyland, Peter ‘The Della Robbia Pottery, Birkenhead, 1894 -1906’, 2013, pp. 141 and 177.

Note: The painted mark ‘A’ is often ascribed to an ‘Agnes *’, an early decorator. The simple incised F on earlier pieces is ascribed to clay decorator Harry Fletcher, however the more cursive F on this example suggests it was decorated by John Fogo.

£800-1,200

59 HE743/5 HAROLD RATHBONE (1858-1929) FOR DELLA ROBBIA POTTERY, BIRKENHEAD LARGE CIRCULAR CHARGER, DATED 1902 the unglazed surface incised and painted with the holy family to the centre enclosed by a band of angels, incised maker’s marks and inscription DONE

BY HAROLD/ RATHBONE/ CENTRE/ AFTER SANDRO/ BOTTICHELLI(SIC)/ 1902/ MADE AT THE/ “DELLA ROBBIA” POTTERY/ BIRKENHEAD 50cm wide £600-800

60 HF708/47 CASSANDIA ANNIE WALKER FOR DELLA ROBBIA POTTERY, BIRKENHEAD TERRACOTTA PLAQUE, CIRCA 1910 depicting a cherub and enclosed within a broad wooden frame 27.5cm x 30cm £400-600

61 HE700/1036 AESTHETIC MOVEMENT SET OF TEN OAK HALL CHAIRS, CIRCA 1890 each panelled back carved with a central rosette above a solid seat on turned and tapered legs (10) 47cm wide, 93cm high, 39cm deep £300-500

20 Lyon & Turnbull

62 HE917/8 [§] NEIL FOGGIE (SCOTTISH 1912-1995)

63 HE956/6 JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936)

HAYSTACKS signed and indistinctly dated, oil on canvasboard 40cm x 50.5cm (15.75in x 19.5in) £400-600

AUGUST LANDSCAPE signed, oil on panel 18cm x 25.5cm (7in x 10in) £500-700

64 HE967/1 PAUL POLITACHI (TURKISH/BRITISH 1865-1937)

65 HF611/12 WILLIAM HANNA CLARKE (SCOTTISH 1882-1924)

A SECLUDED SPOT signed P. Paul, oil on board 23.5cm x 32cm (9.5in x 12.75in) £300-500

PASSING CLOUDS signed, oil on canvasboard 30cm x 36.5cm (11.75in x 14.5in) £800-1,200

Decorative Arts: Design since 1860 21

66 HD862/5 RICHARD WILLIAM WEST (BRITISH b. 1887) PORTRAIT OF A LADY WITH A ROSE oil on canvas 75cm x 59.5cm (29.5in x 23.25in) £400-600

67 HC248/2 19TH CENTURY BRITISH SCHOOL A STRUTTING COCKEREL oil on canvas 91.5cm x 71.5cm (36in x 28.5in) £700-900

68 SV0244/28 [§] ROBERT SIVELL R.S.A. (SCOTTISH 1888-1958) MAIRI PIRIE AS A DANCER IN A TUTU oil on canvas 105cm x 70cm (41.5in x 27.5in) £500-800

22 Lyon & Turnbull

69 HE854/1 [§] SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) SLUSH AND SNOW, THE MOUND EDINBURGH stamped with the studio stamp verso and numbered 202, charcoal and watercolour 25.5cm x 35.5cm (10in x 14in) £400-600

70 HE202/1 [§] CHARLES PULSFORD (BRITISH 1912-1989)

BY THE WATER signed with initials and dated ‘37, pencil, ink and wash 29.5cm x 20.5cm (11.5in x 8.25in) and a further two works by the same hand, one unframed (3) £300-500 (one of three illustrated)

71 HE823/1 [§] WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) OLD BUCKHAVEN signed and dated ‘34 in pencil to margin, etching 15.5cm x 21cm (6in x 8.25in) and a further 2 etchings by the same hand (3) £300-500 (one of three illustrated)

Decorative Arts: Design since 1860 23

72 HE666/1 [§] ANDREW LAW (SCOTTISH 1873-1967) VIEW OF DUKE STREET, KILMARNOCK FEATURING THE PALACE THEATRE signed, oil on canvas 44cm x 36cm (17.25in x 14in) £1,000-1,500

73 HE691/5 [§] GEOFFREY SQUIRE (BRITISH 1923-2012) DALHOUSIE STREET, GLASGOW signed, oil on canvas 74.5cm x 59.5cm (29.25in x 23.25in) £400-600

74 HE956/3 ANNIE ROSE LAING (SCOTTISH 1869-1946) INTERIOR signed, oil on canvas 38cm x 28cm (15in x 11in) £1,200-1,800

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75 HE974/1 LATE 19TH/EARLY 20TH CENTURY SCOTTISH SCHOOL

76 HE974/3 JAMES SCOTT KINNEAR (SCOTTISH 1846-1917)

THE TOLLBOOTH, KIRKCUDBRIGHT oil on canvas laid on board 42cm x 50.5cm (16.5in x 19.75in) £400-600

DOUNE CASTLE signed, watercolour 29cm x 44cm (11.5in x 17.5in) and a further watercolour by the same hand (2) £400-600 (one of two illustrated)

77 HE974/2 LATE 19TH/EARLY 20TH CENTURY SCOTTISH SCHOOL

78 HE566/4 [§] JOHN GARDINER CRAWFORD R.S.W. (SCOTTISH b. 1941)

THE ROCKHOUSE, PITTENWEEM oil on canvas 49cm x 59.5cm (19.25in x 23.5in) £400-600

APRIL SHOWERS signed, signed and inscribed with title and dated 1982 verso, watercolour 35cm x 54cm (13.75in x 21.25in) £400-600

Decorative Arts: Design since 1860 25

79 HE956/5 WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) ARRAN signed, inscribed and dated ‘5th August 1864’, watercolour 25.5cm x 35.5cm (10in x 14in) £500-700

80 HE917/9 [§] GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) SPRING IN AYRSHIRE signed, watercolour 24.5cm x 35cm (9.75in x 13.75in) £400-600

81 HE956/4 [§] WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961)

82 HE917/10 JAMES WHITELAW HAMILTON R.S.A. (SCOTTISH 1860-1932)

RETURN FROM PASTURE signed, oil on canvas 50cm x 61cm (20in x 24in) £1,500-2,000

THE EDGE OF THE WOOD signed, oil on canvas 34.5cm x 45cm (13.5in x 17.75in) £400-600

Decorative Arts: Design since 1860 27

83 HE592/6 WILLIAM DE MORGAN (1839-1917) FOUR RARE ‘FOUR TILE CARNATION’ TILES, CIRCA 1880 early Chelsea period on Poole Architectural blanks , mounted on a board (4) each tile 15.5cm square Literature: Catleugh, Jon ‘William de Morgan Tiles’, 2002, p. 44, pl. II, p. 79, pl. 86 and p. 66 Note: This rare four-tile design is one of the most complex De Morgan produced. An example of its use can be seen in a marble fireplace designed by Richard Norman Shaw around 1879.

84 HD750/5B WILLIAM MORRIS (1834-1896) FOR WILLIAM DE MORGAN (1839-1917) PAIR OF ‘ROSE’ 6” TILES, 1870S painted on Poole pottery blanks, moulded marks (2) each tile 15.2cm square Literature: Myers, Richard and Hilary ‘William Morris Tiles’, Somerset 1996, p. 109, figure 181

£200-300

£3,000-5,000

85 HE592/5 WILLIAM DE MORGAN (1839-1917) THREE RARE P&O LINER ‘ARABIA COMPANION FRIEZE’ TILES, CIRCA 1897 Sands End Period, impressed marks verso (3) each tile 23cm square Literature: Catleugh, Jon ‘William de Morgan Tiles’, 2002, p. 79, p. 94, pl. 135.

Note: De Morgan supplied designs for twelve P&O ships between 182 and 1900. These rare tiles were originally used in the P&O liner RMS Arabia, built by Caird & Co. in 1898 and designed by T. E. Calcutt, as a frieze just below the ceiling in the first class companionway. RMS Arabia was torpedoed on 6 November 1916 en route from Sydney via Fremantle, Western Australia to England, 180 km south by west of Cape Matapan, Greece. Divers salvaged the tiles from the wreck in the late 1970s.

£3,000-5,000

Image shows a view of the first class companionway with the frieze of tiles above the picture rail.

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86 HE859/1 WILLIAM DE MORGAN (1839-1917)

FRAMED ‘PERSIAN’ 6” SIXTEEN-TILE PANEL, CIRCA 1890 the tiles mounted on board within an overpainted black frame, impressed Sands End marks (16) each tile 15.2cm square, size including frame, 68.5cm square Literature: Catleugh, Jon “William De Morgan Tiles”, Exhibition catalogue:, Richard Dennis, 1983, p.43, Col.Pl.I & p.113, pl.159, (design illustrated)

£1,000-1,500

87 HC954/10 WILLIAM DE MORGAN (1839-1917)

PERSIAN STYLE CIRCULAR DISH, CIRCA 1885 decorated with a panel of flowers within a floral band, concentric band decoration verso 20cm diameter Literature: Greenwood, Martin ‘The Designs of William de Morgan’, pub Richard Dennis 2007, p. 220, plates 137 and 138 for dishes with similar decoration.

£800-1,200

88 HC954/3 WILLIAM DE MORGAN (1839-1917)

PERSIAN DESIGN BOTTLE VASE, LATE 19TH CENTURY decorated with a band of flowering carnations 18cm high £400-600

Decorative Arts: Design since 1860 29

89 HB217/23 WILLIAM DE MORGAN (1839-1917) SET OF FOUR ‘ROSE AND TRELLIS’ PATTERN TILES, CIRCA 1872 each painted on red clay biscuit tiles from Patent Architectural Pottery Co., Poole, Dorset (4) 15cm square £400-600

90 HE592/7 WILLIAM MORRIS (ATTRIBUTED) FOR WILLIAM DE MORGAN ‘SUNFLOWER’ TILE, 1870S painted with a single sunflower in ruby lustre, tin-glazed on a Dutch blank, unmarked 15.8cm square Literature: Myers, Richard and Hilary ‘William Morris Tiles’, Richard Dennis 1996, p. 104, fig. 163 Provenance: It is not known whether Morris or De Morgan designed this tile, but of the single sunflower variants produced by De Morgan this is the earliest and scarcer version.

£250-350

91 HE592/8 WILLIAM DE MORGAN (1839-1917) ‘SINGLE ROSE’ TILE, CIRCA 1885 Merton Abbey period, impressed marks verso 15.8cm square £250-350

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92 HF708/2 SHERWIN & COTTON PAIR OF ARTS & CRAFTS PAINTED TILE PANELS, CIRCA 1880 each comprised of five tiles, painted with flowering peonies and cornflowers, within bands of pale blue and turquoise tiles, bears printed maker’s marks SHERWIN’S PATENT LOCK-BACK (2) each tile 15.2cm square £500-800

93 HE253/7 MINTON’S LTD. ‘SECESSIONIST’ CHARGER, CIRCA 1910 decorated with flowerheads on a purple ground, printed maker’s marks MINTON’S LTD/ NO. 34/ NO. 12 38cm diameter £200-300

94 HE857/1 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT MAHOGANY WRITING DESK, DESIGNED 1890 the rectangular top above above a central drawer flanked to one side by two further drawers and a panelled door and to the other with an open shelf and corresponding panelled door, the whole raised on square legs, cast brass drop handles 96cm wide, 78cm high, 46cm deep Literature: Crawford, Alan ‘C.R. Ashbee: Architect, Designer & Romantic Socialist’, Yale University Press, 1985, p. 449, note no.2 on Chapter 11 where this desk is mentioned ‘a desk to a design of 1890’.

Provenance: The design for this table appears in the Guild Workshop Record Book dated 1890, and, although furniture was probably made from the earliest days of the Guild and certainly before the move to Essex House in 1891, this desk may have been made up later than 1890.

£800-1,200

Decorative Arts: Design since 1860 31

95 HE860/15 ARTS AND CRAFTS PAINTED TABLE CABINET, CIRCA 1900 the pitched pediment above two doors opening to seven graduated drawers, painted with entwined trees, exotic birds, a sun motif and the inscription HAND/ HEART/ SOUL 31.5cm wide, 50cm high, 21cm deep £500-800

96 HF708/5 LIBERTY & CO., LONDON LARGE ARTS & CRAFTS BRASS FRAMED WALL MIRROR, CIRCA 1910 the oval frame with beaten finish inset with four Ruskin ceramic roundels 63.5cm x 84cm £600-800

97 HF708/6 LIBERTY & CO., LONDON ARTS & CRAFTS COPPER FRAMED WALL MIRROR, CIRCA 1910 the oval frame with beaten finish inset with four Ruskin ceramic roundels 40.5cm x 56.5cm £400-600

98 HE859/4 JOHNSON & APPLEYARD, SHEFFIELD ARTS & CRAFTS MAHOGANY TABLE, CIRCA 1900 the octagonal top above four plank supports linked by stretchers, bears maker’s label JOHNSON & APPLEYARD/ SHEFFIELD & ROTHERHAM 61cm diameter, 67cm high £300-500

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99 HE858/2 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS MAHOGANY OPEN BOOKCASE, CIRCA 1905 the raised spindled gallery with shaped shelf and inset embossed copper panel bearing inscription VITA SINE LITEREIS MORS EST (Life without literature is death), above two glazed and leaded doors flanked by adjustable open shelves and raised on square tapered legs, stamped maker’s marks 124cm wide, 155cm high, 36cm deep Literature: Bennett, Daryl ‘Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture’, 2005, p. 57, fig. 4.32 where a similar bookcase is illustrated.

£2,000-3,000

100 HE743/9 MANNER OF M. H. BAILLIE SCOTT FOR SHAPLAND & PETTER, BARNSTAPLE INLAID ARTS & CRAFTS MAHOGANY BOOKCASE CABINET, CIRCA 1900 with chequer inlay, and cut-out side handles, three open shelves, and with a panelled door, marquetry inlaid with stained woods and pewter inlay with a stylised flower and raised on plank bracket supports 51cm wide, 81cm high, 29cm deep Literature: Bennett, Daryl ‘Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture’, 2005, p. 103, fig. 6.11 where a similar bookcase in oak is illustrated.

£1,500-2,000

Decorative Arts: Design since 1860 33

101 HE743/2 MORRIS & CO.

ARTS & CRAFTS MAHOGANY FRAMED FIRESCREEN, CIRCA 1890 the rectangular frame enclosing a panel embroidered with honeysuckle, stamped makers mark to frame MORRIS & CO/ 449 OXFORD STREET/ W 58cm wide, 104cm high, 30cm deep £700-900

102 HD852/1 LIBERTY & CO., LONDON

SET OF SIX ARTS & CRAFTS OAK DINING CHAIRS, CIRCA 1900 including two carvers, each with slat filled backs carved with stylised plat forms above close nailed upholstered seats on square tapering legs linked by stretchers (6) Carvers 61cm wide, 111cm high, 52cm deep; chairs 46cm wide, 100cm high, 42cm deep £400-600

104 HE590/2 ARTS & CRAFTS

BRASS WALL MIRROR, CIRCA 1910 the bevelled plate enclosed by rectangular frame repoussé decorated with a galleon and set with a turquoise Ruskin cabochon 56cm x 30cm £200-300

103 SV872/20 ARTS AND CRAFTS

PATINATED COPPER MANTEL CLOCK, EARLY 20TH CENTURY the circular enamelled dial with twin-train movement within tapered square section case with faux rivet detail and with embossed wings, centred with the legend TEMPUS FUGIT, 34cm high; together with a BRASS CHARGER, with repoussé foliate decoration, 42cm diameter (2) £200-400

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105 HD275/11 SIBYL DUNLOP (1889-1968)

ARTS & CRAFTS BROOCH, CIRCA 1900 of cruciform outline set with water opals and multi-coloured cabochon stones with painted enamel borders set in a white metal mount with simple pin fastening, in original box with maker’s inscription SIBYL DUNLOP LTD/KENSINGTON CHURCH STREET/ W.8.

6.3cm across

106 HD275/10 SIBYL DUNLOP (1889-1968)

ARTS & CRAFTS NECKLACE, CIRCA 1900 comprised of a string of green agate beads with square white metal clasp set with coloured cabochon stones 35.5cm long Provenance: Sibyl Dunlop and by family descent

107 HF708/29 SIBYL DUNLOP (1889-1968)

ARTS & CRAFTS WHITE METAL AND GEM SET BROOCH, CIRCA 1900 of oval outline, set with opal, amethyst, garnet, pearl and moonstone cabochons 3.5cm across £300-500

£300-500

Provenance: Sibyl Dunlop and by family descent

£600-900

108 HE954/1 CHARLES HORNER (1837–1896)

TWO ART NOUVEAU SILVER AND ENAMEL BROOCHES, CIRCA 1907 the first with pierced entwined knot and with peacock blue and green enamesls, hallmarked Chester 1908, 2.7cm across; the second of ovoid outline with symmetrical turquoise enamelled panels, hallmarked Chester 1907, 2.2cm across, both with maker’s marks C.H. (2) £300-500

110 HF708/28 DORRIE NOSSITER (1893-1977)

ARTS & CRAFTS WHITE METAL AND MOONSTONE SET PENDANT, CIRCA 1910 with associated chain 2.7cm diameter £150-250

111 HF708/26 ARTS & CRAFTS

STERLING SILVER AND BLISTER PEARL SET BRACELET, CIRCA 1910 stamped mark STERLING 18cm long £150-250

112 HF708/25 ATTRIBUTED TO RHODA WAGER

ARTS & CRAFTS DOUBLET CUT OPAL AND WHITE METAL BAR BROOCH, CIRCA 1920 the collet set opal amongst leaves and berries, with simple pin fastening 8.2cm across £200-300

113 HE287/1 ATTRIBUTED TO BERNARD INSTONE

ARTS & CRAFTS AMETHYST AND WHITE METAL RING, EARLY 20TH CENTURY with three facet cut claw set stones in an oval setting decorated with leaves and berries ring size M £150-250

109 HC7/5 ART NOUVEAU SILVER AND ENAMEL BROOCH

CHARLES HORNER, MAKER, 1912 with entwined tendril decoration, hallmarked Chester 1912, 3.1cm across; another CHARLES HORNER SILVER AND ENAMEL BROOCH, modelled as a moth in the Egyptian style, hallmarked Birmingham, 1917, 4.5cm across; and a CELTIC REVIVAL SILVER CROSS PENDANT, in the manner of Alexander Ritchie, hallmarked Glasgow 1962, 7cm long (3) £200-300

114 HE933/12 BERNARD INSTONE (1891-1987)

ARTS & CRAFTS SILVER AND ENAMEL CLIP BROOCH, CIRCA 1930 of circular form worked as a garland of stylised flowering foliage in coloured enamels, with spring clip verso, stamped maker’s marks BI/ SILVER 3.5cm diameter £150-250

Decorative Arts: Design since 1860 35

115 HF708/16 ARTS & CRAFTS

WHITE METAL AND ENAMEL BOWL, CIRCA 1910 the bowl with planished surface raised on curved feet and centred with an enamelled plaque depicting a knight on horseback 19cm diameter £600-800

116 HE706/6 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

‘TUDRIC’ PEWTER AND ENAMEL CARRIAGE CLOCK, CIRCA 1900 the rectangular case with cast foliate decoration, underside stamped 0721/ ENGLISH PEWTER MADE BY LIBERTY & CO 11.5cm high excluding handle £1,000-1,500

117 HE79/5 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

TERRACOTTA JARDINIÈRE AND STAND, CIRCA 1902 the cylindrical jardinière with four handles and moulded in relief with scrolls and Celtic knots, raised on the matching stand, of square section with corresponding mouldings, stamped maker’s marks to jardinière and base DESIGNED AND MANUFACTURED

BY LIBERTY & CO. (2) 55cm diameter, 148cm high Literature: Martin, Stephen ‘Archibald Knox’, 2001, p. 276 for a examples of comparable design.

£2,000-3,000

118 HD970/55 MANNER OF LIBERTY & CO., LONDON

PAIR OF ARTS & CRAFT OAK ARMCHAIRS each with a leather upholstered back and seat, open arms and square legs linked by a pierced fretwork stretcher (2) 58cm wide, 96cm high, 49cm deep £200-300

119 HE860/4 ARTS & CRAFTS

CARVED MAHOGANY PANEL, CIRCA 1900 carved in bas relief with a naked maiden with stylised veil ground 17cm wide, 102cm high £200-300

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120 HF700/3 ARTS & CRAFTS

FOUR FOLD DRAUGHT SCREEN, CIRCA 1900 each fold with polychrome embossed panel and inscriptions NORTHUMBERLAND, WESTMORELAND, CUMBERLAND and DURHAM, and with the county arms, above linen panels printed with flower sprigs with a painted chequer frame each fold 152.5cm x 37.5cm £300-400

121 HD970/44 ARTS & CRAFTS

MAHOGANY, ROSEWOOD AND MARQUETRY INLAID OCCASIONAL TABLE, CIRCA 1900 the octagonal top with moulded edge and central marquetry and mother-of-pearl inlaid panel depicting flowering and fruiting foliage above a pierced gallery and tapered legs with shaped undertier 51cm across, 71cm high £200-300

122 HD970/43 AFTER C.F.A. VOYSEY

ARTS & CRAFTS OAK CENTRE TABLE, MODERN the circular top raised on square supports with cross stretchers 149cm diameter, 78cm high Literature: Symonds, Joanna, ‘Catalogue of the Drawings Collection of the Royal Institute of British Architects’, Gregg International 1976, fig. 78

£400-600

Decorative Arts: Design since 1860 37

123 HD970/18 ARTS & CRAFTS

BRASS HALL LANTERN, CIRCA 1900 the flaring Vaseline opalescent glass shade, supported by a tapered and pierced brass canopy, the flex with decorative brass sphere spacer lantern, 30cm high, 17cm diameter £300-500

124 HD970/7 ARTS & CRAFTS

BRASS WALL LIGHT, CIRCA 1900 with scrolled back plate and two scrolling branches, each suspending a glazed lantern 36cm wide, 47cm high £200-300

125 HD388/11 AMERICAN SCHOOL

CAST METAL LAMP, EARLY 20TH CENTURY patinated cast metal with slag glass shade 60cm high £300-500

126 HD970/53 ATTRIBUTED TO THE GUILD OR SCHOOL OF HANDICRAFTS

ARTS & CRAFTS GREEN STAINED OAK SIDE CABINET, CIRCA 1900 the superstructure with three bevelled mirror plates above a shaped top and two panelled doors enclosed by open shelves supported by ring turned columns and backed by copper panels, each repoussé decorated with peacocks 123cm wide, 140cm high, 30cm deep £400-600

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127 HE858/3 ATTRIBUTED TO G .M. ELLWOOD FOR BATH CABINET MAKERS

ARTS & CRAFTS OAK CABINET, CIRCA 1900 the upper section with over-hanging cornice above a panelled cupboard door, with marquetry and pewter inlaid central panel depicting a maiden, opening to reveal a shelved interior, the lower section with three cedar-lined drawers and solid oak sides, stamped maker’s marks 55cm wide, 154cm high, 53cm deep £1,500-2,000

128 HE860/2 ARTS & CRAFTS

OAK THRONE CHAIR, CIRCA 1900 carved in bas relief with panels of stylised birds and foliage, the pedimented top rail with entrelac decoration 63cm wide, 126cm high, 47cm deep £300-500

129 HE862/1 ATTRIBUTED TO GEORGE WALTON FOR WILLIAM BIRCH, HIGH WYCOMBE

SET OF SIX ASH DINING CHAIRS, CIRCA 1900 the tapering backs with pierced panels above rushupholstered seats on ring turned tapering legs linked by bowed cross stretchers (6) 59cm wide, 110cm high, 44cm deep £800-1,200

Decorative Arts: Design since 1860 39

130 HE858/1 GORDON RUSSELL (1892-1980)

ARTS & CRAFTS OAK TRESTLE REFECTORY TABLE, CIRCA 1925 the rectangular top raised on double octagonal supports on chamfered edge supports, linked by a chamfered stretcher, bears copper maker’s label THE RUSSELL WORKSHOPS LTD./ BROADWAY/ WORCESTERSHIRE 184cm long, 78cm high, 76cm deep £1,200-1,800

131 HE858/4 PAUL MATT FOR BRYNMAWR FURNITURE MAKERS

ARTS & CRAFTS WALNUT BOOKCASE, CIRCA 1930 the upper section with raised chamfered galleried back above a solid walnut rectangular top with two glazed doors enclosing a shelved interior, the lower section having two panelled walnut doors enclosing further shelving, with chamfered corner columns, the whole raised on octagonal chamfered supports with panelled ends, bears maker’s label BRYNMAWR FURNITURE MAKERS/ PAUL MATT/ DESIGNER 92cm wide, 152cm high, 32cm deep £800-1,200

132 HE860/17 WARING & GILLOW

ARTS & CRAFTS OAK REVOLVING BOOKCASE, CIRCA 1910 the square glazed top inset with embroidered linen panel above open shelves with marquetry inlaid panels, bears maker’s label 58cm square, 77cm high £400-600

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133 HE289/5 BERT HARVEY FOR FAULKNER BRONZE CO.

ARTS & CRAFTS CIRCULAR COPPER WALL CHARGER, CIRCA 1900 repoussé decorated with a peacock enclosed within a band of fruiting branches 57.5cm diameter Note: An example of this repousse copper plaque or charger is illustrated on pages 14 & 15 of ‘A. Edward Jones, Metalcraftsman’, published by Birmingham Museum and Art Gallery in 1980. It was designed c.1900 by Bert Harvey for Birmingham metalworkers Faulkner Bronze, and it appears on an old photograph of their exhibition stand. On Faulkner’s retirement in 1904, the firm was reconstituted as Jesson, Birkett & Co. Ltd. who continued to produce the Faulkner products, and a number of these were then taken over by A. E. Jones, who worked closely with Jesson, Birkett.

Examples of this plaque are now rare. It is not known whether this one was made by Faulkners, by Jesson, Birkett, or by A .E. Jones.

£400-600

134 HE631/2 ARTS & CRAFTS

BRASS FIREPLACE SURROUND, CIRCA 1900 with beaten finish, repoussé decorated with stylised flowering foliage £400-600

135 HE743/7 LIBERTY & CO., LONDON

ARTS & CRAFTS COPPER OVERMANTEL MIRROR, CIRCA 1900 the overhanging cornice above rectangular frame, repoussé decorated with stylised rose flowers and elongated plant forms set with turquoise enamels, reserved on a beaten ground with rivet decoration 123cm x 77cm x 12cm £1,200-1,800

Decorative Arts: Design since 1860 41

136 HF691/16 MANNER OF GEORGE FAULKNER ARMITAGE

ARTS & CRAFTS OAK FIRE SURROUND, CIRCA 1900 the deep moulded mantle shelf above two stained and leaded glass doors, enclosing an open shelf and flanked by leaf-carved uprights 168cm wide,162cm high, 30cm deep £1,200-1,800

137 SV842/75 ARTS & CRAFTS

OAK FRAMED DISPLAY CABINET, E ARLY 20TH CENTURY with vitrine top above two astragal doors enclosing shelves raised on square tapering legs 93cm wide, 123cm high, 41cm deep £250-350

138 HE990/1 ARTS AND CRAFTS

OAK STICK STAND, CIRCA 1900 comprised of four compartments for sticks each with square upright supports and turned finials raised on a plinth base 107cm wide, 121cm high, 35cm deep £200-300

139 HE77/2 ARTS & CRAFTS

PAIR OF OAK SIDE CHAIRS, CIRCA 1900 each with pierced central splat above rush seats on square tapering legs linked by stretchers (2) 40cm x 96cm x 39cm £200-300

140 HE77/3 ARTS & CRAFTS

OAK TWO-TIER OCCASIONAL TABLE, CIRCA 1910 the square top with tile inlay above lower tier and square supports 41cm across, 69cm high £200-300

141 HE77/4 ART NOUVEAU

MAHOGANY PIANO STOOL, CIRCA 1900 the hinged seat top enclosing a void above a carved frieze on tapering legs linked by stretchers 53cm wide, 55cm high, 34cm deep £200-300

142 HE77/5 ARTS AND CRAFTS

OAK HALL STAND CIRCA 1910 of tapering rectangular outline, the projecting cornice above an arrangement of cupboard doors and a stick stand, fitted with coat hooks to the side 106cm wide, 199cm high, 37cm deep £200-300

143 HE77/6 ARTS AND CRAFTS

TWO-TIER OAK CENTRE TABLE, CIRCA 1920 circular top above planked supports enclosing a lower tier 72cm diameter, 67cm high £200-300

144 HE981/1 ARTS & CRAFTS

PAIR OF OAK ARMCHAIRS, CIRCA 1910 each with carved top rails above pierced splats and raised above drop-in seats on tapering legs linked by stretchers (2) £300-500

145 LT2016/35 C.F.A. VOYSEY (1857-1941) ALEXANDER MORTON & CO. ‘THE ROSE’ PATTERN CARPET FRAGMENT, CIRCA 1900 hand knotted wool carpet 80cm x 225cm £100-200

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146 HE80/1 WILLIAM BIRCH, HIGH WYCOMBE

SET OF SEVEN OAK ARMCHAIRS, CIRCA 1900 each with broad back and rush seats between open arms raised on ring turned and tapering legs (7) 57cm wide, 97cm high, 45cm deep £400-600

147 HF691/1 WILLIAM BIRCH, HIGH WYCOMBE

ARTS & CRAFTS OAK SETTLE, CIRCA 1900 in the manner of George Walton, with two rushed seated backs and a central rectangular panel, with shaped arms and turned column supports 126cm wide, 146cm high, 59cm deep £500-700

148 HE77/7 ARTS AND CRAFTS

OAK LIBRARY TABLE, CIRCA 1900 rectangular top above tapered and pierced plank supports with trestle feet linked by stretchers 61cm wide, 55cm high, 45cm deep £200-300

Decorative Arts: Design since 1860 43

149 HD970/19 AMSTERDAM SCHOOL

LARGE BRASS CANDLESTICK, CIRCA 1900 the turned nozzle with broad drip tray, above a flattened ovoid section support of shaped outline, raised on a spreading base 60cm high £300-500

150 HD970/42 ATTRIBUTED TO NORMAN & ERNEST SPITTLE, BIRMINGHAM

ARTS & CRAFTS BRASS CHARGER, CIRCA 1900 repoussé decorated with central panel depicting a grotesque beast’s head within a border of stylised bud and boss motifs 54cm diameter £200-300

151 HE361/8 ARTS & CRAFTS

PAIR OF EXTENDING BRASS TABLE LAMP BASES, CIRCA 1900 each with scrolling brackets and tapered plinth base (2) 49cm high (closed) £250-350

152 HC954/4 RUSKIN POTTERY

HIGH FIRED VASE, DATED 1916 of tall cylindrical form with flared rim, covered in sang de boeuf glaze with fissuring and lavender flaring on a white ground, impressed mark RUSKIN/ ENGLAND/ 1916 30cm high £1,000-1,500

153 HC954/9 RUSKIN POTTERY

HIGH FIRED VASE STAND, CIRCA 1915 of stepped cylinder form, covered with a mottled sang de boeuf and lavender glaze on a white ground, impressed twice under base RUSKIN/ ENGLAND 28cm diameter, 15cm high £500-800

154 HE252/10 WEDGWOOD

BOX AND COVER, CIRCA 1930 of rectangular form, decorated in the manner of Alfred and Louise Powell, impressed and printed maker’s marks, crack to cover 17.5cm across £150-250

155 HF638/3 ARTHUR W. SIMPSON (1857-1922), KENDAL

CARVED MAHOGANY FIRESCREEN, EARLY 20TH CENTURY the projecting cornice above frieze carved with roses above a curtained void on trestle ends linked by a heart-pierced stretcher 72cm wide, 76cm high £300-500

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156 HE743/8 ARTHUR W. SIMPSON (1857-1922), KENDAL

ARTS & CRAFTS OAK SECRETAIRE, EARLY 20TH CENTURY the overhanging cornice with square supports above fall with relief carved foliate and rosette design, enclosing a fitted interior, above two short over one long drawer with characteristic brass handles and corresponding carved band, the whole raised on square supports, bear maker’s label ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL, numbered 8763 100cm wide, 106cm tall, 47cm deep £2,000-3,000

157 HE335/1 ARTHUR W. SIMPSON (1857-1922), KENDAL

ARTS & CRAFTS OAK DRESSER, EARLY 20TH CENTURY the projecting cornice with scalloped edge above three plate racks, the base with rectangular top above two panelled doors on square supports, bears maker’s paper label 136cm wide, 200cm high, 54cm deep £1,500-2,000

158 HD999/51A DOULTON, LAMBETH

159 HE611/1 COTSWOLDS SCHOOL

DROP LEAF OCCASIONAL TABLE, CIRCA 1920 the canted rectangular top above plank supports linked by stretchers and with gate legs 87cm wide, 76cm high, 76cm deep £200-300

160 HE592/2 MANNER OF SIR EDWIN LUTYENS

ARTS & CRAFTS OAK WALL SCONCE, LATE 19TH CENTURY the moulded top on curved and tapering brackets 32cm wide, 38cm high, 25cm deep £150-250

RARE COLLECTION BOX FOR THE R.S.P.C.A., CIRCA 1900 modelled as a seated cat upon a box with inscriptions PLEASE HELP and THE ROYAL SOCIETY FOR THE PREVENTION OF CRUELTY TO ANIMALS to both sides, in a blue glaze raised on a wood base 20.5cm high £400-600

Arts & Crafts from the Collection of Roger & Heather Daltrey 161 HE626/26 ATTRIBUTED TO C.F.A. VOYSEY FOR LIBERTY & CO., LONDON

THE GLENMUIR’ ARTS & CRAFTS DONEGAL WOOL CARPET, CIRCA 1903 with allover floral and foliate field and corresponding banded border reserved on a green ground 440cm x 304cm Literature: Haslam, Malcolm ‘Arts & Crafts Carpets’, 1991, pp.

100-101, figs. 63 & 64

£3,000-5,000

162 HE626/10 MINTON’S LTD.

‘SECESSIONIST’ JARDINIÈRE, CIRCA 1910 decorated with poppies, printed maker’s mark MINTON’S LTD 25cm diameter, 21cm high £150-250

163 HE626/35 GLASGOW SCHOOL

ARTS & CRAFTS BRASS WALL SCONCE, CIRCA 1900 repoussé decorated with a peacock and having twin applied candle arms 32cm wide, 71cm high £200-300

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164 HE626/1 E.G. PUNNETT FOR WILLIAM BIRCH, HIGH WYCOMBE

PAIR OF INLAID OAK ARMCHAIRS, CIRCA 1901 each with a stylised tulip design inlayed in ebony to the central back panel, flanked on either side by two rush panels, and with rush seats (2) 72cm wide, 86cm high, 50cm deep £1,500-2,000

165 HE626/13 BURMANTOFTS FAIENCE

MONUMENTAL JARDINIÈRE AND STAND, CIRCA 1910 the jardinière decorated with a frieze of peacocks on a terrace, the baluster stand with a floral and foliate frieze, makers marks BURMANTOFTS FAIENCE ENGLAND and number 2115 or 2116 55cm diameter, 104cm high Note: See Sotheby’s, New York, ‘The Harriman Judd Collection of British Art Pottery’, 22 January 2001, Lot 186 for a similar example

£2,500-3,500

166 HE626/3 MINTON’S LTD.

‘SECESSIONIST’ JARDINIÈRE & STAND, CIRCA 1910 decorated in tube line with stylised plant forms and reserved on a red ground, printed maker’s marks (2) 30cm diameter, 94cm high £400-600

167 HE626/5 MINTON’S LTD.

PAIR OF ‘SECESSIONIST’ VASES, CIRCA 1910 each of tapering form, decorated in tube line with waved bands on a red ground, printed and impressed maker’s marks (2) 24cm high £300-500

Decorative Arts: Design since 1860 47

168 HE626/15 E.G. PUNNETT FOR WILLIAM BIRCH, HIGH WYCOMBE

INLAID OAK ARMCHAIR, CIRCA 1900 the slatted back inlaid with a stylised plant form above open arms and a drop-in seat, the whole raised on tapered legs linked by stretchers 65cm wide, 96cm high, 41cm deep £800-1,200

169 HE626/14 E.G. PUNNETT FOR WILLIAM BIRCH, HIGH WYCOMBE

INLAID OAK OCCASIONAL TABLE, CIRCA 1900 the rectangular canted top, inlaid to the angles with stylised plant forms and raised on pierced plank supports linked by a lower tier 74cm wide, 69cm high, 44cm deep £400-600

170 HE626/25 ARTS & CRAFTS

COPPER FRAMED WALL MIRROR, CIRCA 1910 the rectangular frame with beaten finish, applied to the angles with square panels repoussé decorated with foliate roundels 109cm wide, 75cm high £300-500

171 HE626/7 ARTS & CRAFTS

PAIR OF PLATED BOXES AND COVERS, CIRCA 1900 each with planished surface, the covers with green cabochon set finials, the bodies with applied cast frieze of swimming fish, stamped mark to base 276 (2) 10cm diameter, 10cm high £300-500

48 Lyon & Turnbull

172 HE626/2 SHAPLAND & PETTER, BARNSTAPLE

INLAID OAK HALL TABLE, CIRCA 1905 with chequer inlaid decoration, the superstructure with open shelf above marquetry inlaid lozenge and rectangular top with two drawers, raised on planked supports linked by a lower platform stretcher with slatted back 107cm wide, 123cm high, 42cm deep Literature: Bennett, Daryl ‘Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture’, 2005, p. 103, fig. 6.14 where a similar table is illustrated.

£1,000-1,500

173 HE626/9 MANNER OF M. H. BAILLIE SCOTT, FOR SHAPLAND & PETTER, BARNSTAPLE

INLAID OAK BOOKCASE CABINET, CIRCA 1900 with chequer inlay, and cut-out side handles, two open shelves above a panelled door, marquetry inlaid with stylised flowers and raised on plank bracket supports 51cm wide, 82cm high, 18cm deep Literature: Bennett, Daryl ‘Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture’, 2005, p. 103, fig. 6.12 where a similar bookcase is illustrated

£1,000-1,500

174 HE626/27 ARTS & CRAFTS

OAK CENTRE TABLE, CIRCA 1900 the octagonal top raised above tapered plank supports linked by cross stretchers 90cm wide, 73cm high, 91.5cm deep £500-800

175 HE626/12 ARTS & CRAFTS

OAK AND RUSH-UPHOLSTERED CHAIR, CIRCA 1910 the tall back over corresponding drop-in seat, on square legs with tongue and groove infill side panels 61cm wide, 139cm high, 55cm deep £200-300

Decorative Arts: Design since 1860 49

176 HE626/11 MANNER OF AMBROSE HEAL

ARTS & CRAFTS INLAID OAK THRONE CHAIR, CIRCA 1910 with chevron and chequer inlaid decoration and leatherupholstered panel back and seat enclosed by open arms and square panelled legs with trellis infill panels to the sides 66cm wide, 112cm high, 58cm deep £1,200-1,800

177 HE626/24 ARTS & CRAFTS

OAK FRAMED WING ARMCHAIR, CIRCA 1900 the upholstered back and seat with open arms raised above square legs linked by stretchers, brass castors 68cm wide, 115cm high, 58cm deep £300-500

178 HE626/33 ARTS & CRAFTS

PAIR OF OAK BEDSIDE CABINETS, EARLY 20TH CENTURY each with square moulded tops above a single drawer with cupboard below (2) each 36cm wide, 86cm high, 36cm deep £400-600

179 HE626/28 ROYAL DOULTON

GROUP OF THREE STONEWARE VASES, CIRCA 1920 comprising a LARGE SHOULDERED VASE, decorated in tube line with a frieze of fruiting trees, 33.5cm high; and a PAIR OF TAPERING VASES, each decorated in tube line with a band of fruiting foliage, 30.5cm high, stamped maker’s marks (3) £250-350

180 HE626/29 ROYAL DOULTON

GROUP OF THREE STONEWARE VASES, CIRCA 1920 comprising a PAIR OF TAPERING VASES, each with tube lined band of fruit and lowers, 24cm high; a SINGLE OVOID VASE, with similar decoration, 21.5cm high; and a WOOD & SONS ‘TRELLIS’ PATTERN VASE, all with maker’s marks (4) £250-350

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181 HE626/31 ARTS & CRAFTS

BEECH GARDEN DINING SUITE, EARLY 20TH CENTURY comprising a CIRCULAR TABLE, with crossed supports, 120cm diameter, 75cm high; and SIX CURVED BENCHES, with square legs linked by stretchers, each bench 69cm wide, 45cm high, 30cm deep (7) £400-600

182 HE626/37 SPANISH OR ITALIAN SCHOOL

ART NOUVEAU FRUITWOOD GROTTO SUITE, CIRCA 1900 comprising a TWO SEAT SETTEE; and a PAIR OF MATCHING ARMCHAIRS, each profusely carved with Art Nouveau maidens and flowering foliage and raised on a naturalistic base (3) chairs 62cm wide, 90cm high, 40cm deep, sofa 110cm wide, 97cm high, 45cm deep £800-1,200

183 HE626/8 CELTIC REVIVAL

HEXAGONAL SECTION OAK OCCASIONAL TABLE, EARLY 20TH CENTURY with all-over Celtic knot carving in low relief 44cm wide, 50cm high, 39cm deep £300-500

184 HE626/34 ARTS & CRAFTS

SINGLE OAK BEDSIDE TABLE, EARLY 20TH CENTURY the rectangular top above an open shelf with cupboard below, the whole on square legs 54cm wide, 84cm high, 54cm deep £200-300

Other Properties 185* HE885/1 [§] ROBERT SIVELL R.S.A. (SCOTTISH 1888-1958)

LANDSCAPE IN DONEGAL, C. 1925-30 signed and inscribed with title verso, oil on board, unframed 30.5cm x 40.5cm (12in x 16in) Provenance: From the collection of Mrs R. Sivell, and thence by descent Exhibited: The Arts Council of Great Britain, Scottish Committee: Robert Sivell Memorial Exhibition

£300-500

186* HE885/6 [§] JOHN C. LAMONT A.R.S.A. (SCOTTISH 1894-1948)

DONEGAL YOUTH AND DONKEY signed, inscribed with title verso, oil on board, unframed 43cm x 30.5cm (17in x 12in) Provenance: From the collection of Mrs R. Sivell, and thence by descent

£300-500

187 HE808/1 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

TWO FISHERWOMEN signed, pastel and watercolour on dark paper 22cm x 25.5cm (8.75in x 10in) £400-600

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188 HF504/1 [§] MARY HOLDEN BIRD (SCOTTISH d. 1978) SEA CLOUDS signed with monogram, watercolour 24cm x 35.5cm (9.5in x 14in) £400-600

189 SV730/55 [§] MARGARET MORRIS (BRITISH 1891-1980) FOUR WORKMEN - PARIS 1913 pencil 15.5cm x 22.5cm (6in x 9in)

Exhibited: Cyril Gerber Fine Art, “The Art of Margaret Morris”, April 1984

£300-500

190 HE917/15 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A. (SCOTTISH 1898-1973) COUNTRY COTTAGE, C. 1954 signed, pencil 10cm x 15cm (4in x 5.75in)

Exhibited: The Scottish Gallery Exhibition “Sir William Gillies” March, 1989.

£300-500

191 HE302/4 [§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)

THE WEST OF IRELAND signed in pencil to margin, signed and dated 1928 in plate, etching 13.5cm x 17cm (5.25in x 6.75in) £300-500

Decorative Arts: Design since 1860 53

192 HE967/2 [§] IAN FLEMING R.S.A., R.S.W. (SCOTTISH 1906-1994) WINDOW IN CULLEN signed, pencil and watercolour 66.5cm x 42.5cm (26in x 16.5in) £400-600

193 HE917/11 [§] DAVID FOGGIE (SCOTTISH 1878-1948) BARKING NETS, ST. MONANCE signed, watercolour 38cm x 27.5cm (15in x 11in) £300-500

194 HE956/2 ROBERT WEIR ALLAN R.S.A., R.W.S., R.S.W. (SCOTTISH 1852-1942) LOCHALSH signed, watercolour 33cm x73cm (13in x 28.75in) £600-900

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195 HE682/3 [§] MARY HOLDEN BIRD (SCOTTISH d. 1978)

196 HE917/7 [§] SIR MUIRHEAD BONE (SCOTTISH 1876-1953)

197 HE969/2 ADAM BRUCE THOMSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1885-1976)

198 HE967/3 JOHN MUNNOCH (BRITISH 1879-1915)

EARLY MORNING - FEBRUARY 1968 signed with monogram, inscribed with title on gallery label verso, watercolour 25.5cm x 35.5cm (10in x 14in) £400-600

APPLECROSS FROM DUNCRAIG signed, ink and watercolour, studio mark verso 49cm x 61.5cm (19in x 24.25in) £600-800

CHRISTMAS AT SHERINGHAM signed, pastel on blue-gray paper 30.5cm x 46cm (12in x 18in) £400-600

WINDMILL, NETHERLANDS, 1914 signed, watercolour 23.5cm x 33.5cm (9.25in x 13.25in) £250-350

Decorative Arts: Design since 1860 55

199* HE885/3 [§] ROBERT SIVELL R.S.A. (SCOTTISH 1888-1958)

200* HE885/4 [§] ROBERT SIVELL R.S.A. (SCOTTISH 1888-1958)

Provenance: From the collection of Mrs R. Sivell, and thence by descent

Provenance: From the collection of Mrs R. Sivell, and thence by descent

£300-500

£300-500

THE HALBERDIER inscribed with title by artist’s wife verso, oil on board, unframed 46cm x 36cm (18in x 14.25in)

201* HE885/5 [§] ROBERT SIVELL R.S.A. (SCOTTISH 1888-1958)

PORTRAIT OF KENNETH ONWUKA DIKE signed, signed and inscribed with title verso, oil on board, unframed 49cm x 39cm (19.25in x 15.25in)

ARGENTINA inscribed with title verso, oil on board, unframed 53.5cm x 38.5cm (21in x 15in)

202* HE885/2 [§] ROBERT SIVELL R.S.A. (SCOTTISH 1888-1958)

SPHINX signed, remnant of old label with title verso, oil on board, unframed 46cm x 38cm (18in x 15in)

Provenance: From the collection of Mrs R. Sivell, and thence by descent

Provenance: From the collection of Mrs R. Sivell, and thence by descent

Exhibited: Arts Council of Great Britain, Scottish Committee: Robert Sivell Memorial Exhibition

£300-500

£400-600

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203 HE339/1 [§] SIGURD MÖLLER (SWEDISH 1895-1984)

STILL-LIFE ON THE WINDOW LEDGE signed and dated ‘39, oil on board 49cm x 24cm (19in x 9.5in) £300-500

204 HE978/2 KATE WYLIE (SCOTTISH 1877-1941) STILL-LIFE OF FLOWERS IN A JUG signed, oil on canvasboard 54cm x 20.5cm (21.25in x 8in) £300-500

205 HE754/2 [§] WILLIAM SENIOR (SCOTTISH b. 1927) READING THE TAROT CARDS oil on board 119.5cm x 53.5cm (47in x 21in) £500-700

Decorative Arts: Design since 1860 57

206 HE795/1 [§] ROBERT JACOBSEN (DANISH 1912-1993) THE DANCE signed, gouache on card 32.5cm x 25.5cm (12.75in x 10in) £400-600

208 HD213/5B [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) A COLLECTION OF ORIGINAL CHRISTMAS CARDS BY THE ARTIST colour lithographs, unframed except one (9) Varying sizes, largest of which 27cm x 22cm (10.5in x 8.75in) (9) £200-300 (one of nine illustrated)

207 HD213/5 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992)

A COLLECTION OF ORIGINAL CHRISTMAS CARDS BY THE ARTIST colour lithographs, unframed (9) Varying sizes, largest of which 27cm x 22cm (10.5in x 8.75in) £200-300 (one of nine illustrated)

209 HE345/1 [§] MAURICE ESTEVE (FRENCH 1904-2001) STRUCTURAL COMPOSITION IN BLUE signed and numbered 36/75 in pencil to margin, colour aquatint, unframed 40cm x 28.5cm (15.5in x 11.25in) £500-700

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210 HE682/12 [§] BET LOW (SCOTTISH 1924-2007) EVENING ON THE FLOW signed, mixed media 36cm x 48.5cm (14in x 19in) £600-800

212 SV868/16 ATTRIBUTED TO WILLIAM CROSBIE HAND AND FOOT WITH BLUE CLOTH oil on canvasboard 17cm x 24.5cm (6.75in x 9.75in) £200-300

211 HE682/2 [§] PAM CARTER (SCOTTISH CONTEMPORARY) STORM DUNES signed, oil on canvasboard 34cm x 34cm (13.5in x 13.5in) £500-700

213 HE589/2 [§] DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) THE ARTIST’S STUDIO signed, pastel 28.5cm x 36cm (11.25in x 14.25in) £300-500

Decorative Arts: Design since 1860 59

214 HF708/23 ART NOUVEAU

STERLING SILVER, ENAMEL AND PASTE SET BROOCH, CIRCA 1910 in the form of a peacock, stamped marks 230/ STERLING 5cm across Literature: Dale Reeves Nicholls ‘Antique Enamelled Jewelry’, Schiffer 2005, p. 58

£200-300

215 HF708/35 KARL HERMANN

ART NOUVEAU SILVER GILT AND PLIQUE-ÀJOUR ENAMEL PENDANT, CIRCA 1902 in the form of a stylised plant form set with facetted peridot and drop pearl, with link chain, stamped mark 900/ DEPOSE 4.1cm across Literature: Falk, Fritz ‘Art Nouveau Jewellery from Pforzheim’ 2009, p. 186, pl. KH7, where a similar example is illustrated.

216 HF708/27 JOHN BAKER BENNETT & CO., PROBABLY FOR LIBERTY & CO., LONDON

ART NOUVEAU SILVER AND ENAMEL GALLEON BROOCH, CIRCA 1907 in the manner of Jessie M. King, stamped marks J.B.B. & CO./ SILVER 2.5cm diameter £200-300

£400-600

217 HF708/14 ART NOUVEAU

COPPER AND BRASS JEWELLERY CASKET, CIRCA 1900 embossed with whiplash foliage and set with a Ruskin ceramic roundel, the interior with velvet lining, marked to base MCVITIE & PRICE/ LONDON & EDINBURGH 18cm x 9.5cm x 13cm £500-800

218 HF691/19 GUSTAVE VAN VAERENBERGH (1873-1927)

‘MIGNON’, ART NOUVEAU TERRACOTTA BUST, CIRCA 1900 incised signature to the plinth G. VAN VAERENBERGH., moulded inscription MIGNON 53cm high £600-800

219 HE380/1 ROBERT MCKEAN (ACTIVE 1909-1913)

‘WINNIE’ patinated cast plater bust, moulded signature to plinth R. MCKEAN, bears inscription WINNIE 46cm high Note: Robert McKean was a sculptor at the Glasgow School of Art, and was born in 1888. He also worked as a stationer and printer. It is thought he died during the First World War where he served as a Lieutenant in the Highland Light Infantry.

£200-300

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220 HF588/1 WILLIAM HAIR HASELER, MAKER

SILVER ART NOUVEAU PHOTOGRAPH FRAME, CIRCA 1904 with original blue and green enamelling, hallmarked Birmingham 1904, with original oak back and with original bevelled glass 23.7cm x 15.6cm £2,000-3,000

221 HF588/2 WILLIAM HUTTON & SON, MAKER

MATCHED PAIR OF ART NOUVEAU SILVER PHOTOGRAPH FRAMES, CIRCA 1902 each with original blue enamelling, hallmarked London 1902/3, with original oak backs, and replaced outlined and bevelled glasses (2) 20.5cm x 17.6cm £3,500-4,500

222 HF588/4 WILLIAM NEALE, MAKER

SILVER ART NOUVEAU PHOTOGRAPH FRAME, 1903 with later added blue and green enamelling, hallmarked Chester 1903, with original oak back and replaced outlined bevelled glass 23cm x 16cm £1,200-1,800

223 HF708/18 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO.

BOTTLE VASE, CIRCA 1905 decorated with bands of flowers, printed maker’s marks, initialled in green W.M./ DES. 13cm high £300-400

Decorative Arts: Design since 1860 61

224 HF691/10 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO.

LARGE FLORIANWARE JARDINIÈRE, CIRCA 1905 decorated with sprays of roses and forget-me-nots and with gilt embellishments, printed marks, signed in green W. MOORCROFT 21cm diameter, 21cm high £600-800

225 HE859/2 MOORCROFT POTTERY

‘ANEMONE’ PATTERN FLAMBÉ LAMP, CIRCA 1930 of mallet form, fitted with a pierced brass collar, on a modern wood stand, converted to electricity, with shade 34.5cm high (not including modern fitting) £400-600

226 HF702/2 MOORCROFT POTTERY FOR LIBERTY & CO., LONDON

‘POMEGRANATE’ PATTERN COMPORT WITH ‘TUDRIC’ PEWTER MOUNT, CIRCA 1920 the circular bowl with applied foot, stamped mark TUDRIC/ MOORCROFT/ 01312, 25cm diameter; and a MOORCROFT HOT WATER JUG, also in Pomegranate pattern with ‘Tudric’ pewter mounts, impressed marks, initialled in blue W.M., 15cm high (2) £300-500

227 HF702/4 MOORCROFT POTTERY

‘PANSIES’ PATTERN TRUMPET VASE, DATED 1914 impressed mark, painted signature W. MOORCROFT/ 1914, restored rim 19cm high £200-300

228 HF702/3 MOORCROFT POTTERY FOR LIBERTY & CO., LONDON

‘FLAMMINIAN’ PATTERN VASE, CIRCA 1915 glazed in green, impressed signature mark and printed mark MADE FOR LIBERTY & CO. 21.5cm high £150-250

229 SV623/89 MOORCROFT POTTERY

PAIR OF ‘POMEGRANATE’ PATTERN SHOULDERED VASES, CIRCA 1930 initialled in blue, impressed maker’s marks (2) 16cm high £200-300

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230 HF708/9 SHAPLAND & PETTER, BARNSTAPLE

ARTS & CRAFTS MARQUETRY INLAID MAHOGANY TRAY, CIRCA 1900 of canted rectangular outline with twin handles, inlaid with a marquetry panel of a stylised peacock 67cm x 40cm £300-500

231 HF691/3 ATTRIBUTED TO J.S. HENRY, LONDON

INLAID REVOLVING BOOKCASE the bowed square top marquetry inlaid to the angles above open bookshelves to four sides, each with inlaid panels, the whole raised on revolving base 61cm wide, 79cm high, 61cm deep £1,000-1,500

232 HF691/2 ART NOUVEAU

MAHOGANY FRAMED TUB ARMCHAIR, CIRCA 1900 the curved rope rail and arms above an inlaid splat and drop-in seat, the whole raised on turned lags linked by stretchers, bears retailer’s label DENBY & SPINKS/ LEEDS 52cm wide, 84cm high, 41cm deep £400-600

233 HD924/4 ART NOUVEAU

WHITE PAINTED GAMES TABLE, CIRCA 1900 the octagonal top with eight guinea wells enclosing central baize panel, with hinged compartment, above shaped supports enclosing undertier supported by curved brackets and terminating in pad feet 112cm wide, 74cm high £500-700

Decorative Arts: Design since 1860 63

234 HF691/17 ATTRIBUTED TO BATH CABINETMAKERS

MAHOGANY AND INLAID DISPLAY CABINET, CIRCA 1910 the projecting cornice above a single glazed door enclosing a shellved interior, flanked by canted glazed panels and square tapering columns, stamped maker’s marks 6341/ 3726/ 5 135cm wide, 195cm high, 40cm deep £500-800

235 HF588/5 HENRY MATTHEW, MAKER

SILVER ART NOUVEAU PHOTOGRAPH FRAME, 1902 hallmarked Birmingham 1902, with replaced oak back 20.3cm x 16cm £1,000-2,000

236 HF588/6 ART NOUVEAU

MATCHED PAIR OF SILVER PHOTOGRAPH FRAMES, CIRCA 1905 one by Charles S. Green & Co Ltd, hallmarked Birmingham 1907; the second by Walker & Hall hallmarked Birmingham 1905, both with original oak backs and replaced bevelled glasses (2) 26cm x 18.5cm £2,000-3,000

237 HF708/31 ART NOUVEAU

SILVER STRUT PHOTOGRAPH FRAME, 1902 embossed with opposed peacocks, red leather backplate, stamped maker’s marks, hallmarked Chester 1902 19cm tall £400-600

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238 HF588/3 E. M. & SON, MAKER

PAIR OF SILVER ART NOUVEAU PHOTOGRAPH FRAMES hallmarked Birmingham 1902 with design registration N° 386448 and with replaced oak backs (2) 16cm x 14.2cm £2,000-3,000

239 HC7/3 ART NOUVEAU

SILVER AND ENAMEL BELT BUCKLE, 1909 of elliptical form in two parts, each with stylised plant form decoration set with turquoise enamel and reserved on a hammered ground, JAMES FENTON, maker, hallmarked Birmingham 1909 9.5cm across £300-400

240 HC7/2 ART NOUVEAU

SILVER BELT BUCKLE, 1903 with central turquoise cabochon stone and entwined tendril decoration, hammered finish, DEAKIN & FRANCIS, maker, hallmarked Birmingham 1903 9.1cm across £250-350

241 HF708/30 ARTS & CRAFTS

ARTS & CRAFTS SILVER AND MOTHER OF PEARL BELT BUCKLE, 1910 of waved oval outline pierced and inlaid with coloured shells in the form of fuchsia flowers, hallmarked Birmingham 1910 9cm across £200-300

242 HF708/43 NEWLYN SCHOOL

ARTS & CRAFTS WHITE METAL AND ENAMELLED BROOCH, CIRCA 1900 the shell shaped red and yellow enamelled panel enclosed within scrolling wirework, simple pin fastening 4cm across £400-600

243 HF708/36 SAMUEL BOYCE LANDECK, MAKER

SET OF SIX ARTS & CRAFTS SILVER BUTTONS, 1881 each embossed with a galleon in full sail, stamped maker’s mark SBL for Samuel Boyce Landeck, Campden Square, London and hallmarked London 1881, 40.5g (6) 3.1cm diameter £200-300

Decorative Arts: Design since 1860 65

244 HF708/40 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

ART NOUVEAU SILVER AND ENAMEL BROOCH, CIRCA 1900 model 1309, made by William H. Haseler, the beaten silver decorated with coloured enamels, stamped marks W.H.H./ SILVER 2.8cm high Literature: Martin, Stephen ‘Archibald Knox’, 2001, p. 267 for a comparable example.

£800-1,200

246 HF708/39 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

245 HF708/46 MURRLE BENNETT & CO.

ART NOUVEAU SILVER AND GEM SET PENDANT, CIRCA 1900 the hammered pendant set with an oval cut amethyst and pearl, the linked chain with corresponding spacers, stamped maker’s mark MBCO/ 950 pendant 5cm high £600-800

ART NOUVEAU SILVER AND ENAMEL BROOCH, CIRCA 1900 made by William H. Haseler, the beaten silver decorated with coloured enamels, stamped marks W.H.H./ SILVER 2.8cm high Literature: Martin, Stephen ‘Archibald Knox’, 2001, p. 260 for a comparable example.

£800-1,200

247 HF598/1 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S, GLASGOW

SET OF TWELVE FORKS, CIRCA 1905 electroplated metal and stained bone, each with four prongs and faceted handles, impressed marks MISS CRANSTON’S (12) 20.5cm (8in) long Literature: Howarth, Thomas, ‘Charles Rennie Mackintosh and the Modern Movement’, London, 1952, pl. 51

£2,000-3,000

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Decorative Arts: Design since 1860 67

248 HC199/1 CHARLES RENNIE MACKINTOSH (1868-1928)

SUITE OF SILVER CUTLERY, DATED 1902 comprising: A SINGLE SOUP SPOON, with deep almost circular bowl and with incised heel, pierced terminal, 26.5cm (10.5in) long; and A SINGLE DINNER FORK, with four prongs, pierced terminal, 26cm (10.25in) long, each with maker’s mark DWH (David W. Hislop), hallmarked Glasgow 1902 (2) Provenance: Fra H. Newbery and Jessie Newbery Elsie Newbery and by family descent Barclay Lennie Fine Art, Glasgow Miss Merle Taylor Exhibited: Howarth, Thomas, ‘Charles Rennie Mackintosh and the Modern Movement’, New York, 1953, pl. 50 Provenance: In 1902 Jessie and Fra Newbery had commissioned from Mackintosh a design for a twelve place setting of dining cutlery, a gift from Jessie’s parents. Each set containing a soup spoon, dessert spoon, dinner fork and dessert fork (knives were supplied separately from a stock pattern). The commission was handled by a jeweller’s in Glasgow, Edwards & Company, and the cutlery was made by D W Hislop, a Glasgow silversmith who worked with Mackintosh on other projects. All of the cutlery was later divided equally between the Newberys’ daughters, Mary and Elsie; Mary’s pieces were sold separately during the 1970s and 1980s.

£15,000-20,000 This lot is sold to benefit The Willow Tearooms Trust, which has been created to restore this key building by Charles Rennie Mackintosh. For further information please go to www.willowtearoomstrust.org

68 Lyon & Turnbull

249 HE593/2 CHARLES RENNIE MACKINTOSH (1868-1928)

PINE, WALBERSWICK pencil and watercolour, signed, dated and inscribed lower right CRM/ MMM/ PINE/ WALBERSWICK/ 1915 24.5cm x 19cm Literature: Billcliffe, Roger 'Mackintosh Watercolours', 1978, p. 89, cat. no. 136, where a similar example is illustrated.

Note: The Mackintoshes moved to Walberswick in 1914, first of all for a recuperative holiday, but the outbreak of war persuaded them to remain in the village for fifteen months. They first of all stayed next door to the Newberys, who had bought a semidetached villa in the village about 1900. Mackintosh spent much of his time sketching wild flowers and plants on the coast (an activity which was to contribute to his arrest as a suspected enemy spy in 1915). The belief that the colouring on these drawings was applied by Margaret Mackintosh is countered by Mary Newbery Sturrock, daughter of Francis 'Fra' Newbery (1855-1946), the Headmaster of the Glasgow School of Art at the time Mackintosh designed the new premises in Renfrew Street. Newbery and Mackintosh, and their families, became good friends and Mary Newbery was a frequent visitor to the Mackintoshes' house in Glasgow before they left the city in 1913. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village. She watched Mackintosh making some of his flower drawings and was inspired by them to produce her own studies in later life. In a conversation with Roger Billcliffe she stated that the appearance of Margaret's initials on Mackintosh's flower drawings merely indicated that Margaret was present when the drawing was made, not that she made any contribution to the drawings.

There is no stylistic evidence of Margaret adding watercolour to these drawings (the most frequent reason given for the appearance of her initials) that are consistent with Mackintosh's own watercolour technique. Sturrock's theory is supported by the absence of Margaret Mackintosh's initials on some watercolours and the presence of several sets of initials on some drawings, made when Mackintosh was accompanied by friends such as Herbert and Frances MacNair, John Keppie or Charles Macdonald, brother of the Macdonald sisters.

Provenance: Barclay Lennie Fine Art, Glasgow.

£10,000-15,000

Decorative Arts: Design since 1860 69

70 Lyon & Turnbull

250 HE800/1 [§] JESSIE MARION KING (1875-1949)

ILLUSTRATION FROM ‘A HOUSE OF POMEGRANATES’, CIRCA 1915 pen and ink and watercolour, signed lower right JESSIE M. KING and bearing inscription AND BEING WEARY SHE SAT DOWN UNDER A CHESTNUT TREE TO REST 24cm x 19cm Note: Jessie King illustrated an edition of Oscar Wilde’s ‘A House of Pomegranates’ for Methuen in 1915. First published in 1891, ‘A House for Pomegranates’ was a collection of fairy stories written to follow ‘The Happy Prince and Other Tales’, published in 1888. King’s illustrations signify a stylistic departure for the artist, whose previous work has been more tonally subdued in previous work.

£800-1,200

251 HE308/1 [§] JESSIE MARION KING (1875-1949)

‘KNIGHTS AND LADIES’ pen and Indian ink on vellum, signed lower left JESSIE M. KING 25cm x 17cm Exhibited: Scottish Arts Council Touring Exhibition ‘Jessie M King’, March 27th 1971-January 14th 1972, No. 7 Glasgow, Glasgow School of Art ‘Jessie M King Anniversary Exhibition’, 27th July- 3rd September 1999

£2,000-3,000

Decorative Arts: Design since 1860 71

252 HE691/2 [§] JESSIE MARION KING (1875-1949)

ILLUSTRATION FROM ‘THE GREY CITY OF THE NORTH’, CIRCA 1910 pen and ink on vellum, signed and inscribed JESSIE M KING/ THE WHITE HORSE INN 21cm x 9.5cm Note: Jessie King began producing work for the Foulis Press around 1907 and ‘The Grey City of the North’ was published in 1910, showing twenty-four topographical plates of Old Edinburgh. King commented on this work “It seems a pity that the charm of the outsides of these houses cannot be retained with the interiors remodelled to satisfy the demands of modern ideas.

Perhaps it is only the hand of the artist that can save for the furture this beauty in danger of being demolished.”

£800-1,200

253 HE290/21 [§] JESSIE MARION KING (1875-1949) THE FLIGHT OF THE SOUL pen and ink and watercolour on paper laid on board, signed lower right JESSIE M. KING and inscribed, within later copper frame 25.5cm x 27cm £600-800

72 Lyon & Turnbull

254 HE453/1 GEORGE LOGAN (1866–1939) FOR WYLIE & LOCHHEAD, GLASGOW

MAHOGANY INLAID CHAIR, CIRCA 1901 the tapering back with marquetry stylised foliate motif, and mother of pearl heart shaped inlay, the upholstered panel seat with corresponding inlay to the angles, raised on square tapered legs linked by stretchers 43cm wide, 106cm high, 35cm deep Literature: Studio Yearbook, illus., 1906 Provenance: This chair was originally designed for the Royal Reception Room at the Wylie & Lochhead Pavilion at the Glasgow International Exhibition, 1901.

£1,200-1,800

255 HE743/3 TALWIN MORRIS (1865-1911)

GLASGOW STYLE ART NOUVEAU BOOKCASE WITH BOOKS, CIRCA 1900 the moulded top above three open shelves filled with cloth bound books, each designed

by Morris, the frame with four embossed copper panels, the design reflecting that of the bindings, the whole raised on a plinth 50cm wide, 74cm high, 18cm deep £800-1,200

256 HD970/31 WYLIE & LOCHHEAD, GLASGOW

SET OF EIGHT MAHOGANY LADDERBACK DINING CHAIRS, CIRCA 1900 including two carvers, each chair with serrated serpentine horizontal slats above drop-in upholstered seats with flame pattern original fabric, raised on square tapering legs linked by stretchers, bear maker’s marks (8) chairs, 46cm wide, 97cm high, 40cm deep £2,000-3,000

Decorative Arts: Design since 1860 73

257 HE606/1 [§] ELIZABETH MARY WATT (1886-1954) FAIRIES AND ELVES watercolour, signed lower right ELIZABETH MARY WATT 35.5cm x 25cm £500-700

258 HE606/2 [§] ELIZABETH MARY WATT (1886-1954) RIDING THE WHITE HORSES watercolour, signed lower left ELIZABETH MARY WATT 31cm x 34cm £600-800

259 HE290/24 [§] ELIZABETH MARY WATT (1886-1954) SPRING FLOWERS watercolour, signed lower left ELIZABETH MARY WATT 33cm x 24cm £200-300

260 HE290/14 MANNER OF FRANCES MACDONALD

GLASGOW STYLE FRAMED EMBROIDERY, CIRCA 1900 worked in coloured silks with applied glass beads as a stylised maiden holding a rose flower in a bower, oval, framed 36cm x 27cm Literature: Robertson, Pamela (ed.) ‘Doves and Dreams: The Art of Frances Macdonald and James Herbert McNair’, exhibition catalogue 2006, p. 131, cat. ill. 49J. Burkhauser (ed.), ‘Glasgow Girls: Women in Art and Design 1880-1920’, 1999, p. 102, fig. 124 Larner, Gerald and Celia ‘The Glasgow Style’ 1979, pl. 177 where illustrated

£600-800

261 HE290/22 GLASGOW SCHOOL

EMBROIDERED PANEL, CIRCA 1910 embroidered in coloured threads on a buff felt ground with stylised roses, 43cm x 35cm; and TWO FURTHER GLASGOW STYLE EMBROIDERED PANELS, one embroidered with daisies and bearing embroidered inscription DO NAT A THYNGE THAT SHULDE BLEMYSSHE YOUR RENOME and signed and dated J.B.N/ 1926, 19.5cm x 15cm; the other a tea cosy, embroidered with flowers, 18cm x 25cm (3) £400-600

262 HD970/22 GLASGOW STYLE

PAIR OF EMBROIDERED PANELS, CIRCA 1900 each worked in gilt and coloured threads with roundels of flowers on a blue linen ground, framed and glazed (2) 57cm x 93cm £250-400

263 HE747/1 MARY NEWBERY STURROCK (1890-1985)

POPPIES watercolour, signed lower right MARY STURROCK 28cm x 38cm £250-350

74 Lyon & Turnbull

264 HE290/18 [§] JESSIE MARION KING (1875-1949)

FRESH OCTOBER BRINGS THE PHEASANT, THEN TO GATHER NUTS IS PLEASANT pencil, pen, ink and watercolour, signed lower left JESSIE M. KING and inscribed 26cm x 22cm Purchased: Sotheby’s London: Thursday, May 1, 2008, Lot 49

£3,000-5,000

265 HD448/16 [§] JESSIE MARION KING (1875-1949) ‘THE LITTLE SHEPHERDESS’ pen and ink and watercolour on vellum, signed lower right JESSIE M. KING 24cm x 30cm Provenance: Miss Merle Taylor Exhibited: Glasgow, Sotheby’s ‘Jessie M. King and E.A. Taylor’, 21st June 1977, Lot 203

£2,000-3,000

Decorative Arts: Design since 1860 75

266 HE933/16 THEODOR FAHRNER (1859-1919)

WHITE METAL BRACELET, EARLY 20TH CENTURY with embossed decoration, each link set with elliptical and ovoid green cabochon stones, stamped maker’s marks 16.5cm long £300-500

267 HF708/34 JESSIE MARION KING (1875-1949) FOR LIBERTY & CO., LONDON

WHITE METAL AND ENAMEL PENDANT, CIRCA 1900 set with a moonstone cabochon enclose by a circle of leaves 2.5cm diameter £800-1,200

268 HF708/38 JESSIE MARION KING (1875-1949) LIBERTY & CO., LONDON

SILVER AND ENAMEL BELT BUCKLE, 1907 maker William H. Haseler, of oval form with beaten finish, pierced and cast with birds flying amidst flowers, stamped maker’s marks W.H.H., hallmarked Birmingham 1907 7.2cm across £2,000-3,000

269 HF708/11 ATTRIBUTED TO TALWIN MORRIS

GLASGOW STYLE ART NOUVEAU COPPER JEWELLERY BOX, CIRCA 1900 repoussé decorated with stylised hearts and plant forms on a beaten ground, the hinged lid enclosing a plush upholstered interior, the whole raised on sphere feet 33cm x 9.5cm x 11.5cm Literature: Euler, Laura ‘The Glasgow Style’, 2008, p.128, fig. 258 where a similar box is illustrated

£300-500

270 HF708/4 MARGARET GILMOUR (1860-1942) ARTS & CRAFTS BRASS WALL SCONCE, CIRCA 1900 repoussé decorated with an angel looking up at the stars, signed with monogram MG 56cm high, 32cm wide £600-800

271 HF708/3 MANNER OF MARGARET GILMOUR

GLASGOW STYLE BRASS CANDLE SCONCE, CIRCA 1910 repoussé decorated with a design of butterflies and flowers and with twin applied candle arms 64cm x 27.5cm £300-500

76 Lyon & Turnbull

272 HF691/15 SARA BEATRICE DIBDIN (1874-1963)

PAX triptych, watercolour and bodycolour, highlighted with gilt, signed with monogram to each panel 113cm x 158cm Note: Sara Dibden (nee Guthrie) studied at Glasgow School of Art and then in Munich and exhibited at the Royal Academy and Royal Scottish Academy. This triptych, allegorical of peace, shows the central figure allegorical of peace flanked by the arts; music, architecture, painting and sculpture.

£1,000-1,500

273 HF708/7 ARTS & CRAFTS

BRASS FRAMED WALL MIRROR, CIRCA 1900 the oval frame repoussé decorated with Celtic knotwork decoration 39cm x 87cm £300-500

274 HE335/5 GLASGOW STYLE

ARTS & CRAFTS PEWTER WALL MIRROR, CIRCA 1900 the rectangular frame, set with turquoise Ruskin cabochons and repoussé decorated by flowering rose tendrils, the whole enclosing a bevelled mirrored plate 52cm x 117cm £400-600

275 HC376/1 ARTS & CRAFTS

BRASS FRAMED WALL MIRROR, CIRCA 1910 of circular outline, repoussé decorated with Celtic knot decoration on a hammered ground 47.5cm diameter £200-300

276 HB217/24 GLASGOW SCHOOL

BRASS SERVING TRAY, CIRCA 1900 with chased decoration of stylised roses, bears maker’s initials D.G. 57cm x 36.5cm £200-300

277 HF708/22 ARTS & CRAFTS

PAIR OF COPPER DOOR PLATES, CIRCA 1900 each repoussé decorated with flowering irises, one plate incorporating a key escutcheon (2) 53cm high £200-300

Decorative Arts: Design since 1860 77

278 HE290/19 [§] JESSIE MARION KING (1875-1949)

TWO DESIGNS FOR BATIK pencil, pen and watercolour on tracing paper (2) 26cm x 21cm Provenance: The Collection of Miss Merle Taylor, sold Sotheby’s, Glasgow June 21st 1977; Lot 334

£300-500

279 HE290/17 [§] JESSIE MARION KING (1875-1949)

DESIGN FOR A GREETINGS CARD pen and black ink and pastel, on paper, signed and inscribed JESSIE M. KING/ GREETINGS FROM THE GREEN GATE 16cm x 12cm £600-800

280 HE290/20 [§] JESSIE MARION KING (1875-1949) FOUR SKETCHES OF KIRKCUDBRIGHT watercolour and pencil, unsigned (4) 8.5cm square

Provenance: The Collection of Miss Merle Taylor, sold Sotheby’s, Glasgow June 21st 1977, sold as studies for ‘The Little Town of Never Weary’ circa 1917.

£600-800

281 HC424/1 [§] JESSIE MARION KING (1875-1949) ‘WHY THIS POPPY GREW SO FAIR’ pen and ink on vellum, signed lower right JESSIE M. KING 27.5cm x 24cm £300-500

78 Lyon & Turnbull

282 HE290/15 [§] ELIZABETH MARY WATT (1886-1954)

THE FAIRY TALE IN THE FOREST pen and ink and watercolour, signed lower left ELIZABETH MARY WATT 41cm x 27cm £1,000-1,500

283 HE290/16 [§] ELIZABETH MARY WATT (1886-1954) AMONGST THE TOADSTOOLS pen and ink and watercolour, signed lower right ELIZABETH MARY WATT 18cm x 21.5cm £300-500

284 HF611/2 [§] JESSIE MARION KING (1875-1949)

CHILD’S CERAMIC MUG, EARLY 20TH CENTURY inscribed to the rim JAMES/ LITTLE BOY BLUE COME BLOW UP YOUR HORN, and painted with a figural scene, painted mark to base JMK 7.4cm high £250-350

285 No lot

HF611/2

Decorative Arts: Design since 1860 79

286 HF708/15 [§] JESSIE MARION KING (1875-1949)

GLAZED EARTHENWARE BOWL, 1930S decorated to the interior with the figure of a girl in a landscape within floral and foliate border, painted artist’s marks to base JMK with Greengate and rabbit 16cm diameter £500-800

287 HF702/1 [§] JESSIE MARION KING (1875-1949)

BALUSTER MILK JUG, DATED 1920 painted with panels of flowers, painted artist’s marks to base JMK/ 1920 with Greengate and rabbit 11cm high £200-300

288 HE406/7 [§] DOUGLAS STRACHAN (1875-1950)

DESIGN FOR THE MACLACHLAN MEMORIAL WINDOW, 1934 watercolour and bodycolour, inscribed MACLACHLAN MEMORIAL KINGS COLLEGE LIBRARY 51cm x 19.5cm Literature: MacDonald, Juliette ‘Aspects of identity in the work of Douglas Strachan (1875-1950)’, PhD thesis 2003, St Andrews 2003, p.259 Provenance: Strachan designed the memorial window for Kings College Library, Aberdeen in 1934. The window depicts Hector Boece and Alexander Galloway in the top panel; John Barbour and Robert the Bruce in the centre panel; and Edward Raban in the lower panel and was made in memory of Ewen Maclachlan.

£300-500

289 HF700/7 GLASGOW STYLE

PAIR OF STAINED GLASS PANELS, CIRCA 1900 each depicting a stylised plant form, oak framed (2) 77cm x 26cm £200-300

80 Lyon & Turnbull

Decorative Arts: Design since 1860 81

290 HF601/1 PHOEBE ANNA TRAQUAIR (1852-1936)

‘SEEK YE MY FACE’ ENAMEL TRIPTYCH, DATED 1906 enamel with foil on copper, within a patinated copper frame and stand, probably designed by Ramsay Traquair (1874-1952) and made by J.M Talbot, with facetted column and spreading circular base, inscribed in gilt to the front in the enamel SEEK YE MY FACE/ THY FACE LORD WILL I SEEK, signed twice with artist’s monogram and dated 190*, inscribed verso in the copper I WILL LAY ME DOWN/ IN PEACE, AND TAKE/ MY REST, FOR IT IS THOU,/ LORD, ONLY, THAT MAKEST/ ME TO DWELL IN SAFETY with artist’s monogram and date, 1906 overall height 16.8cm, central enamel panel 3.5cm x 5.3cm, side panels 3.5cm x 2.4cm Literature: Cumming, Elizabeth ‘Phoebe Anna Traquair 1852-1936’, 1993 Provenance: Phoebe Anna Traquair (1873-1936) was an Edinburgh-based artist who was an important member Arts and Crafts Movement. She was one of few late Victorian women who managed to balance her traditional family responsibilities with a successful, internationally recognised artistic career. This is emphasised in the fact that she was the first woman to be given honorary membership of the Scottish Royal Academy, in 1920. Her specialities included mural painting, manuscript illumination and enamelling.

This triptych is almost identical to one in the collection of the V&A Museum (V&A M.189-1976.). They have identified the enamelled scenes as showing ‘Love, Comforter of the Night’, flanked by ‘Evening’ and ‘Morning’. The reverse of the central panel has an engraved message taken from the Bible: ‘I will lay me down in peace and take my rest for it is thou, Lord, only, that makest me to dwell in safety’ (Psalm 4:8). The exterior surface of the side-panels is also enamelled and shows a quotation from Psalm 27:8, ‘Seek ye my face; They Face Lord will I seek’.

The triptych is dated 1906, when Traquair was at the height of her enamelling career. It is estimated that she produced around 150 enamels over the course of her career, with at least 80 made between 1901 and 1906. She was particularly attracted to enamel work because of the bright colours that it created, which she further heightened through the use of metal foil fragments.

The form, subject and style of this triptych are entirely typical of Traquair’s work. They indicate her belief in the moralising purpose of art and her love of Italian Renaissance artists such as Fra Angelico. The central panel’s red flowers against a green ground and the rainbow sky, indicating dawn or dusk, are features repeatedly used by Traquair and can be seen another of her triptychs, The Red Cross Knight, of which there are also two known versions. The copper mount for this triptych, like her others, would have been designed by her son, Ramsay, based on Renaissance metalwork forms that they researched together.

£8,000-12,000

82 Lyon & Turnbull

291 HF708/10 HANNAH MCCORMICK FOR ALEXANDER RITCHIE, IONA

CELTIC REVIVAL EMBROIDERED BEDSPREAD, CIRCA 1920 embroidered in coloured threads with elaborate Celtic knotwork and leaf design and reserved on unbleached linen with green linen border 219cm x 170cm Literature: MacArthur, E. Mairi, ‘Iona Celtic Art: The Work of Alexander and Euphemia Ritchie’, 2003, p.61, pl. 21E and 21F

£800-1,200

292 HF708/19 ALEXANDER RITCHIE (1856-1941), IONA

RARE CELTIC REVIVAL HAND MIRROR, 1932 the simple hand mirror with bevelled circular plate in shaped frame with waisted handle, decorated with fine Celtic knot-work and galleon within to reverse, the handle to front with intertwined Celtic beasts, in original fitted case, signed A.R. IONA, hallmarked Birmingham 1932 26.5cm long Literature: MacArthur, E. Mairi, ‘Iona Celtic Art: The Work of Alexander and Euphemia Ritchie’, 2003, p.62, pl. 22b

£1,000-1,500

293 HF708/45 ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL COPPER SERVING TRAY, CIRCA 1920 of rectangular form with scroll handles, repoussé decorated with a griffin and entwined foliage 74.5cm long

Literature: MacArthur, E. Mairi, ‘Iona Celtic Art: The Work of Alexander and Euphemia Ritchie’, 2003, p.47, pl. 12b

£250-350

Decorative Arts: Design since 1860 83

294 HF559/2 ALEXANDER RITCHIE (1856-1941), IONA

CELTIC REVIVAL CARVED OAK PANEL, DATED 1905 of slightly tapered rectangular outline, the panel carved in shallow relief with a sword, a longboat, meandering foliate motifs and other Celtic symbols, mounted on a larger panel and with incised artist’s monogram and inscription IONA/ 1905 verso carved panel 40.7cm x 15cm (widest) £400-600

295 HE526/4 ALEXANDER RITCHIE (1856-1941), IONA RARE CELTIC REVIVAL COPPER PIPE HOLDER, EARLY 20TH CENTURY repoussé decorated with stylised foliage, entwined beasts and longboats in full sail, with applied rack for pipes and two galleried trays for smoking paraphernalia 27cm wide, 35.5cm high £400-600

296 HF708/37 ALEXANDER RITCHIE (1856-1941), IONA PAIR OF CELTIC REVIVAL SILVER CLOAK FASTENERS, 1901 each cast with Celtic knotwork, with chain suspension, stamped and applied marks A.E.R./ IONA/ AR, hallmarked Birmingham 1901 each 5.5cm diameter

Literature: MacArthur, E. Mairi, ‘Iona Celtic Art: The Work of Alexander and Euphemia Ritchie’, 2003, p.57, pl. 18a

£1,200-1,800

297 HF708/33 ALEXANDER RITCHIE (1856-1941), IONA SILVER BROOCH, 1930S stamped marks A.R./ I.C.A./ IONA, indistinctly hallmarked Birmingham 5.2cm diameter £300-500

298 HF708/32 ALEXANDER RITCHIE (1856-1941), IONA SILVER AND ENAMEL PENANNULAR BROOCH, 1938 stamped marks A.R./ I.C.A./ IONA, hallmarked Birmingham 1938 5.5cm diameter Literature: MacArthur, E. Mairi, ‘Iona Celtic Art: The Work of Alexander and Euphemia Ritchie’, 2003, p.40, pl. 8c

£600-800

84 Lyon & Turnbull

299 SV537/124 [§] WENDY WOOD (1892-1981)

HADNAN, GOD OF THE SEA watercolour, signed lower right WENDY WOOD, 48cm x 37cm; another watercolour by the same hand, signed lower left WENDY WOOD 45.5cm x 61cm; ERIC HAROLD MACBETH ROBERTSON (1887-1941) A WALK IN THE COUNTRY watercolour 13cm x 23cm; and JANET FISHER (1867-1926) ‘THE WOOD’, watercolour, signed and dated lower left J.FISHER/ 1923, 30cm x 23cm (4) £400-600

300 HF708/8 GEORGE BAIN (1881-1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER

SMALL CELTIC ‘HUNTING’ WOOL RUG, 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 192cm x 121cm £600-800

301 HE533/1 WHYTOCK & REID, EDINBURGH

WALNUT FOLDING TABLE, MID 20TH CENTURY the rectangular hinged top raised above square legs linked by stretchers open 91cm wide, closed 61cm wide, 57cm high, 57cm deep £400-600

302 HE253/2 WHYTOCK & REID, EDINBURGH

MAHOGANY FRAMED SOFA, CIRCA 1930 the upholstered back and seat with outswept arms raised on square moulded legs and terminating in pointed pad feet 157cm wide, 89cm high, 51cm deep £400-600

Decorative Arts: Design since 1860 85

303 HE700A/2107 DOVECOT TAPESTRY STUDIO, CORSTORPHINE

SKEIN WINDER AND SPINNING WHEEL, EARLY 20TH CENTURY wood and metal elements, winder 81cm wide, 55cm high, 37cm deep spinning wheel 108cm wide, 134cm high, 51cm deep (2) Provenance: Dovecot Tapestry Studio, Corstophine, Edinburgh Note: Dovecot Studios was established by the 4th Marquess of Bute in 1912, and its founding weavers John Glassbrook and Gordon Berry came from William Morris’ Merton Abbey Workshops. The Marquess commissioned the studios to produce large tapestries for Mount Stuart, his home on the Isle of Bute. Dovecot Studios’ first home was in Corstorphine, at that time a village on the west side of Edinburgh. It was originally housed in a purpose built studio next to a sixteenthcentury dovecot, the only remaining part of the medieval Corstorphine Castle.

After the Second World War, the studios became known as Edinburgh Tapestry Company and produced tapestries designed by renowned artists including Edward Bawden, Graham Sutherland, Sir Peter Blake and Eduardo Paolozzi.

Faced with closure in 2000, Dovecot Tapestry Studio was re-established in the following year as ‘Dovecot Studios’, and is now established in the refurbished Infirmary Street Baths, Edinburgh where it continues to weave tapestries as well as provide a thriving venue for exhibitions.

This Skein Winder and Spinning wheel were used at the original studio in Corstorphine.

£500-800

304 HE700A/2295 DOVECOT TAPESTRY STUDIO, CORSTORPHINE

SET OF THREE ARTS & CRAFTS MAHOGANY BENCHES, EARLY 20TH CENTURY each with rectangular seats and plank supports with exposed tenons (3) 138cm wide, 48cm high, 30cm deep Provenance: Dovecot Tapestry Studio, Corstophine, Edinburgh

£250-350

305 HE252/14 WHYTOCK & REID, EDINBURGH

WALNUT WINDOW SEAT, CIRCA 1930 the rectangular solid seat with squab cushion raised on square legs with moulded feet 230cm long, 40cm high, 48cm deep £500-700

Decorative Arts: Design since 1860 87

306 HE984/1 WEMYSS WARE

LARGE AND RARE PIG FIGURE, LATE 19TH CENTURY probably decorated by Karel Nekola, and painted with an all-over pattern of flowering clover 27.8cm high, 44cm long £6,000-8,000

307 HE526/11 WEMYSS WARE

LARGE BLACK & WHITE PIG, LATE 19TH CENTURY sponged black decoration on a white ground, impressed mark WEMYSS WARE/ R.H.&S. 28cm high, 46cm long £1,500-2,000

308 HE526/7 WEMYSS WARE

A SMALL ‘CABBAGE ROSES’ PATTERN PIG, CIRCA 1900 impressed marks WEMYSS, bears printed retailer’s mark 16cm long £500-700

309 HE526/8 WEMYSS WARE

SMALL ‘THISTLES’ PATTERN MONEYBOX PIG, POST 1930 decorated by Joe Nekola, painted mark NEKOLA/ PINXT, printed mark PLICHTA/ LONDON/ ENGLAND/ MADE IN ENGLAND 16cm long £150-250

310 HE526/6 WEMYSS WARE

A PAIR OF SMALL WHITE-GLAZED PIGS, CIRCA 1900 each covered in a white glaze, both with impressed marks WEMYSS, minor restorations (2) 16cm long £200-300

88 Lyon & Turnbull

311 HE526/10 WEMYSS WARE

RARE CIRCULAR PLATE, CIRCA 1900 painted with rabbits in a landscape, impressed mark WEMYSS WARE/ R.H.& S. 21cm diameter £300-500

312 HF689/7 WEMYSS WARE

‘CHERRIES’ STUART FLOWER POT, EARLY 20TH CENTURY decorated by Edwin Sandland, painted and impressed mark WEMYSS 17.5cm high £200-300

313 HF689/8 WEMYSS WARE

‘DAFFODILS’ GROSVENOR VASE, CIRCA 1900 impressed mark WEMYSS, small chip to rim 21.4cm high £200-300

314 HF689/10 WEMYSS WARE

SMALL GOOSE FLOWER HOLDER, CIRCA 1900 impressed mark WEMYSS WARE, printed retailer’s mark 16cm high £150-250

315 HE594/1 WEMYSS WARE

LARGE ‘CABBAGE ROSES’ BUTTON, CIRCA 1900 decorated by Karel Nekola, impressed mark WEMYSS 4.3cm diameter £500-700

316 HE594/2 WEMYSS WARE

‘FUCHSIA’ MILK JUG, CIRCA 1900 impressed mark WEMYSS, small chip and hairline to rim 6.5cm high £250-350

Decorative Arts: Design since 1860 89

317 HE594/3 WEMYSS WARE

‘SWEET PEAS’ EGG CUP, CIRCA 1900 decorated by David Grinton, painted and impressed mark WEMYSS 5.5cm high £200-300

318 HF689/9 WEMYSS WARE

‘THISTLES’ GROSVENOR VASE, CIRCA 1900 impressed mark WEMYSS WARE/ R.H.&S., minor restoration to rim 21.4cm high £150-250

319 HE594/4 WEMYSS WARE

‘BLACK COCKEREL & HENS’ EGG CUP, CIRCA 1900 painted and impressed mark WEMYSS 6.2cm high £300-500

320 HE594/6 WEMYSS WARE

‘SHAMROCKS’ MATCHBOX HOLDER, CIRCA 1900 bears printed retailer’s mark 7.8cm long £300-500

321 HE594/5 WEMYSS WARE

322 HE594/10 WEMYSS WARE

‘CABBAGE ROSES’ MATCHBOX HOLDER, CIRCA 1900 unmarked, hairlines 7.5cm long £200-300

SMALL ‘SWEET PEAS’ MUG, CIRCA 1900 painted and impressed mark WEMYSS 7.1cm high £150-250

323 HE594/7 WEMYSS WARE

‘CHERRIES’ LOW POMMADE, CIRCA 1900 decorated by David Grinton, painted and impressed marks, small chip to inside rim 9cm diameter £150-250

324 HE594/9 WEMYSS WARE

SMALL ‘CHERRIES’ MUG, CIRCA 1900 impressed mark WEMYSS 9.2cm high £150-250

325 HE594/12 WEMYSS WARE

‘CHERRIES’ TALL POMMADE, CIRCA 1900 decorated by James Sharp, painted and impressed marks WEMYSS 7.5cm high £250-350

90 Lyon & Turnbull

326 HE481/2 ROYAL DOULTON - WEMYSS

CENTENARY GOBLET AND PRESENTATION BOX, DATED 1980 number 189 of a limited edition of 500, inscribed ‘TO HONOUR QUEEN ELIZABETH THE QUEEN MOTHER AND MARK THE WEMYSS CENTENARY’, to the reverse inscribed ‘WEMYSS 1880-1980’ 19cm high £100-250

327 HE594/11 WEMYSS WARE

CABARET SET, CIRCA 1895 each piece decorated with hearts and ribbons, and bearing cypher with initials EAW, and comprising a SERVING TRAY, 44cm across; a TEAPOT & COVER, 11cm high; a TEA CUP & SAUCER, saucer 13cm diameter; a SUGAR BOWL, 7.5cm diameter; a MILK JUG, 6.8cm high; and a SIDE PLATE, 12.3cm across; impressed maker’s marks WEMYSS WARE/ R.H.& S. (6) Provenance: Lady Wolverton, Queensberry House, Newmarket, Suffolk, sold Christies 5th May 1987, Lot 230 Provenance: This cabaret set formed part of an extensive set of Wemyss made as a wedding present for Lady Wolverton in 1895.

£1,000-1,500

328 HF689/13 WEMYSS WARE

‘DAISIES’ HEART-SHAPED TRAY, CIRCA 1900 impressed mark WEMYSS WARE/ R.H.&S. 30cm tall £200-300

329 HF689/12 WEMYSS WARE

LARGE ‘DOG ROSES’ LADY EVA VASE, CIRCA 1900 decorated by James Sharp, painted and impressed mark WEMYSS 29cm high £250-350

330 HF689/14 WEMYSS WARE

‘SWEET PEAS’ BISCUIT BARREL & COVER, EARLY 20TH CENTURY with painted inscription to cover BISCUITS, impressed mark WEMYSS 12cm high £200-300

331 HF689/15 WEMYSS WARE

‘PURPLE AND RED PLUMS’, TWO PRESERVE JARS & COVERS, CIRCA 1900 painted and impressed marks WEMYSS (2) 12.5cm high £150-250

Decorative Arts: Design since 1860 91

332 HF689/11 WEMYSS WARE

SMALL ‘MALLARDS’ BEAKER VASE, CIRCA 1900 impressed mark WEMYSS WARE/ R.H.&S., hairline 11.5cm high £200-300

333 HF689/16 WEMYSS WARE

‘YELLOW IRIS’ MUG, CIRCA 1900 impressed mark R.H.&S., hairline and restored handle, 14cm high; and a WEMYSS ‘YELLOW IRIS’ JAPAN VASE, impressed mark WEMYSS, 16cm high (2) £250-350

334 HE594/8 WEMYSS WARE

SMALL ‘BUTTERCUPS’ LOVING CUP, CIRCA 1900 impressed mark WEMYSS, bears printed retailer’s mark, hairline 10cm high £300-500

335 HF689/17 WEMYSS WARE

ASSEMBLED ‘CABBAGE ROSES’ BREAKFAST SET, CIRCA 1900 comprising a TEAPOT & COVER, 11cm high; a TEA CUP & SAUCER; a MILK JUG; and a SIDE PLATE, each with maker’s marks (5) £250-350

336 HF689/19 WEMYSS WARE

MATCHED PAIR OF ‘CHERRIES’ TALL CANDLESTICKS, CIRCA 1900 each with impressed marks WEMYSS WARE/ R.H.&S. and with printed retailer’s mark (2) 30.5cm and 29.5cm high £200-300

337 HE512/1 WEMYSS WARE

SMALL ‘SHAMROCKS’ PATTERN PIG, POST 1930 decorated by Joe Nekola, painted mark WEMYSS 16cm long £120-180

338 HE512/2 WEMYSS WARE

SMALL ‘CABBAGE ROSES’ PATTERN PIG, POST 1930 decorated by Joe Nekola, painted mark “NEKOLA PINXT” and printed mark PLICHTA/ LONDON/ ENGLAND 16cm long £200-300

339 HE526/2 WEMYSS WARE

SMALL BLACK & WHITE PIG, CIRCA 1900 sponged black decoration on a white ground, impressed mark WEMYSS WARE/ R.H.& S., restored tail 16cm long £300-400

340 HF689/18 WEMYSS WARE

‘BROWN COCKEREL’ TEA CUP & SAUCER, EARLY 20TH CENTURY also a WEMYSS ‘BLACK COCKEREL & HENS’ FRILLED BOWL, 14cm diameter; and a WEMYSS ‘BLACK COCKEREL & HENS’ BEAKER VASE, 11cm high, each with maker’s marks (3) £200-300

341 HE481/2A ROYAL DOULTON - WEMYSS

CENTENARY GOBLET AND PRESENTATION BOX, DATED 1980 number 181 of a limited edition of 500, inscribed ‘TO HONOUR QUEEN ELIZABETH THE QUEEN MOTHER AND MARK THE WEMYSS CENTENARY’, to the reverse inscribed ‘WEMYSS 1880-1980’ 19cm high £100-250

342 HE752/2 JOHN MONCRIEFF LTD., PERTH

‘MONART’ GLASS VASE, 1930S of tapering form with amber and amethyst inclusions, 25cm high; and a CZECH GLASS VASE, 19cm high (2) £300-400

343 LT2016/20 YSART BROTHERS GLASS

‘VASART’ SHOULDERED OVOID VASE, CIRCA 1950 of red and blue mottled glass, 19.5cm high; together with a ‘MONART’ BOWL, SHAPE IG VI, of mottled green glass with aventurine inclusions, maker’s label, 25.5cm diameter (2) £100-200

92 Lyon & Turnbull

344 HE350/3 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH b. 1948) WINTER MOON, KINTYRE signed, inscribed with title and dated 2008 verso, oil on canvas 59cm x 59cm (23.25in x 23.25in) £2,000-2,500

345 HE345/11 20TH CENTURY EUROPEAN SCHOOL THE DANCE pencil and watercolour 20cm x 25.5cm (8in x 10in) and a further two figurative studies on paper, all unframed (3) £300-500 (one of three illustrated)

Decorative Arts: Design since 1860 93

346 HE382/1 [§] PETER HOWSON O.B.E. (SCOTTISH b. 1958)

UNTITLED signed, oil on canvas, unframed 92.5cm x 63.5cm (36.5in x 25in) £4,000-6,000

347 SV0244/35 [§] JOSEPH URIE (SCOTTISH b. 1947)

BIRDMAN signed, inscribed and dated 1990 verso, oil on paper 72cm x 48cm (28.25in x 19in) £500-700

94 Lyon & Turnbull

348 HE545/3 [§] MARCEL SCHELLEKENS (DUTCH b. 1954)

349 HD703/1 [§] JOHN MACKIE (SCOTTISH b. 1953)

350 HE566/3 [§] JOHN GARDINER CRAWFORD R.S.W. (SCOTTISH b. 1941)

351 HE545/2 [§] MARCEL SCHELLEKENS (DUTCH b. 1954)

FLOWERS & FRUIT signed and dated ‘98 and numbered 22/65in pencil to margin, colour lithograph 53cm x 68cm (20.75in x 26.75in) £200-300

BOATHOUSE, 1984 signed, watercolour 35.5cm x 53cm (13in x 21in)

Exhibited: The Mall Galleries, London, 1985; The Scottish Gallery, Edinburgh, 1986

£300-500

A STREET IN PROVENCE signed and dated ‘94, pastel on dark paper 58cm x 78cm (22.75in x 30.5in) £300-500

ARTIST IN STUDIO signed, dated ‘95 and numbered 38/65 in pencil to margin, colour lithograph 53cm x 62.5cm (20.75in x 24.5in) £200-300

Decorative Arts: Design since 1860 95

352 HF606/1 [§] KAREL APPEL (DUTCH 1921-2006)

ABSTRACT signed in pencil and numbered 129/280, inscribed verso ‘Voor Fanny van Karel’, Amsterdam 1959, colour lithograph 22cm x 40cm (8.75in x 15.75in) Provenance: Gifted by the artist to the current vendor

353 HE343/11 [§] WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) YELLOW JEST signed and dated ‘85, mixed media on paper 35cm x 43cm (13.75in x 17in) £400-600

£300-500

354 HE589/1 [§] DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) ANGELIC lithograph 16.5cm x 21.5cm (6.5in x 8.5in) £150-200

355 HD925/4 [§] MICHAEL HALE (BRITISH b. 1932)

BALLADE 1 signed, dated ‘78, titled and numbered 4/25 in pencil to margin, screenprint 69.5cm x 57cm (27.5in x 22.25in) £100-150

96 Lyon & Turnbull

356 HE345/8 [§] GEORGES BRAQUE (FRENCH 1882-1963)

BOATS signed and numbered 132/300 in pencil to margin, colour lithograph, unframed 31cm x 60.5cm (12.25in x 23.75in) £500-700

357 HE345/9 [§] SALVADOR DALI (SPANISH 1904-1989)

TELEPHONE signed and numbered 54/300 in pencil to margin, etching with handcolouring, unframed 56.5cm x 76cm (22.25in x 30in) £400-600

358 HE345/6 [§] WERNER GILLES (GERMAN 1894-1961)

COASTAL LANDMARKS signed and dated 1932, watercolour 30cm x 47cm (12in x 18.5in) and another two prints by the same hand, unframed (3) £600-800 (one of three illustrated)

Decorative Arts: Design since 1860 97

359 HF610/1 ERIC HAROLD MACBETH ROBERTSON (SCOTTISH 1887-1941) STUDY FOR ‘HUMANITY CRUCIFIED’ Signed and inscribed with title and dated ‘Nov. 17, 1915’, pencil, unframed 21.5cm x 52cm (8.5in x 20.5in) £400-600

360 HE966/1 20TH CENTURY BRITISH SCHOOL

PORTRAIT OF A YOUNG WOMAN inscribed ‘Lucy Flannigan,’ pastel on buff paper 61.5cm x 46.5cm (24.25in x 18.25in) £200-300

361 HF610/2 ERIC HAROLD MACBETH ROBERTSON (SCOTTISH 1887-1941) RONA Signed and inscribed with title, pencil, unframed 26cm x 53cm (10.25in x 20.75in) £400-600

98 Lyon & Turnbull

362 HF611/9 MABEL ROYDS (BRITISH 1874-1941)

363 HF611/10 [§] ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

364 HE72/12 [§] WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999)

365 HE151/2 [§] RORY MCEWAN (SCOTTISH 1932-1982)

THE RED MUG signed, woodcut 15cm x 16cm (5.75in x 6.25in) £200-300

THE GARDENERS signed and indistinctly dated, ink and watercolour 13.5cm x 18cm (5.5in x 7in) £200-300

BY THE SEA signed, charcoal and watercolour 16cm x 21.5cm (6.25in x 8.5in) £200-300

COLOUR ABSTRACT signed and dated 1965, coloured pencil 21cm x 21cm (8.25in x 8.25in) £400-600

Decorative Arts: Design since 1860 99

366 HE499/3 [§] PERPETUA POPE (SCOTTISH 1916-2013) WILD FLOWERS signed, watercolour 68cm x 55cm (27in x 21.5in) £300-500

368 HF518/1 [§] IRENE LESLEY MAIN (SCOTTISH b. 1959)

HEMINGWAY’S BALCONY, KEY WEST signed and dated 1989, oil on board 46.5cm x 56.5cm (18.25in x 22.25in) £400-600

367 HE77/1 [§] STELLA STEYN (IRISH 1907-1987) STILL LIFE WITH DAFFODILS oil on canvas 67cm x 36.5cm (26.5in x 14.25in) £300-500

369 HE691/4 [§] MARY ARMOUR R.S.A., R.S.W., R.G.I. (SCOTTISH 1902-2000) STILL LIFE OF FLOWERS signed and dated 1985, pastel 33.5cm x 44.5cm (13in x 17.75in) £500-700

100 Lyon & Turnbull

370 HE969/1 ADAM BRUCE THOMSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1885-1976) BOAT ON THE TWEED signed, studio mark verso, oil on board 54.5cm x 75cm (21.25in x 29.5in) £1,000-1,500

371 HE969/3 ADAM BRUCE THOMSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1885-1976) UPPER NITHSDALE signed, studio mark verso, oil on canvas 70cm x 91cm (27.75in x 35.75in) £1,000-1,500

372 HE538/1 [§] SIR WILLIAM MACTAGGART P.R.S.A., R.S.W. (SCOTTISH 1903-1981)

AMSTERDAM signed and inscribed with title old artist’s label verso, oil on board 14cm x 21cm (5.5in x 8.25in) £400-600

Decorative Arts: Design since 1860 101

373 HD370/7 [§] JAMES BEATTIE MICHIE (SCOTTISH 1891-1960) WINDMILLS IN A RIVER LANDSCAPE signed and dated 1926, watercolour 51cm x 61cm (20in x 24in) Provenance: Collection of David Michie O.B.E., R.S.A.

£200-300

375 HE682/4 [§] KATE CAMERON R.E., R.S.W. (SCOTTISH 1874-1965) TRAIGH SHORE, WITH DISTANT SKYE signed, pencil and watercolour 24cm x 35.5cm (9.5in x 14in) £600-800

374 HD871/1 [§] ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH b. 1931) CAT AND FLOWERS signed and numbered 18/75 in pencil to margin, lithograph 60cm x 80cm (23.5in x 31.5in) £500-700

376 SV0244/1 [§] SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) THE DERENSCA FROM THE SAN MARCOS LEON signed, watercolour and pencil 13cm x 23cm (5.125in x 9in) £200-300

102 Lyon & Turnbull

377 HF708/12 EMMANUEL VILLANIS (1858-1914)

ART NOUVEAU WHITE METAL WALL PLAQUE, CIRCA 1890 cast in relief with a scene depicting naked sea nymphs amongst the waves, signed in the metal E. VILLANUS 43cm diameter £300-500

378 SV759/53 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) ART NOUVEAU ELECTROPLATED STRUT MIRROR, CIRCA 1900 the bevelled plated with frame cast with flowers and an Art Nouveau maiden, stamped marks WEPCO/ EP/ IO/ OX 36cm x 28cm

Note: Wurtemberg [sic] Electo Plate Co. (WEPCO) was a division of WMF for the English-speaking export market.

£300-500

379 SV888/10 ÉMILE GALLÉ (1846-1904)

WALNUT AND MARQUETRY INLAID FOLDOVER CARD TABLE, CIRCA 1900 the hinged inlaid top inlaid with a marquetry panel depicting flowering poppies and opening to reveal a baize lined interior, the whole raised on cabriole legs linked by stretchers, marquetry inlaid signature to top ÉMILE GALLÉ/ NANCY 74cm wide, 75cm high, 39cm deep £1,000-1,500

380 HE253/8 ORIVIT

ART NOUVEAU PEWTER-MOUNTED OAK SERVING TRAY, CIRCA 1900 the mounts with twin handles, cast with whiplash foliage, stamped marks, 49.5cm across; and an ART NOUVEAU CERAMIC TRAY, with brass mounts, decorated with a printed floral and foliate design, maker’s marks, 39.5cm across (2) £150-250

381 SV940/4 ART NOUVEAU

PATINATED SPELTER HANGING LIGHT, CIRCA 1910 cast as a winged maiden, supporting three branches for electricity, later shell shades 60cm across, 60cm high £250-400

382 SV872/6 ROYAL DUX, BOHEMIA

ART NOUVEAU PORCELAIN TABLE LAMP, CIRCA 1900 modelled as an Art Nouveau maiden holding two waterlily flowers as light shades, applied pink triangle mark ROYAL DUX/ BOHEMIA/ E, and impressed mark 1753 33cm high £200-300

Decorative Arts: Design since 1860 103

383 HF691/4 AFTER ALPHONSE MUCHA

ART NOUVEAU MAHOGANY FRAMED THREEFOLD DRAUGHT SCREEN, CIRCA 1900 with central embroidered panel franked by two further folds, each with slatted panel 176cm wide, 139cm high (at highest point) £600-800

384 HC954/7 ROYAL DUX, BOHEMIA

PAIR OF MONUMENTAL ART NOUVEAU PORCELAIN VASES, CIRCA 1890 each moulded in relief with an Art Nouveau maiden, bears artist’s signature F. OTTO, impressed mark to base 1512, applied pink triangle mark with inscription ROYAL DUX BOHEMIA/ E (2) 69.5cm high £400-600

385 HF708/13 GOLDSCHEIDER, VIENNA

ART NOUVEAU PATINATED TERRACOTTA BUST, CIRCA 1900 impressed maker’s marks, numbered 527 39cm high £200-300

386 HD904/9 ROYAL DUX, BOHEMIA

ART NOUVEAU PORCELAIN TAZZA, CIRCA 1900 moulded as a maiden picking apples from a tree on a naturalistic base, applied pink triangle mark/ 1821 52cm high £200-300

387 HE799/1 AMPHORA, AUSTRIA

FIGURAL BOWL, CIRCA 1900 modelled as the figure crouching girl with basket, impressed maker’s marks AMPHORA/ 4645 34cm high £250-350

104 Lyon & Turnbull

388 HE335/3 GOLDSCHEIDER, VIENNA

PAIR OF TERRACOTTA FIGURES, CIRCA 1900 modelled as a girl and a boy fishing, painted in gilt and colours, impressed makers marks (2) 44cm high £300-500

389 HF708/21 FERDINANDO VICHI (1875-1945)

BY THE SEA SHORE carved marble figure, signed in the base F. VICHI/ FIRENZE 26cm long, 23cm high £300-500

390 HE399/1 GALLÉ, NANCY

CAMEO GLASS VASE, CIRCA 1910 of slender tapering form, the frosted glass body overlaid with amethyst glass and etched with flowers, cameo signature GALLÉ 24cm high £300-500

391 HE693/1 RIESSNER, STELLMACHER & KESSEL

PAIR OF CANDLESTICKS, CIRCA 1900 each of tapering form with broad drip trays and applied handle, painted with flowers and foliage and with decorative piercing to the base, each with impressed maker’s mark and numbered to one indistinctly 3362 (2) 39cm high £200-300

Decorative Arts: Design since 1860 105

392 HE857/2 HAGENAUER, VIENNA

PATINATED BRONZE BUST, CIRCA 1920 raised on stepped plinth, bears maker’s marks and stamped mark to plinth HAGENAUER/ WIEN/ MADE IN AUSTRIA 26cm high £300-500

393 HE933/9 HAGENAUER, VIENNA

CHROMIUM PLATED MIRROR, CIRCA 1920 modelled as a stylised kneeling figure holding circular mirror, stamped mark, HAGENAUER WIEN and MADE IN AUSTRIA 45.5cm high £500-800

394 HF689/1 JOHANNA MEIER-MICHEL FOR WIENER KUNSTKERAMISCHE WERKSTÄTTE

GROUP OF FOUR ‘FOUR SEASONS’ FIGURES, CIRCA 1910 each allegorical of the seasons, painted in black on a white ground, each with impressed makers mark and numbered 1370-3 (4) 24cm and 25cm high Provenance: Sotheby’s, Tuesday 22nd May 1997, ‘Colstoun, Haddington, East Lothian’, Lot 431

£1,000-1,500

395 HE933/13 MICHAEL POWOLNY (1871-1954) FOR LOETZ

GLASS VASE, CIRCA 1930 the flared cylindrical bowl with scalloped rim, in orange glass with black striping 11.5cm high 13.5cm wide at rim £300-500

396 HE933/14 MICHAEL POWOLNY (1871-1954) FOR LOETZ

GLASS COUPE, CIRCA 1930 the trumpet shaped bowl with scalloped rim raised on spreading foot, in orange glass with black striping 11.5cm high 13.5cm wide at rim £200-300

106 Lyon & Turnbull

398 SV794/16 SECESSIONIST STYLE

ETCHED GLASS COMPORT, CIRCA 1910 of lozenge outline, etched with stylised plant forms and highlighted in gilt and black enamel 21cm wide, 12.5cm high £150-250

397 HC7/4 VILLEROY & BOCH

ART NOUVEAU TILE PANEL, CIRCA 1900 depicting a white stylised tree on a salmon ground, framed 58cm x 28.5cm £300-500

399 HE860/8 GERMAN SCHOOL

JUGENDSTIL STAINED HARDWOOD ARMCHAIR, CIRCA 1900 the pierced back above circular leather panel and open arms, the whole raised on square supports linked by stretchers 64cm wide, 100cm high, 50cm deep £500-800

Decorative Arts: Design since 1860 107

400 HF689/3 POST WAR LALIQUE

‘SAINT-EMILION’ CLEAR AND FROSTED GLASS VASE, DESIGNED 1942 of tapered form with four moulded handles, script etched mark LALIQUE/ FRANCE 25.5cm high £500-700

401 HF689/4 POST WAR LALIQUE FOR NINA RICCI, PARIS

GROUP OF ‘L’AIR DU TEMPS’ CLEAR AND FROSTED PERFUME BOTTLES each unopened with contents in original packaging, various sizes including one large at approx. 31cm high; one medium sized at approx. 19cm high; and five small at approx.

9cm high, each bottle of clear and frosted glass, the stoppers moulded as entwined doves, etched maker’s marks (7) £300-500

402 HF689/6 POST WAR LALIQUE

GROUP OF CLEAR AND FROSTED GLASS PERFUME BOTTLES, CONTEMPORARY including ONDINES pattern bottle, with original box, 13.5cm high; a SAMOA pattern bottle, 6.5cm high; FLEURES pattern bottle, 9cm high; L’AIR DU TEMPS 50th anniversary bottle, 9cm high; L’AIR DU TEMPS powder bowl & cover, 12.5cm diameter; and another small Lalique bottle, 6cm high, each with etched maker’s marks (6) £400-600

403 HE381/1 RENÉ LALIQUE (1860-1945)

‘ASTERS’ OPALESCENT GLASS BOWL, DESIGNED 1935 stencil etched mark R. LALIQUE/ FRANCE 25cm diameter £200-300

404 SV841/197 POST WAR LALIQUE

‘MESANGES’ MOULDED GLASS CANDLESTICK, CREATED 1943 script etched mark LALIQUE/ FRANCE 17.5cm high £150-250

405 SV753/58 RENÉ LALIQUE (1860-1945) FOR D’ORSAY PARFUMEUR, PARIS

‘DEUX SIRENES’ FROSTED AND OPALESCENT GLASS POWDER BOX, CIRCA 1921 with card base, printed on base POUDRE MERVEILLEUSE/ AU PARFUM D’ORSAY/ NATURALLE/ D’ORSAY PARFUMEUR/ PARIS, the glass with moulded marks D’ORSAY/ R. LALIQUE 8.5cm diameter, 3cm high Provenance: Property of the late Mrs Aldyth Cadoux

£250-350

406 HF689/5 RENÉ LALIQUE (1860-1945)

PAIR OF ‘COQUILLES’ OPALESCENT GLASS PLATES, INTRODUCED 1924 wheel etched marks R. LALIQUE/ FRANCE/ NO.3013, 16.5cm diameter; TWO LALIQUE CLEAR AND FROSTED GLASSES, etched marks, 8.7cm high; and a GROUP OF FROSTED AND CLEAR GLASS FIGURES, CONTEMPORARY including LEDA & THE SWAN, 11.5cm high; a FIGURE OF A BIRD, 8.5cm high; a FIGURAL DISH, 6cm high; and a VERLYS OPALESCENT GLASS LAMP BASE, 15cm high (8) £300-500

108 Lyon & Turnbull

407 HE80/5 MARIUS-ERNEST SABINO (1878-1961), PARIS CLEAR AND FROSTED GLASS PLAFFONIER, CIRCA 1925 of shallow cylindrical form, moulded in relief with stylised flowering foliage, with original hanging ropes, moulded marks SABINO/ 4651/ PARIS/ DEPOSE 48cm diameter £600-800

408 HF691/13 MARIUS-ERNEST SABINO (1878-1961), PARIS

‘SUZANNE AU BAIN’ OPALESCENT GLASS LAMP, CIRCA 1920 the moulded glass figure raised on an ebonised base, fitted for electricity 24cm high, 19cm wide, 6cm deep £2,000-3,000

409 HE939/17 AUSTRIAN SCHOOL

COLD PAINTED BRONZE & ONYX VIDE POCHE, EARLY 20TH CENTURY mounted with two horsemen on a circular dished onyx plinth 15.5cm high, 24cm diameter £800-1,200

410 HE361/10 VERLYS, FRANCE

CIRCULAR CLEAR AND FROSTED SMOKED GLASS CHARGER, CIRCA 1930 with waved edge, moulded mark A. VERLYS FRANCE 43cm diameter £200-300

411 HF689/2 LEUNE, PARIS

FROSTED AND ENAMELLED GLASS VASE, 1930S of tall tapering form painted with flowers, painted maker’s mark to body LEUNE 51cm high £200-300

412 HE933/8 MANNER OF LEERDAM

FROSTED LEMON GLASS FIGURE, CIRCA 1930 of a standing woman, 38.5cm high; and a MOSER AMBER GLASS VASE, of footed cylindrical form, with flared rim, etched with a figure in a landscape, unmarked, 27.5cm high, 38.5cm high (2) £200-300

413 HE700/19 AUSTRIAN SCHOOL

COLD PAINTED BRONZE FIGURE OF A TERRIER, EARLY 20TH CENTURY mounted on an oval green onyx dished tray 25cm across, 13cm high £200-300

414 HE939/18 AUSTRIAN SCHOOL

PAIR OF COLD PAINTED BRONZE BOOK ENDS, EARLY 20TH CENTURY each cast as the head of a dog on tapered green onyx base (2) 9cm high £300-500

415 HF691/20 ART DECO

ENAMELLED GLASS LIQUEUR SET, CIRCA 1930 comprising a DECANTER, 22cm high; and SIX MATCHING GLASSES, 7cm high, each with overlaid ruby panels (7) £200-300

Decorative Arts: Design since 1860 109

416 HF691/6 ART DECO

BURR WALNUT DINING SUITE, CIRCA 1930 comprising a DINING TABLE, with canted top and glass preserve raised on two corresponding pillar supports with ogee moulded plinths, 182cm long, 76cm high, 92cm deep; a SET OF SIX ‘CLOUD’ CHAIRS, each with original cream leather upholstery on square legs, 87cm high, 53cm wide, 46cm deep; and a MATCHING SIDEBOARD, 154cm wide, 97cm high, 62cm deep (8) £2,500-3,500

417 HF638/2 ROWLEY GALLERY (ATTRIBUTED TO) MARQUETRY LUNETTE, CIRCA 1920 the stained and inlaid specimen woods depicting a pastoral figural scene 112cm wide, 54cm high £300-500

418 HF691/21 ART DECO

SUITE OF CLEAR AND FROSTED GLASSES, CIRCA 1930 comprising FOUR CHAMPAGNE GLASSES, 11cm high; TWO LIQEUER GLASSES, 9cm high; and a SINGLE WINE GLASS, 12cm high, each with black enamelled decoration (7) £80-120

419 SV917/72 ART DECO

CHROME FRAMED TROLLEY, 1930S with two glass tiers and circular tube supports 68cm wide, 78cm high, 41cm deep £150-250

110 Lyon & Turnbull

420Y HF691/5 ART DECO

BURR MAPLE COCKTAIL CABINET, CIRCA 1930 of tall lobed form with two pairs of curved doors with ivory handles, opening to reveal an illuminated fitted and mirrored interior with glass shelves and pull out mirrored slide for drinks, the whole raised on a plinth base 91cm wide, 173cm high, 41cm deep £2,000-3,000

421 HE221/13 ART DECO

AMBOYNA AND IVORINE INLAID DRESSING TABLE, 1920S with full length mirror plate, flanked by frosted glass fins and raised above twin pedestal cupboards each inlaid with a floral design 148cm wide, 171cm high, 41cm deep £800-1,200

422 HE631/3 ART DECO

HANGING GLASS HALL LANTERN, CIRCA 1930 with chromium plated mounts, the cylindrical frosted glass shade with four radiating fins, each etched with an entrelac design and enhanced with a sepia stain 31.5cm across, 48cm high £200-300

423 HD999/81 CROWN DEVON

THREE ART DECO CERAMIC FIGURES, CIRCA 1930 to include TWO FIGURES OF SPANISH DANCERS, one with green and one with polychrome colourway, printed maker’s marks, 33cm high; and a FIGURE OF A DANCER, by K. Parsons, (restored), printed maker’s marks, 29cm high (3) £250-350

424 HD999/79 GOLDSCHEIDER, VIENNA

ART DECO PORCELAIN FIGURE, CIRCA 1930 modelled as a lady in a lace effect evening gown, with a fur coat wrapped around her shoulders, with stamped and impressed maker’s marks 31cm high £200-300

Decorative Arts: Design since 1860 111

425 SV482B/70 BATH CABINET MAKERS

‘GAYLAYDE’ BURR WALNUT AND INLAID BEDROOM SUITE, CIRCA 1930 marquetry inlaid with panels of vases issuing flowers, and comprising a WARDROBE with single mirror door flanking two panelled doors, 148cm wide, 191cm high, 51cm deep; a TALLBOY, with three drawers and two cupboards below, 69cm wide, 123cm high, 50cm deep; a DRESSING TABLE, 114cm wide, 161cm high, 58cm deep; a BEDSIDE CABINET, 40cm wide, 85cm high, 38cm deep; a BED, 200cm wide, 200cm x 119cm x 93cm; and TWO BEDROOM CHAIRS, each 44cm wide, 88cm high, 38cm deep, bears maker’s label GAYLAYDE MODERN DECORATIVE FURNITURE (7) £500-700

426 HE592/3 GPO

IVORY PYRAMID TELEPHONE, MODEL 234, 1930S with moulded mark to underside of handset G.P.O/ P.L 37/ 234/ NO 164 23cm wide, 15cm high, 13.5cm deep £300-500

427 HE592/4 GPO

IVORY BAKELITE TELEPHONE, MODEL 300, 1950S with a cheese tray drawer, with moulded mark to handset 164/ 57, stamped to base 328L/ PL. 57/ 2A 22.5cm wide, 14cm high, 18cm deep £200-300

428 SV939/335 ALLEN BEST FOR WEDGWOOD

‘THE PANTHER’ CERAMIC FIGURE, CIRCA 1930 covered in a celadon glaze, impressed mark WEDGWOOD 29.5cm high Literature: Batkin, M ‘Wedgwood Ceramics 1846-1959’, pub. Richard Dennis 1982, p.194, pl. 469 for an illustration of a similar model.

£800-1,200

429 HF690/1 ERIC SLATER (1902-1984) FOR SHELLEY ART DECO ‘VOGUE’ CHEVRON COFFEE SERVICE, CIRCA 1930 comprising a COFFEE POT & COVER, 18cm high; SIX CUPS & SAUCERS; a SUGAR BOWL; and a MILK JUG, each in a red colourway with black and white chevron handle, painted and painted maker’s marks R11776/19/E (15) £600-800

112 Lyon & Turnbull

430 SV917/66 CLARICE CLIFF (1899-1972)

‘BLUE CHINTZ’ PATTERN BON JOUR BREAKFAST SET, CIRCA 1930 comprising a TEAPOT & COVER, 13cm high; TWO TEA CUPS AND SAUCERS; A MILK JUG AND SUGAR BOWL; and a SIDE PLATE, each with printed maker’s marks (8) £500-800

431 HD388/12 ERIC RAVILIOUS (1903-1942) FOR WEDGWOOD ELIZABETH II 1953 CORONATION MUG the black transfer decoration with yellow and pink colourway, printed maker’s marks 10cm high £200-300

432 HF630/1 WILTSHAW & ROBINSON LTD.

CARLTON WARE ‘FLOWER & FALLING LEAF’ PATTERN CHARGER, CIRCA 1930 printed and painted in gilt and coloured enamels with stylised flowers on a streaky green/yellow ground, printed and painted marks no. 3948 36.5cm diameter £300-400

433 SV774/15 WILTSHAW & ROBINSON LTD.

LARGE CARLTON WARE ‘COCK AND PEONY’ GINGER JAR & COVER, CIRCA 1925 decorated in gilt and coloured enamels on a powder blue ground, printed and painted makers marks, numbered 2250 25cm high £200-300

434 SV774/12 WILTSHAW & ROBINSON LTD.

LARGE CARLTON WARE ‘COCK AND PEONY’ WALL CHARGER, CIRCA 1925 decorated in gilt and coloured enamels on a powder blue ground, printed and painted makers marks, numbered 2250 39cm diameter £200-300

435 SV940/111A SUSIE COOPER (1902-1995)

THREE-HANDLED VASE, DATED 1932 of tapering form with three applied handles and abstract foliate decoration, painted mark to base SUSIE COOPER/ 1932/ K/ M43 24.5cm high £150-250

Decorative Arts: Design since 1860 113

436 HE743/1 HEAL & SON, LONDON

OAK BOOKCASE CABINET of arched form with single astragal glazed door enclosing three shelves, over single door, bears maker’s mark HEALS/ TOTTENHAM COURT ROAD/ LONDON/ W.1 46cm wide, 179cm high, 31cm deep £800-1,200

437 HE335/2 HEAL & SON, LONDON

OAK SECRETAIRE BOOKCASE, 1930S with two astragal glazed doors enclosing shelves, above three graduated drawers, one fitted as a secretaire with pull-down fall 91cm wide, 191cm high, 38cm deep £500-700

438 HE860/6 MARY (POLLY) BRACE FOR DUNSMORE

TILED MIRROR, CIRCA 1930 within an oak and ebonised frame, the tiles painted with sailing ships to the angles with sea birds and Italian pastoral scenes 71cm x 51cm £500-800

114 Lyon & Turnbull

439 HF604/1 ROBERT (MOUSEMAN) THOMPSON (1876-1955) MATCHED PAIR OF OAK BOOKENDS, MID-20TH CENTURY each with carved mouse signature (2) 15.5cm high £150-250

440 HF708/1 ROBERT (MOUSEMAN) THOMPSON (1876-1955) CARVED OAK SHIRE HORSE FIGURE, CIRCA 1940 on plinth base, with carved mouse signature 22cm high, 27.5cm long £1,500-2,000

441 HE79/3 ATTRIBUTED TO THOMAS WHALEN

CARVED HARDWOOD PANEL, CIRCA 1930 carved in bas relief with maidens in a forest glade 75cm x 100cm £1,000-1,500

442 LT2016/22 JOHN SKEAPING (1901-1980) FOR WEDGWOOD

ASSEMBLED PAIR OF TABLE LAMPS, CIRCA 1930 each formed of a glazed earthenware figure of a kangaroo, mounted on a hardwood stand with light fitting and shade, maker’s marks to figures J. SKEAPING/ WEDGWOOD (2) 26cm high (excluding shade) £400-600

443 HE79/2 ART DECO

BURR WALNUT BOX AND COVER, CIRCA 1930 the tapered sides inlaid in a dentil design pad feet 18.5cm high £200-300

444Y SV940/109A ART DECO

SHAGREEN CIGARETTE BOX, CIRCA 1930 with ivory banding and handle and with lined and divided interior 19.5cm x 7cm x 14cm £150-250

445 HE794/1 HUKIN & HEATH, LONDON

SILVER PLATED COCKTAIL SHAKER, CIRCA 1930 designed in the form of a bell, stamped makers mark to base H&H, numbered 3448 28cm high £150-200

446 HF693/3 C*&L*

PLATED BACHELOR’S TEA SERVICE, CIRCA 1930 comprising a TEAPOT & COVER, of squat ovoid form with canted angles, 12cm high; and a MATCHING SUGAR BOWL AND MILK JUG, each with stamped marks C&L/ COMETAL (3) £150-250

447 No lot HF611/5

Decorative Arts: Design since 1860 115

448 HF667/1 [§] PENELOPE BEATON (1886-1963)

‘ROYAL ARMS’, DESIGN FOR A STAINED GLASS WINDOW watercolour, signed lower right PENELOPE BEATON, bears inscription STAINED GLASS WINDOW/ ROYAL ARMS/ HOUSES OF PARLIAMENT 64cm x 29.5cm £400-600

449 HD448/21 CLAUD LOVAT FRASER (1890-1921)

A WOODLAND LORD, ACT 2 pen and ink and body colour with silver paint, inscribed A WOODLAND LORD/ ACT.2.

32cm x 24cm Note: This study is one of a series of designs for costume and scenery for a production of ‘As You Like It’, first performed at the Lyric Theatre, Hammersmith in April 1919.

£300-500

450 HF708/44 [§] IAN CAMPBELL (1902-1984)

NANCY AS EVE watercolour, signed and dated lower right IAN CAMPBELL/ AUG 1920, and inscribed verso TO NANCY/ SEPT. 1928 22.5cm x 22cm Note: The sitter is believed to be the artist’s then fiancée, Nancy.

£250-350

451 HD905/3 DEMETRE H. CHIPARUS (1886-1947)

PATINATED SPELTER FIGURE GROUP, CIRCA 1925 cast as a seated female clutching fruit to her chest, gazing at a standing faun, signed D. H. CHIPARUS to the onyx and marble base base 62.5cm wide, overall height 25.5cm £200-300

452 HE361/20 ART DECO

WHITE ONYX AND MALACHITE MANTEL CLOCK, CIRCA 1930 with brass mounts, the square dial within stepped case with four turned supports on a corresponding stepped plinth 19.5cm wide, 21cm high £200-300

453 HE79/1 FRENCH SCHOOL

BRASS FRAMED ELECTROLIER, CIRCA 1940 with six waved branches, each with facetted cylindrical glass shade 64cm across, 64cm high £400-600

116 Lyon & Turnbull

454 HE612/1 ATTRIBUTED TO MARGARET CHILTON (1875-1962)

SET OF THREE STAINED GLASS PANELS, EARLY 20TH CENTURY each with painted and stippled decoration depicting figural representations of three seasons, with inscriptions for SPRING, AUTUMN and WINTER, 89 x 28cm; together with a later MATCHED GLASS PANEL,

BY PHILIP CROOK, of similar design and technique, with inscription for SUMMER, 89 x 28cm; all in museum standard frames (4) Note: Margaret Chilton (1875-1962) was born in Bristol and trained at the Royal College of Art in London under the leadership of stained glass artist Christopher Whitworth Whall (1849-1924). In 1918 she moved to Glasgow where she taught at the Glasgow School of Art for a short time and met her future pupil Marjorie Boyce Kemp (18861975). The pair moved to Edinburgh in 1922 where they set up a successful stained glass studio, and often worked on commissions together. They regularly painted on hand blown ‘antique’ or ‘slab’ glass, employing stippling as decoration to their work.

It may be therefore, that Kemp also had a hand in these panels given the similarity of technique and the collaborative pieces they produced. Chilton in particular was strongly committed to the Arts and Crafts beliefs and methodologies in stained glass: she not only created the design, she also chose every piece of glass herself, designed all the leads and tie bars, decided which pieces she would paint and how, and then she made the stained glass.

£4,000-6,000

Decorative Arts: Design since 1860 117

455 HF691/18 PIERRE IMANS, PARIS

FRENCH WAX MANNEQUIN, CIRCA 1920 female bust with glass eyes, set on a pink marble base, signature to mannequin P. IMANS/ PARIS 52cm high Literature: Munro, Jane ‘Silent Partners’, Yale University Press, 2014, exhibition catalogue.

Provenance: Two leading French companies making display mannequins in the first years of the 20th century were Pierre Imans and Siégel (later Siégel Stockman, still in existence today). For the first two decades of the century both firms produced mannequins that were predominantly made from wax, a material highly valued for its ability to simulate flesh. The Dutchborn Imans gained a particular reputation for his sophisticated and refined wax figures, and was well-placed to develop this particular line, having studied with the sculptor Ludovic Durand, one of the chief modellers at the Musée Grévin, the hugely popular waxwork museum in Paris that opened to the public in the mid-1880s.

£1,200-1,800

456 HE164/1 ART DECO

PATINATED BRONZE FIGURE, CIRCA 1925 cast as a naked running girl, and raised on a turned onyx plinth 23cm high £400-600

457 HE488/1 [§] LOUIS ALBERT CARVIN (1875-1951) BONNE GARDE bronze figure group, signed in the bronze L. CARVIN and inscribed BONNE GARDE, raised on a rouge marble plinth 22cm wide, 25cm high £600-800

458 HF708/20 SIBYLLE MAY

ART DECO BRONZE FIGURE, CIRCA 1925 cast as a dancer in pleated costume, raised on a plinth, signed in the bronze SIBYLLE MAY, and with inscription ETS. ALBERT BUISSON 21cm long, 13.5cm high £400-600

118 Lyon & Turnbull

459 HD999/50A FRENCH ART DECO

THREE PIECE CLOCK GARNITURE, CIRCA 1930 the triangular dial within onyx case and raised on an onyx and slate plinth, surmounted by a patinated spelter and ivorine figure of a reclining lady, 65cm wide, 33cm high; and pair of companion garniture uprights, 18.5cm high (3) £500-700

460 HD448/15 GEORGE BARBIER (1882-1932) AND [§] GEORGES LEPAPE (1887-1971)

COLLECTION OF FRAMED PRINTS, 1920S to include ‘Elle a perdu’ and ‘Elle a gangé’, by Lepape, and ‘Soyes tous bien sages’ and Le jeu des marionnettes’ by Barbier from the “Gazette du Bon Ton”, 24cm x 37cm ‘Le gout des laques’; ‘L’apres-midi d’un faun’; ‘Grand-mere & petit-fille’; L’arc-en-ciel’; Niset au couer, belles dames!’; ‘Eventails’, by Barbier from “Le Bonheur du Jour ou Les Graces a la Mode”, 25.5cm x 35cm and three framed groups of four prints from “Falbalas & Fanfreluches” by Barbier, each print 20cm x 14cm (13) Note: George Barbier was one of the great French illustrators of the 20th century. His work epitomised the Art Deco period and embraced theatre and ballet costume design, jewellery, glass and fabrics as well as illustrations of haut couture costumes and books. Another leading illustrator working in Paris at the same time was Georges Lepape, and examples of his work are also included in this lot.

£600-800

Decorative Arts: Design since 1860 119

461 HE370/1 ATTRIBUTED TO OTTO MORODER CARVED FIGURE OF A HUNTSMAN raised on naturalistic base 38.5cm high £300-500

462 HE370/2 ATTRIBUTED TO OTTO MORODER

CARVED FIGURE WITH HAT & WALKING STICK on naturalistic base 34.5cm high £300-500

463 HE933/10 EDGAR BRANDT (1880-1960)

WROUGHT IRON AND ALABASTER TABLE LAMP, CIRCA 1925 the trumpet shade with scrolling brackets above a beaten column with three scrollwork feet 30cm high Note: For a near identical lamp see Cheffins, Cambridge, 3rd June 2009, Lot 511

£300-500

464 SV939/330 RUDOLF KNÖRLEIN (1902-1988) FOR GOLDSCHIEDER GLAZED TERRACOTTA BUST OF EVA, CIRCA 1931 printed and incised maker’s marks to base GOLDSCHIEDER/ WIEN/ MADE IN AUSTRIA/ 6305 24cm high £400-600

465 HE933/17 [§] PAUL JOUVE (1878-1973)

LIMITED EDITION LITHOGRAPH DEPICTING AN OWL, CIRCA 1920 numbered 60 from an edition of 100, mounted framed and glazed, signed in margin JOUVE, 38.5cm x 50cm and another by the same hand STUDY OF AN EAGLE lithograph 45cm x 46cm (2) £400-600

466 HE860/7 AMSTERDAM SCHOOL

ENAMELLED PANEL, CIRCA 1920 depicting children at play from around the world and contained within an ebonised frame panel 14cm x 25cm £300-400

120 Lyon & Turnbull

467 HE838/1 DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) STILL-LIFE: JUG AND PEAR estate stamp verso, pencil and watercolour 22.5cm x 31.5cm (8.75in x 12.5in) £400-600

468 HE838/2 DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FISHING BOAT estate stamp verso, pencil 31.5cm x 49.5cm (12.5in x 19.5in) £250-350

469 HF519/1 [§] TIM GUSTARD (BRITISH b. 1954) STILL LIFE WITH WHISKEY, GRAPES AND WALNUTS signed and dated ‘95, oil on board 9.5cm x 12.5cm (3.75in x 5in) £300-500

Decorative Arts: Design since 1860 121

470 HF606/2 [§] ANTON HEYBOER (DUTCH 1924-2005)

UNTITLED COMPOSITION signed and dated 1961 to margin, numbered 5/9 and indistinctly inscribed, bears studio stamp, colour etching 73cm x 56cm (28.75in x 22in) £600-800

471 HE345/7 [§] KARL SCMIDT-ROTTLUFF (GERMAN 1884-1976)

DIE SONNE, 1914 signed in pencil to margin, woodcut 48cm x 65cm (18.75in x 25.5in) (sheet size) £500-700

472 HE810/1 [§] BRENDA LENAGHAN R.S.W. (SCOTTISH b. 1941) GIRL WITH PEACHES, TUSCANY signed, oil on board 75cm x 75cm (29.5in x 29.5in) £400-600

122 Lyon & Turnbull

473 HE183/1 [§] PAM CARTER (SCOTTISH CONTEMPORARY)

474 HE183/2 [§] LIN PATTULLO (SCOTTISH CONTEMPORARY)

475 HE516/3 HUGH PATON (SCOTTISH 1853-1927)

476 HE183/6 [§] LIN PATTULO (SCOTTISH CONTEMPORARY)

NETS, STORMY SEA - DECEMBER 1998 signed, oil on canvas 23.5cm x 28.5cm (9.25in x 11.25in) £250-350

COTTAGE BY THE SEA signed, oil on board 31cm x 40cm (12.25in x 15.5in) £300-500

ELIE signed, oil on canvas 11.5cm x 16.5cm (4.5in x 6.25in) £250-350

ORANGE CART signed, acrylic on canvasboard 19cm x 19cm (7.5in x 7.5in) £200-300

Decorative Arts: Design since 1860 123

477 HE917/13 [§] NEIL FOGGIE (SCOTTISH 1912-1995) COTTAGE ON MULL signed and dated ‘53, oil on canvasboard 29cm x 39.5cm (11.5in x 15.5in) £300-500

478 SV196/66 [§] JIM NICHOLSON (BRITISH 1924-1996) STANDING STONES signed, oil on canvasboard 40.5cm x 57.5cm (16in x 22.75in) £300-500

479 HC264/2 [§] VALERIE FRASER R.S.W. (SCOTTISH b. 1933) PARISIAN STREET SCENE signed, oil on board 45cm x 55cm (17.7in x 21.7in) £300-500

124 Lyon & Turnbull

480 HE183/11 [§] LIN PATTULLO (SCOTTISH CONTEMPORARY) PITTENWEEM signed, oil on canvas 39.5cm x 39.5cm (15.5in x 15.5in) £300-500

481 HD922/21 [§] ALEXANDER CREE (SCOTTISH b. 1929)

FLOWERS ON A STUDIO TABLE signed, inscribed with title and dated 1993 verso, pastel 72cm x 51cm (28.25in x 20in) Provenance: The Open Eye Gallery, Edinburgh

£300-500

482 HD922/17 [§] ENID FOOTE-WATTS (SCOTTISH 1924-2003)

DAISY MUG signed and dated 1994, mixed media 35.5cm x 63cm (14in x 25in) £300-500

Decorative Arts: Design since 1860 125

483 HE822/1 GEORGE R. CUMMINGS (SCOTTISH CONTEMPORARY)

‘R.R.S. DISCOVERY’ OFF CAPE EVANS ANTARCTIC WITH EREBUS signed and inscribed with title, oil on canvas 37cm x 117.5cm (14.5in x 46.25in) £500-700

484 HC859/1 [§] JAMES HAWKINS (BRITISH b. 1954) BURNSIDE signed, inscribed with title, date 1994 and artists’ name and address verso, acrylic on canvas 45.5cm x 37cm (18in x 14.5in) £300-500

485 HE822/2 GEORGE R. CUMMINGS (SCOTTISH CONTEMPORARY)

SHACKLETON’S SHIP ‘ENDURANCE’ ENTERING PACK ICE IN THE WEDDELL SEA, ANTARCTICA, DECEMBER 1914 signed and inscribed with title, oil on canvas 37cm x 117cm (14.5in x 46in) £500-700

126 Lyon & Turnbull

486 HE345/2A [§] GERHARD MARCKS (1889-1981) PAIR OF SEA BIRDS bronze, signed with artist’s monogram 40cm high

Note: Gerhard Marcks (1889-1981) was a German sculptor who worked mainly in bronze. He was first trained in Berlin where he befriended Walter Gropius, founder of the Bauhaus art school. Because of this, Marcks held a major position in the Bauhaus Pottery Workshop from the school’s creation in 1919 to the closing of that department in 1925. He then taught at the School of Applied Arts near Halle, becoming director in 1928. He was removed from this position in 1933 by the Nazis, who further showed their dislike of his work by including it in the ‘Degenerate Art’ exhibition of 1937. Despite this, Marcks continued to live and work in Germany throughout World War II and afterwards. He is most famous for his large scale figural works but he also produced a number of small bronze animals. The vast majority of his sculptures are now in the purpose-built Gerhard Marcks Haus in Bremen, Northern Germany.

£1,500-2,500

487 HE345/2 [§] GERHARD MARCKS (1889-1981)

IBIS bronze, signed with artist’s monogram and foundry mark GUSS./ RICH./ BARTH/ BLN/ MARIENDORF 16cm high £400-600

488 HE345/2B [§] GERHARD MARCKS (1889-1981) ADAM & EVE bronze wall plaque, unsigned 20cm x 28cm £500-800

Decorative Arts: Design since 1860 127

489 HE69/2 LE CORBUSIER (1887-1965) FOR CASSINA

‘PETIT CONFORT’ SOFA, DESIGNED 1928, MODERN white leather cushions on a chromed tubular frame, cast maker’s marks CASSINA with facsimile signature 130cm wide, 66cm high, 53cm deep £300-500

490 HD156/1 MARCEL BREUER (1902-1981) FOR GEBRÜDER THONET

‘WASSILY’ CLUB CHAIR, MODEL B3, DESIGNED 1925 chromed tubular steel and canvas, produced circa 1932 77cm wide, 76cm high, 68cm deep Note: Purchased by the present owner at auction in Amsterdam, late 1950s.

£1,000-1,500

491 HE861/1 AFTER LE CORBUSIER, PIERRE JEANNERET, CHARLOTTE PERRIAND 492 HE861/2 AFTER LE CORBUSIER, PIERRE JEANNERET, CHARLOTTE PERRIAND

LC6 DINING TABLE, DESIGNED 1928, MODERN the rectangular glass top above black enamelled steel frame, with adjustable height 85cm wide, 77cm high (adjustable), 225cm long £200-300

LC6 DINING TABLE, DESIGNED 1928, MODERN the rectangular frosted glass top above black enamelled steel frame, with adjustable height 85cm wide, 77cm high (adjustable), 225cm long £200-300

128 Lyon & Turnbull

493 HD447/1 SIR BASIL SPENCE (1907-1976) FOR H. MORRIS & CO., GLASGOW

‘ALLEGRO’ DINING SUITE, DESIGNED 1947-1948 laminated wood, comprising a DINING TABLE, 235.5cm long, 75cm, 115cm deep; a SIDEBOARD, 153cm wide, 84cm high, 47cm deep; and SET OF SIX ARMCHAIRS, each with drop-in rexine seats, 54cm wide, 86cm high, 50cm deep, each bears maker’s label MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW (8) Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised) ‘Austerity to Affluence: British Art & Design 1945-1962’, The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 (an example of chair illustrated) Long, Philip and Thomas, Jane (Edit.) ‘Basil Spence’, Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig 55 illus.

Provenance: Sir Basil Spence was one of the leading British architects of the 20th century, whose monumental or ‘brutalist’ style came to define modern architecture in Britain. Noted commissions include designs for several exhibitions including the Sea and Ships Pavilion for the Festival of Britain (1951), Sussex University (1962), Glasgow Airport (1966), and Coventry Cathedral (1954-1962), for which he received a knighthood. In 1947 Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture he was working on, which was to include his Bambi chair and celebrated Cloud table. The result was the Allegro dining suite, which was awarded a diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow, where it was

commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951 another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951).

The development of plywood furniture in the 20th century is focussed on wartime innovation. The American designers Ray and Charles Eames designed prize-winning furniture for the Organic Design in Home Furnishings competition at the Museum of Modern Art in New York in 1941. Their work displayed the new technique of wood moulding, originally developed by Alvar Aalto in Finland, that the Eames would go on to develop in many moulded plywood products, including splints and stretchers for the US Navy during World War II. From this work many of their iconic furniture designs were developed.

The manufacture of the Allegro suite also found its origins in wartime innovation.

The Southampton-based manufacturer of helicopters, Cierva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure with phenoformaldehyde, a synthetic resin. The wood is then shaped and carved to produce the chairs, table and sideboard. Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that it went into extremely limited production, and as a result examples are extremely rare. In 1950 a single chair was advertised at £31 18s 3d, at a time when the average British annual income was just £101.

£10,000-15,000

Decorative Arts: Design since 1860 129

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494 HC105/2 [§] SCOTTIE WILSON (1888-1972) BIRDS IN A LANDSCAPE gouache and watercolour, signed lower right SCOTTIE 47.5 x 72cm £600-800

495 HE700/69 FINN JUHL (1912-1989) FOR FRANCE & SON, DENMARK SET OF SIX TEAK ‘DIPLOMAT’ ARMCHAIRS, DESIGNED 1961 grey wool upholstery, each bears maker’s label 7314270 (6) 68cm wide, 80cm high, 48cm deep £300-500

496 HE630/1 FINN JUHL (1912-1989) FOR FRANCE & SON, DENMARK PAIR OF 'JUPITER' ARMCHAIRS, NO. 218, DESIGNED 1965 high-backed model, 83cm wide, 92cm high, 56cm deep and low-backed model, 83cm high, 75cm high, 56cm deep, each with teak frame and leather upholstery and bearing maker's labels 6529531 and 6529872 (2) £1,500-2,000

Decorative Arts: Design since 1860 131

497 HE614/1 HENRY W KLIEN (B. 1919) FOR BRAMIN MØBLER, DENMARK TEAK DINING SUITE, DESIGNED 1964 comprising an extending DINING TABLE, with rectangular top and tapering legs, and one additional leaf, 135cm long (closed), 196cm long (open), 72cm high, 90cm deep; and FOUR MATCHING CHAIRS, 49cm wide, 75cm high, 44cm deep (5) £600-800

498 SV864/28 JAEGER LE COULTRE, GENEVA SWISS GILT-BRASS ‘ATMOS’ CLOCK the circular dial with Roman chapters and black enamelled hands, the movement of typical form, within glazed case, signed ATMOS/ JAEGER LE COULTRE 23cm high £300-500

499 HD447/2 H. MORRIS & CO., GLASGOW

501 HC622/1 MID-CENTURY

503 HE913/4 MID-CENTURY

WALNUT SIDEBOARD, 1960S the rectangular top above three doors enclosing shelved interior, bears maker’s medallion MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW 152.5cm wide, 84cm high, 46.5cm deep £200-300

TEAK AND BRASS MOUNTED EXTENDING FLOOR LAMP, CIRCA 1950 the original canvas shade supported on extending brass column on turned column with strut legs 104cm high (closed) £300-500

PAIR OF FOLDING HARDWOOD EASY CHAIRS, MID 20TH CENTURY each with rattan seats and curved open arms (2) 65cm wide, 78cm high, 42cm deep £300-500

500 HD481/5 BRUNO MATHSSON (1907-1988) AND PIET HEIN (1905-1996) FOR FRITZ HANSEN

502 HF596/1 AFTER EERO SAARINEN

‘SUPER-ELLIPTICAL’ COFFEE TABLE, DESIGNED CIRCA 1968 stained wood with steel cluster column legs 135cm long, 52cm high, 90cm wide £200-300

‘TULIP’ PEDESTAL TABLE, DESIGNED 1955 the circular white laminate top on slender pedestal with spreading base 90cm diameter, 72cm high £200-300

504 HE321/2 MANNER OF VICKE LINDSTRAND ETCHED GLASS BOWL, MID 20TH CENTURY of tear shape, the bowl etched with the figure of a man and a kneeling woman, unmarked 18cm across £150-250

132 Lyon & Turnbull

505 HE860/1 HARRY SØRBY AND AXEL REVOLD FOR DAVID ANDERSEN, OSLO FINE SILVER AND CEDARWOOD BOX WITH ENAMEL PLAQUES, CIRCA 1937 the enamelled panels depicting figures, boats and dock-side scenes, the interior of the top engraved with four architectural views, wood with adjustable interior partition, stamped maker’s marks DAVID ANDERSEN, 925S, INV. H. S., with a presentation inscription from O. Mustad & Sons to Ernest H. Burris, dated 1937 28cm wide, 8cm high, 28cm deep Note: Axel Revold (1887-1962) painted his most famous work, a fresco cycle which depicts the daily work of the Norwegian economy, in the Bergen Stock Exchange in the period 1921-23. The scenes from the fresco cycle that are depicted on the cigar box are: Fishing in Lofoten; The import of corn; Export of fish and Shipbuilding. Inside are engraved four further panels thought ot be buildings associated with the firm of O. Mustad & Sons who commissioned and presented this box to Ernest Harry Burris (1882-?).

Burris was a hardware importer, recorded in 1938 as living in Durdham Park, one of Bristol’s wealthiest areas. He worked in the family firm, Fred Burris and Sons Ltd, which traded from 7-16 Redcliffe Street, Bristol. The company was listed in 19th century trade directories, operating from smaller premises in the same street (and earlier from Thomas St and Victoria St), as ‘Horsenail factors’, a line of business which had inevitably brought them into contact with the Norwegian firm of O. Mustad & Sons who originally manufactured horsenails.

Fred Burris began work as a manufacturer of horsenails, but subsequently began importing them from Mustad’s, becoming Mustad’s sole UK agent for all of the goods they manufactured.

By the 1930s Fred Burris & Sons had expanded considerably. The entry in Kelly’s directory for 1938 for the firm lists them as ‘motor and wireless and cycle accessories factors, wholesale electrical supplies and hardware factors’. Redcliffe Street, with its easy access to the dockside area known as Redcliffe Back, was a popular location for the larger Bristol import businesses. Of the better known firms from the period, W.D & H.O. Wills (tobacco importers and cigarette manufacturers) and Brooke Bond (tea importers) also had premises on the street.

Harry Sørby (1905-1988) was appointed as a designer for David Andersen silversmiths in 1929. He began his own design studio in 1946, although he continued to design for David Andersen, and is well-known for his jewellery designs from the 1960s, as well as his modernist work from the 1930s.

£3,000-5,000

506 HC154/6 SALVIATI & CIE, MURANO BLOWN GLASS FIGURE OF A STORK with pink glass beak and legs 17cm high £200-300

507 HE998/1 ROGER CAPRON (1922-2006) TILED COFFEE TABLE CIRCA 1950 the circular top inset with radiating terracotta tiles impressed with leaves and plants raised on a painted steel base, impressed maker’s mark 91cm diameter, 30cm high £200-300

508 HE841/1 [§] JEAN-GABRIEL DOMERGUE (1889-1962) PORTRAIT OF A LADY lithographic print, framed 82cm x 67cm £300-500

509 HE141/1 [§] SALVADOR DALI (1904-1989) FOR SNCF ELEVEN ORIGINAL POSTERS, CIRCA 1970 comprising ALSACE (2); AUVERGNE (2); ALPES (2); ROUSSILLON (1); NORMANDIE (2); and PARIS (2), printed for SNCF by Draeger (11) each 100cm x 62cm £200-300

510 HE826/1 MANNER OF EDWARD BAWDEN MACHINE WOVEN TABLECLOTH, MID 20TH CENTURY with all-over pattern of leaves and figures 233cm x 219cm £100-200

511 HE826/2 ARTS & CRAFTS WOOLWORK PANEL, MID-20TH CENTURY worked with an abstract geometric repeating design, with hessian backing 128cm x 92cm £150-250

Decorative Arts: Design since 1860 133

512 HE511/1 [§] ARCHIMEDE SEGUSO (1909-1999) PAIR OF MURANO GLASS BIRDS ‘COPPIA DI FARAONE’, MID 20TH CENTURY each with aventurine inclusions and with pale green glass bodies, raised on a ribbed base, etched marks ARCHIMEDE SEGUSO/ MURANO (2) 28cm and 25cm high £1,000-1,500

513 HE945/1 [§] PABLO PICASSO (1881-1973) ‘PICADOR’ CERAMIC PLATE, CONCEIVED 1952 partially glazed, impressed marks stamped and marked ‘EDITION PICASSO/ MADOURA PLEIN FEU, painted resist marks EDITION PICASSO 20cm diameter Note: This plate was conceived in 1952 and executed in an edition of 500

£1,200-1,800

514 HE934/1 [§] RONALD POPE (1920-1997) ‘TWO GROUPS’ bronze, raised on a marble plinth, artist’s label to base bronze, 8cm high, plinth 25cm x 2cm x 15cm £300-500

515 HE68/6 CHELSEA POTTERY

517 HE379/7 WEBBS CRYSTAL GLASS CO.

519 HD185/5 GORDON RUSSELL (1892-1980)

COMMEMORATIVE BOWL, DATED 1953 painted with Sir Edmund Hillary and fellow climbers, with Mount Everest in the background, incised marks to base EIIR/ CHELSEA POTTERY/ 1953 20cm diameter £100-200

ORIGINAL ‘SHELL’ GLASS PETROL PUMP GLOBE bears legend to both sides SHELL, maker’s marks 52cm high £200-300

OAK BUREAU BOOKCASE, DATED 1956 the upper section with two astragal glazed doors above a sloping fall with fitted interior and two short drawers with two cupboards below, raised on a plinth, branded maker’s mark verso RUSSELL OF BROADWAY/ FEB 1956 92cm wide, 190cm high, 40cm deep £200-300

516 HE1000/1 LONDON MIDLAND & SCOTTISH LMS POSTER ‘PERTH THE FAIR CITY SCOTLAND’S HOLIDAY CENTRE’ lithographic poster in colours, printed by McCorquodale & Co., Ltd showing a view of the city by W.M Frazer RSA 102cm x 127cm £200-300

518 HE511/2 ANNETTE YARROW (B. 1932) PLASTER MODEL OF A HORSE incised mark to base ANNETTE/ 69/ VI 21.5cm across, 19.5cm high £200-300

520 HE562/1 GRAHAM CRIMMINS SILVER PENDANT, 1974 with link chain, bears maker’s mark GC, hallmarked Edinburgh 1974 4cm x 3cm £200-300

134 Lyon & Turnbull

522 HE973/2 THERESIA HVORSLEV (B. 1935) FOR ALTON STERLING SILVER AND AMETHYST SET BRACELET, CIRCA 1970 stamped maker’s mark and artist’s signature 7.5cm across £400-600

523 HE973/1 BJÖRN WECKSTRÖM (B. 1935) FOR LAPPONIA 521 HE933/11 GLASGOW SCHOOL OF ART GILDED WHITE METAL BRACELET, MID-1960S set with cabochon stones, zircons, citrons, amethysts and tourmalines 7.5cm across, 18cm long

‘YGOL’ STERLING SILVER CUFF BRACELET, CIRCA 1970 stamped maker’s marks 6.2cm diameter £400-600

Note: This lot comes with accompanying letter dated ‘Xmas 1968’, which states that the bracelet was made at Glasgow School of Art by Angela Jamieson and is ‘pure silver, coated with 9ct gold’.

£250-350

524 HE145/1C BESWICK POTTERY

525 HE145/1B BESWICK POTTERY

526 HE993/2 BESWICK POTTERY

GROUP OF BEATRIX POTTER FIGURES, 1975-1996 to include twenty-two figures with BP3B printed backstamps; TIMMY WILLIE SLEEPING, GOODY & TIMMY TIPTOES, and OLD MR BOUNCER all with BP3C 1986 printed backstamp; and MR RABBIT & PETER with BP10B 1996 printed backstamp (26) tallest 12cm high £300-500

GROUP OF EARLY BEATRIX POTTER FIGURES, 1948-1974 to include MRS RABBIT with BP1 printed gilt backstamp; MRS ALDERMAN PTOLEMY, MR JACKSON, PIG WIG, SIR ISAAC NEWTON and SALLY HENNY PENNY all with BPA printed gilt backstamp; in addition to 34 figures with BP2 printed gilt backstamp (40) tallest 11.5cm high £400-600

GROUP OF BEATRIX POTTER FIGURES, 1948-1972 to include SAMUEL WHISKERS, JEMIMA PUDDLEDUCK, FLOPSY, MOPSY & COTTONTAIL, and MRS TITTLEMOUSE all with BP1 printed gilt backstamp; in addition to twentyeight figures with BP2 printed gilt backstamp (32) tallest 12cm high £300-500

527 HE993/1 BESWICK POTTERY ‘DUCHESS (WITH FLOWERS)’, RARE BEATRIX POTTER FIGURE, 1955-1972 printed BP2 gilt backstamp 9.7cm high £400-600

528 HE145/1A BESWICK POTTERY ‘DUCHESS (WITH FLOWERS)’, RARE BEATRIX POTTER FIGURE, 1955-1972 printed BP2 gilt backstamp 9.7cm high £400-600

Decorative Arts: Design since 1860 135

529 HE802/3 STUART BEATY (1921-2004) ‘THE OLD KING’ terracotta, signed, dated and inscribed under base STUART BEATY/ 1962/ “THE OLD KING” 28cm high £200-300

530 HE757/1 TIM STEAD (1952-2000) ‘SLEEPER’S PAIN’, A BURR ELM PUZZLE/ENIGMA, DATED 1997 script inscription to base TIM STEAD/ SLEEPER’S PAIN/ 1997 37cm across, 16.5cm high, 22cm deep £400-600

531 HE634/1 ITALIAN SCHOOL SMOKED GLASS, CHROME & BRASS COFFEE TABLE, CIRCA 1970 the square top raised on square legs 133cm square, 46cm high £400-600

532 HE80/3 SCOTTISH SCHOOL ‘DON QUIXOTE’, CIRCA 1970 cast keystone panel, 25cm x 23cm; and a PAIR OF CAST PLASTER FACE MASKS, 23cm tall (3) £150-200

533 HE917/5 NORMAN STUART-CLARKE LUSTRE GLASS VASE, DATED 1981 shouldered tapering form, signed and dated NORMAN STUART CLARKE/ 81 15cm high £80-120

534 HD370/21 [§] DAVID MICHIE (SCOTTISH, 1928-2015) TWO DECORATED PINE WALL MIRRORS, LATE 20TH CENTURY one decorated with a female figure and swimming fish in shades of blue on a black ground; the other decorated with an abstracted design in blue and yellow (2) each 58.5cm wide, 101.5cm high Provenance: Collection of David Michie, OBE, RSA

£150-250

535 HD185/4 ZDENKA RALPH PAINTED SCREEN, DATED 1993 in the shape of a vase, painted in blue and white with panels of birds on a foliate ground, signed lover right ZDENKA RALPH / ‘93 76cm high Note: Zdenka Ralph was a decorator at Poole Pottery.

£200-300

136 Lyon & Turnbull

536 HE917/2 SAM HERMAN (B. 1936) GLOBULAR LUSTRE GLASS VASE, DATED 1978 the amber ground with white, blue and spotted swirling inclusions, etched marks to base SAMUEL J. HERMAN/ 1978/ SA1893 22cm high £300-500

537 HE917/1 SAM HERMAN (B. 1936) OVAL SECTION LUSTRE GLASS VASE, DATED 1974 with russet ground and spotted band, etched marks to base SAMUEL J. HERMAN/ 1974/ SA554 (twice) 24.5cm high £300-500

538 HE917/4 SAM HERMAN (B. 1936) SHOULDERED LUSTRE GLASS VASE, DATED 1973 of square tapered section, the clear and red glass body with trailed inclusions, etched mark to base SAMUEL J. HERMAN/ 1973 21cm high £300-500

539 HE917/3 SAM HERMAN (B. 1936) LUSTRE GLASS BOTTLE VASE, DATED 1972 the clear and blue glass body with applied whorls and spotted inclusions, etched marks to base SAMUEL J. HERMAN/ 1972 24cm high £250-350

540 HE361/17 BRUCE WALKER (B. 1946)

541 HE859/3 IVO DE SANTIS

ETCHED GLASS ICE BUCKET, DATED 1978 on an Orrefors blank with steel swing handle, liner and ice tongs, the body etched with two Polar Bears, etched signature to base BRUCE WALKER/ 1978/ “POLAR BEARS” 14.5cm high £150-250

LARGE SLAB VASE, CIRCA 1970 of flattened ovoid form, covered with red and blue glazed, painted artist’s marks 39cm high £300-500 END OF SALE

The Willow Tea Rooms Trust was established in 2014 as a charity with the aim of acquiring Miss Cranston's Tea Rooms at 217 Sauchiehall Street, Glasgow.

This historic building, designed by Charles Rennie Mackintosh in 1903, is of great significance to Scotland’s design heritage; the building, the arrangement of the internal spaces, the designs for the furniture and fittings are of international importance.

The building is now owned by the Trust and their objective is to restore it to Mackintosh’s 1903 design and ensure its preservation for subsequent generations.

To support the trust or to find out more contact them at info@willowtearoomstrust.org or go to the website at www.willowtearoomstrust.org

Scottish Paintings & Sculpture Thursday, 8th December, 2016

EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) THE YOUNG FISHERMAN Signed and dated '85, watercolour

Enquiries Nick Curnow +44 (0131) 557 8844 nick.curnow@lyonandturnbull.com

36.5cm x 30.5cm (14.5in x 12in)

£6,000-8,000

33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com

Textiles as Art Textiles from the Collection of Paul Reeves February, 2017 Textiles have been a 50 year passion for Paul Reeves, starting when he was a young and influential clothes designer in the 1960s. The forthcoming auction is a determined aim to establish Textile Art rightly alongside the Decorative & Fine Arts.

All the pieces will be presented in a manner which makes them eminently usable and ready to hang, many framed, others mounted to display with great effect in either modern or period settings. The pieces will be chosen from his renowned collection, spanning some 100 plus years of Textile Design.

There will, of course, be examples of work by William Morris, Walter Crane and C.F.A. Voysey from the late 19th century, but pieces from the 1920s and 30s and beyond will surprise as will 1960s embroideries

by Beryl Dean, once Head of The Royal School of Needlework and 1980s works by Joy Clucas of the 52 Group and the Manchester Embroiderers' Guild.

Textiles by painters such as Raoul Dufy, Salvador Dali and Alan Reynolds will illustrate the cross over already established between the different fields of art. These will show that the link between Fine and Textile Art was already made but overlooked by the art establishment.

Enquiries John Mackie +44 (0131) 557 8844 john.mackie@lyonandturnbull.com

33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com

140 Lyon & Turnbull

Glossary of Cataloguing Terms The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist Attributed to...

In our opinion probably a work by the artist in whole or in part.

Studio of ... / Workshop of ...

In our opinion a work executed in the studio or workshop of the artist, possible under their supervision Circle of ...

In our opinion a work of the period of the artist and showing their influence.

Follower of ...

In our opinion a work executed in the artist’s style but not necessarily by a pupil.

Manner of ...

In our opinion a work executed in the artist’s style but of a later date After ...

In our opinion a copy (of any date) of a work of the artist.

Signed ... / Dated ... / Inscribed ... / In our opinion the work has been signed/dated/inscribed by the artist.

Bears Signature ... / Date ... / Inscription ... / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist.

Dimensions are given height before width.

Conditions of Sale SELLERS 1. DEFINITIONS

3. PREPARATION FOR SALE

In these Conditions of Sale (Sellers):

(a) Lyon & Turnbull shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale.

“Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Buyer“ is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer‘s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a post-auction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot“ means each Item offered for sale by Lyon & Turnbull; “Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166

(b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised at any time. (d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing 4. TERMS OF SALE

“Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds;

The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

“Proposed Sale” means the intended sale through which the items will be sold on

5. STANDARD SELLER FEES AND CHARGES (Subject to VAT)

“Purchase Price” is the Hammer Price and applicable Buyer‘s Premium;

(1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45). Loss and damage warranty: 1.5% on value of lots sold.

Photography: min charge £30. Online Listing: £10 per lot.

“Reserve” means the lowest price below which an item cannot be sold; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “You”, “Your” means the seller. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it.

“Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or by private treaty).

“Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency.

(2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense.

We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.

(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. RESERVES (a) You are entitled to place, prior to the auction, a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. The lot will be sold without reserve unless a reserve has been agreed. (b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the hammer price been the reserve.

7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to Lyon &

Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a long-term storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower.

This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT).

8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be reoffered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate;or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred.

(2) Aftersales: We reserve the right to accept an afterauction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply.

9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised 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 ancillary charges 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 ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if: (i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot‘s authenticity or attribution; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST. The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer.

(c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot.

12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested).

14. THIRD PARTY LIABILITY

16. AGENCY

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.

Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

15. GENERAL

17. DATA PROTECTION

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

In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

(b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting.

(a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty.

(c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect.

(c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights.

13. SALE BY PRIVATE TREATY

(d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

(f) The contract between the parties may be varied by the parties by agreement and in writing.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.

18. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

BUYERS The Auctioneer 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 of Sale (Buyers): "Auctioneer" means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; "Hammer price" means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; "Lot" means each Item offered for sale by Lyon & Turnbull; "Purchase Price" is the Hammer Price and applicable Buyer's Premium; "Reserve" means the lowest price below which an item cannot be sold; "Total amount due" means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

(f) 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 nor our employees nor 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. (g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in bidding by telephone.

We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

4. INCREMENTS

applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above.

7. 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 collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.

“You”, “Your” means the Buyer

Bidding increments shall be at the Auctioneer's sole discretion.

“Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd

5. THE PURCHASE PRICE

(1) Within 7 days of a lot being sold you will:

The singular includes the plural and vice versa as appropriate.

For each lot purchased a Buyer's Premium of 25% is payable on the first £100,000 of the hammer price, 20% thereafter. VAT at the appropriate rate is charged on the Buyer's Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction.

(a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. We do not accept American Express.

2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

3. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or 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 and any dispute shall be settled at the Auctioneer's absolute discretion. (c) Once made, no bid may be withdrawn. (d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved.

Live online bidding is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above.

6. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant lots.

(1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items.

(3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This

8. PAYMENT

(b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that we cannot accept cash payments over £5,000.

(2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied..

9. 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 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(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 sale room and the potential storage charges for lots not collected by the appropriate time.

(5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot.

(3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES

(5) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(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 Sellers 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:

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with current safety regulation. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item.

(a) to proceed against you for damages for breach of contract;

(7) 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 appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales.

(b) to rescind the contract for 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). (d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 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 which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied.satisfied.

11. DESCRIPTIONS AND CONDITION (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the lot and should not be relied upon as indicative of the overall condition of the lot.

(2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections.

Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavor to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers. Our condition report does not form any contract between Lyon & Turnbull and the Buyer. The Condition Reports do not affect the Seller’s obligations in any way.

12. BOOKS, CLOCKS & WATCHES, DIAMONDS & GEMSTONES (1) Books-Collation: If on collation any NAMED item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing.

This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings NOR in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text NOR in respect of Defects mentioned in the catalogue, or at the time of sale, NOR in respect of lots sold for less than £300.

(2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, Lyon & Turnbull makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally.

(3) Diamonds & Gemstones: Please note that diamonds and gemstones cannot be accurately graded and measured when mounted in jewellery. Unless it is stated in the catalogue and condition report that the item is accompanied by an independent report by a named gemmological laboratory, the information provided about the colour, clarity and size of a gemstone is the opinion of our department jewellery specialists. Please note in the event that Lyon and Turnbull has been given or has obtained certificates for any lot in the sale, Lyon and Turnbull nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any lots post sale.

Diamonds and gemstones are not unmounted by the department, therefore any information provided in this instance is an approximate understanding of the quality of the gemstone under these limitations. Without an independent report the department are generally unable to give an opinion on any potential treatments a gem material has been subjected to. Many gemstones and diamonds have been subjected to a variety of treatments to enhance their appearance and unless stated buyers should presume gemstones/diamonds have been exposed to some sort of treatment.

13. CITES Please be aware that all lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/ imports-

exports/cites/ Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such.

14. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

15. 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, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other's prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull's services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844..

The Buyer hereby agrees to the release by Lyon & Turnbull of the Buyer’s name and contact details to the seller or the seller’s solicitor in the event of any dispute between Lyon & Turnbull and the Buyer and/or Lyon & Turnbull and the Seller. Lyon & Turnbull will give prior written notice of the release of any such details to the Seller of the Seller’s solicitor.

18. FORCE MA JEURE Lyon & Turnbull shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

19. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

Guide to Bidding & Payment Payment

Registration All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement).

We may, at our option, also ask you to provide a bank reference and/ or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

Bidding At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you.

Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

By phone A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavor to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

In writing Bid forms are available at the sale and/or the back of the catalogue.

These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence.

All bids must be received an hour before the sale. This service is entirely at the bidder’s risk.

On the internet A fully-illustrated catalogue is available on our website.

Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid.

Live online bidding (powered by Invaluable) is also available, accessible either through our website or at www.invaluable.com. Please note that an additional 3% premium is charged by Invaluable for this live online service.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: Bank Transfer Account details are included on any invoices we issue or upon request from our accounts department.

Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Please note there is a 2% surcharge on credit card payments and we do not accept Amex.

Online Card Payments We no longer accept card payments by phone. Please use our online payment service (provided by Cardstream/Credorax. You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request.

Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice.

Cash Cash payments can be made at the accounts desk during or after a sale.

Cash payments limited to £5,000.

© Lyon & Turnbull Ltd. 2016. 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 & Turnbull Ltd.

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LYON & TURNBULL AUCTIONEERS EDINBURGH DECORATIVE ARTS: DESIGN SINCE 1860

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

26TH OCTOBER, 2016

33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844 Fax. +44 (0)131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Wednesday, 26th October, 2016 33 Broughton Place Edinburgh

Decorative Arts: Design since 1860