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DECORATIVE ARTS: DESIGN SINCE 1860 23RD OCTOBER 2019 EDINBURGH

DECORATIVE ARTS: DESIGN SINCE 1860 WEDNESDAY 23 OCTOBER 2019 AT 10AM INCLUDING A PRIVATE COLLECTION OF ARTS & CRAFTS

Sale Number LT577

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Front Cover Lot 532 [detail]

Inside Front Cover Lot 204 [detail]

Sunday, 20th October 12 noon - 4pm Monday, 21st October 10am - 5pm Tuesday, 22nd October 10am - 5pm Morning of sale from 9am

BUYER'S GUIDE This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website).

BUYER’S PREMIUM & OTHER CHARGES The buyer shall pay the hammer price together with a premium, at the following rate, thereon. 25% up to £300,000/20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue). ADDITIONAL VAT † VAT at the standard rate payable 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

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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 condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

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 find out more about the auction process.

John Mackie Head of Department john.mackie@lyonandturnbull.com

Theodora Burrell Specialist theo.burrell@lyonandturnbull.com

Olivia Ross Junior Specialist olivia.ross@lyonandturnbull.com

Philip Smith Specialist philip.smith@lyonandturnbull.com

VISIT US IN EDINBURGH

Lyon & Turnbull York Place Tram Stop Waverley Station, Princes Street

A PRIVATE COLLECTION OF ARTS & CRAFTS

1 MANNER OF CHARLES BEVAN FINE WALNUT AND BURR WALNUT INLAID CENTRE TABLE, CIRCA 1870 the octagonal top with burr veneers, inlaid with a band of florets, above leaf carved brackets and ring-turned legs, on a cruciform base with tracery infill panels 121.5cm diameter, 75cm high Provenance: Paul Reeves, London

£3,000-5,000

2 ATTRIBUTED TO JOHN HARDMAN & CO. GOTHIC REVIVAL STEEL AND CAST BRASS FENDER, CIRCA 1880 the spirally fluted rail above cast tracery frieze and corresponding plinth base 202cm wide, 33cm high, 50cm deep Provenance: Paul Reeves, London

£500-800

3 ENGLISH SCHOOL GOTHIC REVIVAL OAK ARMCHAIR, CIRCA 1870 with later-upholstered back and seat, chamfered frame, the open arms with leafcarved terminals, the whole raised on brass castors, castors stamped STRONG 58cm wide, 97cm high, 65cm deep Provenance: Paul Reeves, London

£300-500

4 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL OAK BREAKFRONT BOOKCASE CABINETS, CIRCA 1890 each with castellated cornices and leaf carved finials above an arrangement of open shelves, divided by columns carved with lilies and roses, the base with open shelves, and the sides having linen-fold panelling, the whole later fitted with painted sliding drawers (2) 183cm wide, 170.5cm high, 51.5cm deep

£1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

5 ENGLISH SCHOOL GOTHIC REVIVAL GILT BRASS CHANDELIER, CIRCA 1880 the pierced corona decorated with stylised foliate motifs, with six candle sconce branches, supported by three suspension chains cast with elaborate tracery, with ceiling rose, 42cm diameter, 23cm high (excluding fittings); together with a further GOTHIC REVIVAL GILT BRASS CHANDELIER, with conical pierced shade cast with scrolling fruiting foliage, with hangings and ceiling rose, shade 31cm diameter, 19cm high (excluding fittings) (2) £400-600

6 ATTRIBUTED TO JOHN POLLARD SEDDON PAIR OF GOTHIC REVIVAL INLAID ASH ARMCHAIRS, CIRCA 1870 each with later buttoned upholstery, the arms with inlaid panelled sides, the rails and turned front legs with incised dentil decoration, later castors (2) 68cm wide, 96cm high, 89cm deep Literature: Cooper, J. Victorian & Edwardian Furniture & Interiors, Thames & Hudson, 1998, p.104, pl.220 where a drawing by Seddon showing a chair with similar panelling is illustrated

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

7 J. W. BENSON, LUDGATE HILL ENGLISH GOTHIC REVIVAL OAK BRACKET CLOCK, CIRCA 1880 with circular steel dial, the twin fusée movement within elaborate carved case, inscribed to the dial J.W. BENSON/ 62&64 LUDGATE HILL/ BY SPECIAL WARRANT TO THE QUEEN, 36cm wide, 72cm high, 28cm deep; with matching bracket, 38cm wide, 20cm high, 33cm deep (2) £1,000-1,500

8 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) FOR JOHN HARDMAN & CO GOTHIC REVIVAL BRASS ‘HOLY WATER VAT’, CIRCA 1880 the knopped and scrolling handle above a lobed bucket and raised on a spreading lobed base 17.5cm high (excluding handle) Provenance: Paul Reeves, London Literature: https://archive.org/details/ catalogue00john/page/n113 Note: See trade catalogue for John Hardman & Co., circa 1885 where a line drawing for this model is illustrated

£300-500

9 GOTHIC REVIVAL NEAR PAIR OF PAINTED AND GILDED EARTHENWARE WALL BRACKETS, CIRCA 1880 each decorated with a frieze of moulded rosettes, above a plain shield surrounded by moulded leafy foliage in high relief, terminating in a rose bud amongst leafy foliage, with gilt highlights, one with stamped mark EPISTEL (2) largest 39cm high, 31.5cm wide

£400-600

10 ATTRIBUTED TO CHARLES BEVAN PAIR OF GOTHIC REVIVAL INLAID OAK CHAIRS, CIRCA 1870 each with dentil top rail and inlaid panel above a close-nailed upholstered seat on turned and blocked legs, with corresponding dentil seat rail (2) 41cm wide, 88.5cm high, 43cm deep

£400-600

11 ENGLISH SCHOOL GOTHIC REVIVAL CARVED OAK BIJOUTERIE TABLE, CIRCA 1900 the hinged and glazed lid enclosing a velvet-lined interior with glazed sides, raised on square tapering legs with trefoil brackets 114.5cm wide, 76.5cm high, 61cm deep

£600-800

12 MANNER OF CHARLES BEVAN PAIR OF GOTHIC REVIVAL INLAID PITCH PINE SIDE CHAIRS, CIRCA 1870 with spindle gallery above later closenailed horse hair seats on chamfered square turned and block legs united by stretchers (2) 42cm wide, 92.5cm high, 52cm deep

£500-800

13 MANNER OF CHARLES GOTHIC REVIVAL INLAID OAK TOILET MIRROR, CIRCA 1870 the rectangular hinged plate with chamfered and scalloped frame, supported on ringturned and blocked columns on trestle base 62cm wide, 73cm high, 34cm deep

£300-400 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

14 MANNER OF JOHN HARDMAN AND CO. GOTHIC REVIVAL BRASS CHANDELIER, CIRCA 1880 the ceiling rose suspending six chains, the fitting of hexagonal form with six candle sconces and pierced and cast tracery decoration 99.5cm high, 47cm wide £400-600

15 ENGLISH SCHOOL GOTHIC REVIVAL CAST BRASS MANTEL CLOCK, MID-19TH CENTURY the silvered dial with single train movement within case cast with Gothic tracery 40cm high £300-500

16 MANNER OF GEORGE GILBERT SCOTT PROPOSED NEW CHURCH: UPPER EDMONTON, FOUR GOTHIC REVIVAL DRAWINGS, 1883 pencil, pen & ink and wash, showing the elevations and sections and each inscribed PROPOSED NEW CHURCH: UPPER EDMONTON, each bears stamp ECCLESIASTICAL COMMISSIONERS APPROVED 26 JUNE 1883, 35.5cm x 52cm ; and ‘AN ARTISTIC RETREAT’, AN ARTISTIC STUDY, DATED 1871, showing plans and elevations signed AW 13.11+9.12+71, 31cm x 49cm (5) £500-800

17 CHARLES BEVAN (FL. 1865-82) GOTHIC REVIVAL OAK ADJUSTABLE ARMCHAIR, CIRCA 1870 with later upholstery, the frame with incised decoration, raised on brass caps and castors 68cm wide, 100cm high, 73cm deep Provenance: Paul Reeves, London

£2,000-3,000

18 ATTRIBUTED TO HART SON & PEARD PAIR OF GOTHIC REVIVAL BRASS CANDELABRA, CIRCA 1870 each with a central candle arm with pierced gallery drip trays, supporting two further corresponding candle arms and drip trays, raised on knopped stems and conical bases with incised banding, 38cm high; together with A PAIR OF BENHAM & FROUD GOTHIC REVIVAL BRASS CANDLESTICKS, CIRCA 1870, the dished drip trays above banded stems, raised on domed bases with incised geometric decoration, later fitted for electricity, 15cm high (4) £300-500

19 ENGLISH SCHOOL GOTHIC REVIVAL GILTWOOD AND GESSO CURTAIN PELMET, CIRCA 1880 the arcaded front with applied rosettes and moulded berry drop finials, below a meandering foliate frieze 227cm wide, 33cm high, 25cm deep

£600-800

HOLLAND & SONS, LONDON GOTHIC REVIVAL ASH WRITING TABLE, CIRCA 1880 the rectangular moulded top above two drawers, each with drop handles forming the letter M, raised on four octagonal section supports with overlapping leaves, on trestle ends carved with the letter M and linked by a stretcher, stamped maker’s mark to drawer HOLLAND & SONS 121.5cm wide, 73cm high, 67cm deep Provenance: Paul Reeves, London

£600-800

21 BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO., LANCASTER PAIR OF GOTHIC REVIVAL INLAID OAK SIDE CHAIRS, CIRCA 1870 each with arcaded and spindle filled backs above close-nailed upholstered seat on ring-turned legs united by stretchers, stamped maker’s mark under rail GILLOWS/ LANCASTER/ L562 (2) 46cm wide, 92.5cm high, 46cm deep Provenance: Paul Reeves, London

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

22 MANNER OF CHARLES BEVAN GOTHIC REVIVAL INLAID WALNUT WRITING TABLE, CIRCA 1870 the rectangular chamfered top with central hinged panel inset with leather writing surface and ratchet above scalloped frieze, with elaborate chamfered supports linked by a stretcher 112cm wide, 77.5cm high, 56cm deep

£800-1,200

23 ENGLISH SCHOOL GOTHIC REVIVAL GILDED OAK SETTEE, CIRCA 1870 with upholstered back and seat, the frame carved with lancet arched sides on turned and blocked legs with incised lattice decoration, raised on wooden castors 214cm wide, 93cm high, 64cm deep

£1,500-2,000

24 ENGLISH SCHOOL GOTHIC REVIVAL EMBROIDERED STOLE, CIRCA 1870 the red, green and blue velvet field with alternate panels of lilies and passion flowers and roses and crests, each bearing inscriptions PER CANTAM; CRUCEM TUAM; LIBERA, NOS DOMINE, the whole with applied seed pearls, sequins and beetle wing embellishments, reserved on a later cotton ground 14cm x 246cm

£200-300

25 ENGLISH SCHOOL GOTHIC REVIVAL PINE, WALNUT AND ELM RECTORY BOOKCASE CABINET, CIRCA 1880 the projecting cornice with later alteration above dentil frieze and three doors with glazed verre églomisé panels, one bearing crest, and with champlevé enamel escutcheons, the base with an arrangement of twelve drawers, raised on a plinth, later working keys 131cm wide, 220cm high, 50cm deep

£1,500-2,000

26 ATTRIBUTED TO THE LEEK SCHOOL OF EMBROIDERY ARTS & CRAFTS EMBROIDERED ALTAR FRONT, CIRCA 1880 with cream silk damask ground, centred by a raised work cross with entwined flowering foliage in gold threads and coloured silks 81cm x 86cm

£400-600

27 ENGLISH SCHOOL GOTHIC REVIVAL NEEDLEWORK CARPET RUNNER, CIRCA 1880 with repeat pattern of flowering foliage within meandering and corresponding border 79cm x 250cm

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

28 ENGLISH SCHOOL GOTHIC REVIVAL CARVED OVERMANTEL MIRROR, CIRCA 1890 the scrolled cresting above rectangular plate, enclosed by oak leaf and acorn band, flanked by adapted platforms, set with associated carved figures of knights 122cm high, 118cm wide

£600-800

29 GILLOW & CO., LANCASTER GOTHIC REVIVAL EBONISED LOW CHAIR, CIRCA 1870 with later buttoned upholstery, the frame with gilded, incised and chamfered decoration, raised on brass caps and castors, stamped to front rail GILLOW, castors stamped COPE PATENT 45.5cm wide, 98cm high, 73cm deep

£400-600

30 ENGLISH SCHOOL GOTHIC REVIVAL MAHOGANY AND PARCEL GILT GENTLEMAN’S ARMCHAIR, CIRCA 1870 the later buttoned upholstery with scroll carved frame, the open arms with arcading and leaf carving, raised on turned and blocked front legs 66cm wide, 90cm high, 66cm deep

£500-800

31 ATTRIBUTED TO AUGUSTUS WELBY NORTHMORE PUGIN FOR JOHN HARDMAN & CO. PAIR OF GOTHIC REVIVAL BRASS DOOR PLATES, CIRCA 1860 each of shaped oval form with stylised foliate decoration, 22cm long; together with a FRAMED GOTHIC REVIVAL ENCAUSTIC TILE PANEL, comprising four tiles, decorated with a stylised foliate pattern, within an ebonised frame, each tile 10.3cm square approx. (3) Literature: https://archive.org/details/catalogue00john/ page/n113 Note: See trade catalogue for John Hardman & Co., circa 1885 where a line drawing of a similar plate is illustrated

£200-300

32 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) FOR NEW STONE CHINA LARGE GOTHIC REVIVAL STONEWARE SERVING DISH, CIRCA 1850 transfer-printed with stylised trefoil border, impressed factory marks, 47cm wide; and a PAIR OF SOUP PLATES, decorated with stylised floral border, impressed factory marks NEW STONE, 26cm diameter; a LUNCH PLATE, similarly decorated and marked, 26.5cm diameter; together with TWO FURTHER SOUP PLATES, one ‘Anthea’ pattern by Wedgwood, the other with a Gothic design, printed mark GOTHIC, 26cm diameter (6) £300-500

33 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) FOR JOHN HARDMAN & CO. GROUP OF FOUR GOTHIC REVIVAL BRASS GRILLES, CIRCA 1850 each cast with fleur-de-lis and trefoil-pierced tracery (4) 52cm x 24.5cm Note: Similar grilles were executed for The House of Lords, London to protect the glass door panels from breakage. See Metropolitan Museum of Art, New York, Accession Number: 2015.593 for a similar example.

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

34 WILLIAM BURGES (1827-1881) FOR HART, SON, PEARD & CO. PAIR OF GOTHIC REVIVAL WROUGHT IRON FIRE DOGS, CIRCA 1865 each with hound’s head ring finials above applied shields and curved supports with sphere decoration (2) 83cm high, 36cm deep Provenance: Paul Reeves, London Literature: Cooper, J., Victorian & Edwardian Furniture & Interiors,Thames & Hudson, pp. 57-8, 60, plates 124, 125, 128 Note: Burges used this design in several of his schemes and examples can be found in situ, at Cardiff Castle and Tower House in London.

£5,000-8,000

35 MANNER OF WILLIAM BURGES SET OF THREE GOTHIC REVIVAL FIRE IRONS, CIRCA 1880 wrought iron and copper alloy, the terminals wrought with fearsome beasts, comprising an ASH SHOVEL, 84cm long; COAL TONGS, 83cm long; and a POKER, 83cm long; together with an associated PAIR OF GOTHIC REVIVAL WROUGHT IRON FIRE DOGS, 27.5cm high (5) £800-1,200

36 ENGLISH SCHOOL SET OF THREE ARTS & CRAFTS BRASS AND WROUGHT IRON FIRE IRONS, CIRCA 1900 comprising a LOG FORK, 71cm long; an ASH SHOVEL, 71.5cm long; and COAL TONGS, 70cm long, each with knopped baluster handles and cast with scrolling motifs; together with THREE FURTHER BRASS FIRE IRONS, each with ribbed handles and comprising a POKER; ASH SHOVEL and COAL NIPPERS, shovel 59cm long (6) £200-300

37 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL BRASS AND WROUGHT IRON CANDELABRA, CIRCA 1880 converted to electricity, with castellated pierced corona supporting six curved arms, each terminating in a light fitting with later opaque glass shades, centred by a turned central column with scrolling supports (2) 104cm high, 97cm diameter

£1,000-1,500

38 GEORGE EDMUND STREET (1824-1881) PAIR OF GOTHIC REVIVAL OAK SIDE CHAIRS, CIRCA 1860 the top rails with horizontal mouldings with later upholstered seats, raised on ring-turned legs linked by stretchers, one with branded mark VR to seat rail, the other with branded mark GR to seat rail, paper label printed ER (2) 46cm wide, 90cm high, 50cm deep Provenance: Originally supplied to The Royal Courts of Justice, London, circa 1880 Note: Furnishings designed by Street for the Law Courts were supplied, from around 1880, by manufacturers including Gillow and Collinson & Lock.

£800-1,200

39 CHARLES EASTLAKE (1793-1865) GOTHIC REVIVAL MAHOGANY CHEST OF DRAWERS, CIRCA 1870 the rectangular galleried top above two short over three long graduated drawers, each fitted with brass swing handles and horizontal mouldings and enclosed by leaf carved brackets 106.6cm wide, 105cm high, 60cm deep Provenance: Paul Reeves, London Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, p 215 where a similar chest is illustrated. Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.108-9, pl. 240 Note: Eastlake was not a commercial designer and earned his living as Keeper of the National Gallery. Most of his designs were variants based on his published designs, as in the present example.

£2,000-3,000

PRATT & PRINCE, BRADFORD GOTHIC REVIVAL INLAID WALNUT AND COROMANDEL WARDROBE, CIRCA 1880 decorated with ivory-inlaid ebony banding, with fleur-de-lis carved cresting and latercarved finials, above a central mirrored door, flanked by tongue-and-groove panelling, enclosing a fitted interior 196cm wide, 233cm high, 56cm deep

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

41 BRUCE J. TALBERT (1838-1881) FOR COWLISHAW, NICHOL & CO. PAIR OF AESTHETIC MOVEMENT WOVEN SILK SATIN HANGINGS, CIRCA 1875 with a repeat pattern of birds within flowering foliage on a red ground, with cotton backing and later-applied braided edge (2) panel 230cm x 131cm Literature: Gere, Charlotte and Whiteway, Michael Nineteenth Century Design, London 1993, pp. 162-3 illus. See V&A T.10-1990 for an example with a brown satin ground Note: This design was exhibited at the Philadelphia Exhibition of 1876 and was illustrated by Talbert in Examples of Ancient & Modern Furniture, published in 1876.

£2,000-3,000

42 ENGLISH SCHOOL PAIR OF AESTHETIC MOVEMENT EBONISED AND PAINTED CORNER CABINETS, CIRCA 1880 with incised and gilded decoration, each with mirrored upstands above a single drawer and twin-panelled doors, painted with flowering branches and birds above a lower tier (2) 83cm wide, 159.5cm high, 56cm deep

£800-1,200

43 GOURY, M. JULES & OWEN JONES LA ALHAMBRA PALAIS. PLANS, ELEVATIONS, SECTIONS AND DETAILS OF THE ALHAMBRA Adelphi: published by the Author, 1841. 2 volumes, folio, large paper copy, two additional lithographed title-pages and 82 plates (including 4 double-page plates) only of 100 in total, contemporary burgundy morocco gilt, some rubbing to covers, joints weak and upper joint of first volume detached from text-block, some foxing throughout (more severe to initial pages of volume 1), apparently lacking 20 plates £600-800

44 WILLIAM SMEE & SONS, LONDON ORIENTALIST STAINED BEECH FOLIO STAND, CIRCA 1890 with scroll-carved hinged supports and brass ratchet, raised on incised and scroll carved legs, linked by a pierced foliate frieze on brass base with cross stretchers and matching castors, stamped under base 71cm wide, 108.5cm high, 38cm deep Provenance: Paul Reeves, London

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

45 F. & C. OSLER, LONDON & BIRMINGHAM AESTHETIC MOVEMENT HALL LANTERN, CIRCA 1880 the brass frame with central turned column, with four later fittings for light bulbs and cylindrical glass shade, comprising four panels, each etched with peacocks and other birds in a landscape 101cm high, 30cm diameter Provenance: Paul Reeves, London

£1,500-2,000

OWEN JONES, MAKER (1809-1874); ALFRED MORRISON, PATRON (1809-1874); JACKSON & GRAHAM, MAKER INLAID EBONY PANEL, CIRCA 1865 the black ground inlaid in ivory with profusely scrolling foliage, and centred with the monogram AM, the whole within moulded frame 35cm x 43cm Literature: Jervis, Simon The Burlington Magazine, Vol. 123, No.939 (June 1981), see p.379, plate 50 where a cabinet fitted with similar panels is illustrated Note: Alfred Morrison’s house, The Pavillion, at Fonthill, now demolished, was designed by Thomas Henry Wyatt and David Brandon in 1849 and incorporated the surviving wing of William Beckford’s ‘Fonthill Splendens’.

The Fine Art Society, London Architect – Designers Pugin to Mackintosh, p.12

Between 1862 and 1865 Owen Jones worked at Fonthill and his work included the decoration of a drawing room, probably the one described by The Builder, 9 May 1874, as ‘built, decorated and fitted up’ by Jackson and Graham ‘from Mr Jones’s designs in the Cinquecento style, of which it forms an exquisite example. The ceiling is of wood, panelled, and inlaid, the mouldings being black and gold’. The room was created to house Morrison’s extensive collection of Chinese Porcelain, including many of the finest objects from Peking’s Summer Palace, which had been looted and burned at the end of the Second Opium War in 1860.

£2,000-3,000

At the beginning of the 20th century the room was dismantled and most of the room was bought by R.W.Borley Esq., and installed at his house Barton Hill House, Shaftesbury, between 1910 and 1920.

47 BRUCE J. TALBERT (1839-1881) FOR GILLOW & CO. PAIR OF AESTHETIC MOVEMENT EBONISED AND GILDED SIDE CHAIRS, CIRCA 1880 with leaf-carved backs with upholstered panels and stuffover seats, on spirally reeded turned legs (2) 40.5cm wide, 83cm high, 40.5cm deep

£200-300

Provenance: Supplied to Alfred Morrison, Esq., for Fonthill, Wiltshire.

48 ENGLISH SCHOOL AESTHETIC MOVEMENT WOVEN, APPLIQUÉ AND EMBROIDERED SILK HANGING, CIRCA 1870 the central panel a repeat pattern of stylised flowering foliate forms within an embroidered appliqué border with strapwork pattern and flowering foliate design 137cm x 137cm

£300-500

49 ENGLISH SCHOOL

50 MANNER OF BRUCE J. TALBERT GOTHIC REVIVAL EBONISED AND GILT EMBELLISHED SETTEE, CIRCA 1870 the scrolled and upholstered back and arms with later close-nailed upholstery, above spindle-gallery and corresponding upholstered seat with loose squab cushion, the whole raised on turned and incised legs

GOTHIC REVIVAL WALNUT AND BRASS MOUNTED COAL BOX, CIRCA 1870 the sloping sides with mounted brass leafy floret panels, with corresponding handles and associated shovel, opening to reveal a fitted interior, bears registration lozenge for May 1870 38cm wide, 42cm high, 55cm long

£300-500

168cm wide, 84cm high, 71cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

51 ALFRED WATERHOUSE (1830-1905) FOR HENRY CAPEL, LONDON PAIR OF SPINDLE-BACKED MAHOGANY SIDE CHAIRS, CIRCA 1870 each with radiating spindle backs above associated period upholstery on ringturned and tapering legs (2) 43cm wide, 91cm high, 47cm deep Literature: Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, p.106, pl. 229 Note: This chair was first designed by Alfred Waterhouse for Roundell Palmer (1812– 1895), 1st Earl of Selborne, Blackmoor House, Hampshire.

£1,500-2,000

52 WALTER CRANE (1845-1915) ORIGINAL DESIGN FOR ‘LION & DOVE’, CIRCA 1900 watercolour, pencil and bodycolour on paper, bearing the legend THE WILDERNESS SHALL BLOSSOM AS THE ROSE, indistinctly inscribed to the margin in ink, A L’ECHAULILLON EST? (F)INGLE C’DESSONS, within later oak frame 60cm x 108cm Provenance: Paul Reeves, London

£4,000-6,000

Note: This watercolour is the original design for ‘Lion & Dove’ for Jeffrey & Co. and was intended for use with ‘Rose Bush’ wallpaper (see V&A museum no E.2229-1913). The design was exhibited at the International Exhibition, Paris in 1900. The design was thought to be Crane’s critical response to the Second Boer War (1899-1902), which he opposed. In this design of circa 1900 Crane features the British Imperial Lion being gently pacified by the white Dove of Peace. A section of the wallpaper frieze is held at the V&A Museum, London E.1759-1914.

53 ATTRIBUTED TO BRUCE J. TALBERT FOR TEMPLETON’S, GLASGOW AESTHETIC MOVEMENT WOVEN COTTON HANGING, CIRCA 1870 machine-woven cotton, with all-over repeating flowering foliate pattern within corresponding bands (cut), later cotton backing 235cm x 163cm Literature: The Fine Art Society, London (in association with Francesca Galloway) Arts & Crafts Textiles in Britain. Exhibition Catalogue. No. 14. Note: The Glasgow firm Templeton’s, founded in 1839, produced a series of portières, complex jacquard woven hangings, from the 1860s. The firm used some of the leading designers of the day including Voysey, Crane and Day. Many of these hangings were attributed to the Scottish designer Bruce Talbert, who designed for the firm.

£200-300

54 ENGLISH SCHOOL, ATTRIBUTED TO RICHARD NORMAN SHAW AESTHETIC MOVEMENT ASH COMPACTUM, CIRCA 1880 the projecting cornice with carved mon design above two panelled doors centred with flower-carved panels and enclosing sliding shelves above three drawers on plinth 130cm wide, 183cm high, 53cm deep Provenance: Paul Reeves, London Note: For a bed with similar decoration see NT 1227312.3.4, Cragside, Northumberland

£2,000-3,000

ENGLISH SCHOOL

JAPANESE SCHOOL

DOULTON & CO., LAMBETH

ANGLO-MORESQUE SILKWORK PANEL

WOVEN SILK PANEL, CIRCA 1900

STONEWARE JARDINIÈRE, DATED 1877

with repeating woven and printed mon motifs, indigo linen backing

of square form, carved in high relief with stylised foliate roundels, with moulded leaves and berries, covered in blue and green glazes, impressed factory marks, indistinct artist initials

79cm x 93.5cm

133cm square

19cm wide, 17cm high

£200-300

with repeating pattern of floral and foliate motifs, reserved within a later silk border and cotton backing

58 ENGLISH SCHOOL AESTHETIC MOVEMENT SEPIA TILED MIRROR, CIRCA 1890 the mirror surrounded by eight tiles depicting countryside scenes of animals and children, within an oak frame 70cm wide, 70cm high

£300-500

59 LAMB OF MANCHESTER WALNUT, COROMANDEL AND INLAID BEDROOM SUITE, CIRCA 1880 comprising a WARDROBE, the doors inlaid with Japanese mixed metal relief panels, the cornice with fretwork panel above a series of mirrored and panelled doors with four drawers below, raised on a plinth, bears label JAS. LAMB/ JOHN DALTON STREET/ MANCHESTER, 229cm wide, 246cm high, 71cm deep; a MARBLE TOPPED WASHSTAND, the mirrored upstand inlaid with marble and tiled panels, above a marble top, with arrangement of doors and cupboards below, stamped to drawer LAMB MANCHESTER 2700, 138cm wide, 160cm high, 61cm deep; and a PAIR OF CHAIRS, each with lattice-back and inset fretwork panel above period upholstered seat and reeded legs, stamped L84 67, 44cm wide, 90cm high, 47cm deep (4) Provenance: Paul Reeves, London

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

60 CHRISTOPHER DRESSER (1834-1904) FOR THE COALBROOKDALE COMPANY ‘WATER PLANT’ CAST IRON GARDEN BENCH, CIRCA 1975 later overpainted in turquoise, the back cast with pierced repeating foliate motifs above downswept open arms enclosing a wooden slatted seat, on tapering legs joined by foliate stretchers, cast maker’s marks and date lozenge to back COALBROOKDALE No. 206162 187cm wide, 91.2cm high, 75cm deep Literature: Lyons, Harry Christopher Dresser: The People’s Designer, Woodbridge 2005, pp. 152-3. Note: This design by Christopher Dresser, no. 206162, was registered and patented by the Coalbrookdale Foundry at the Public Records Office on 18th February 1867 and is seat no. 45 in their 1875 Castings Catalogue, section II, page 251. At the 1867 Universal Exhibition he exhibited a few of his own works, including a ‘Water Plant’ cast iron garden seat, which was also available as an armchair. It was also exhibited at subsequent exhibitions: London in 1871, Vienna in 1873, and Paris in 1878.

£1,000-1,500

ENGLISH SCHOOL AESTHETIC MOVEMENT SILKWORK PANEL, CIRCA 1870 with repeating pattern of flying cranes in a landscape, reserved on a later silk border and linen backing, 130cm x 68cm ; together with an AESTHETIC MOVEMENT SILK EMBROIDERED COMPOSITE PANEL, with repeating pattern of boats and water plants, later silk border and cotton backing, 137cm x 110cm (2) £400-600

62 ATTRIBUTED TO CHRISTOPHER DRESSER FOR THE COALBROOKDALE COMPANY AESTHETIC MOVEMENT CAST IRON FENDER, CIRCA 1870

Note: The National Archives at Kew record this piece at 10th July 1869 as ‘Design for a Fender/ The Coalbrookdale Co./ Coalbrookdale/ Shropshire’. Dresser is first documented as working for the firm circa 1870 however stylistic evidence and designs such as the ‘Water Plant’ garden furniture were registered at an earlier date, pointing to his designing for the firm from the mid-1860s.

cast and pierced with stylised foliate motifs and with a frieze of pierced roundels below, with Victorian registration cast lozenge and serial number 230922/ no 235/ 4ft 6” (incised) 138.5cm wide, 22cm high, 37cm deep Literature: Lyons, Harry Christopher Dresser: The People’s Designer, Woodbridge 2005, pp. 152-3.

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

63 MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT WOVEN PANEL, CIRCA 1870 with repeating bands of stylised flowering foliage, reserved on a later silk border with cotton backing 115cm x 110cm

£300-500

64 EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1875 ebonised wood, with carved knopped finials above a staged mirror back, two glazed doors and original ‘Dromore’ leather panels, with a further mirrored shelf surmounting glazed doors flanked by open shelved sides, the whole raised on tapered turned legs 111cm wide, 180.5cm high, 41cm deep Literature: Soros, Susan The Secular Furniture of E. W. Godwin, Yale 1999, pp. 93;126; 160 and 214, plates 112; 171; 225 and 341 Note: The embossed and gilded leather used in this drawing room cabinet was used exclusively by Godwin in his furniture designs. It was first used in the furniture he designed for the interiors at Dromore Castle, Co. Limerick, built for the 3rd Earl of Limerick circa 1865-1870. Other features of this piece which are characteristic of Godwin’s furniture of the mid to late 1870s are the canted sides, the pierced and carved chrysanthemum motifs, reeded and fluted detailing and ebonised finish.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

65 ATTRIBUTED TO CHRISTOPHER DRESSER FOR MINTON & CO. PAIR OF FRAMED TILES, CIRCA 1880 each depicting two opposing hummingbirds and stylised foliage, within contemporary frames, 19.5cm x 20cm; together with TWO MINTON DINNER PLATES, with snowdrop borders, stamped mark MINTON, 16.5cm diameter (4) £200-300

66 CHRISTOPHER DRESSER (1834-1904) FOR ELKINGTON & CO. SILVER PLATED CLARET JUG, CIRCA 1865 of bulbous form, with angular handle decorated with geometric patterns, stamped ELKINGTON & CO. (scratched)/ 16587 24cm high

£200-300

67 AFTER EDWARD WILLIAM GODWIN AESTHETIC MOVEMENT EBONISED LOW CHAIR, CIRCA 1880 with lattice-back above later upholstered seat and ring-turned legs, raised on castors 48cm wide, 72cm high, 46.5cm deep

£300-500

68 ATTRIBUTED TO BRUCE J. TALBERT FOR GILLOW & CO. VICTORIAN OAK ADJUSTABLE DESK CHAIR, CIRCA 1880 the tapered back with leaf carving and spindle gallery above rotating adjustable seat, with later leather upholstery, raised above gilded and moulded seat rail on turned blocked and incised legs, linked by stretchers 39cm wide, 84cm high, 43cm deep

£400-600

69 WILLIAM ARTHUR SMITH BENSON (1854-1924) PAIR OF ARTS & CRAFTS BRASS WALL LIGHTS, CIRCA 1890 each with adjustable fittings on knopped columns, raised on leafcast tripod bases, one stamped BENSON, wired for electricity (2) 34cm high (excluding fittings) Literature: Hammerton, Ian W.A.S. Benson, Woodbridge 2005, p. 259, pl. 17, No. 1141

£800-1,200

70 ENGLISH SCHOOL AESTHETIC MOVEMENT BRASS JARDINIÈRE, DATED 1878 of square form, each panel embossed with alternating flowers, the whole raised on ball feet, each panel with lozenge marks 20cm high

£150-250

71 CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD, LONDON PAIR OF BRASS ANDIRONS, CIRCA 1880 stamped maker’s marks, 23cm high; and a SET OF THREE AESTHETIC MOVEMENT BRASS FIRE IRONS BY BENHAM & FROUD, CIRCA 1880, comprising a POKER, 76cm long; COAL TONGS, 74.5cm long; and an ASH SHOVEL, 76cm long; together with an ASSOCIATED BRUSH, 64 cm long, stamped maker’s marks and date lozenge for October 1880 (6) £400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

72 MANNER OF WILLIAM ARTHUR SMITH BENSON BRASS FRAMED CEILING LIGHT, CIRCA 1900 the frame cast with leaves and enclosing a later spherical glass shade 35cm tall, 23cm diameter

£300-500

73 LAMB, MANCHESTER AESTHETIC MOVEMENT INLAID WALNUT AND EBONISED SETTEE, CIRCA 1880 the back with spindle gallery and inlaid with panels of flowers, later upholstered with Morris and Co ‘Bluebell’ fabric, above open arms and close-nailed upholstered seat, raised on turned and blocked legs 135cm wide, 94.5cm high, 60cm deep Provenance: Paul Reeves, London

£1,000-1,500

74 BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. AESTHETIC MOVEMENT WALNUT DOUBLE BED, CIRCA 1880 the headboard with spindle gallery and upholstered panel, the footboard with corresponding gallery and panel carved in relief with sunflowers 150m wide, 172.5cm high, 205cm long

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

75 MANNER OF JOHN PEARSON ARTS & CRAFTS BRASS CHARGER, CIRCA 1900 repoussé-decorated depicting a galleon in full sail, within a stylised rosette border 45.5cm diameter

£150-250

76 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & COMPANY ‘SQUIRREL’ OR ‘FOX AND GRAPE’ ARTS & CRAFTS WOVEN WOOL HANGING, CIRCA 1898 with repeat pattern of squirrels and vines, reserved on later cotton border and backing 218cm (+52cm folded under) x 119cm Literature: Parry, Linda William Morris Textiles, V&A. 2013, p.261, pl. 102

£1,500-2,500

77 ENGLISH SCHOOL ARTS & CRAFTS DECORATED OAK WALL CABINET, CIRCA 1890 with open shelves above two panelled doors fitted with decorative latch and hinges and opening to reveal painted panels each depicting scenes from the Rubáiyát of Omar Khayyám , A BOOK OF VERSES UNDERNEATH THE BOUGH... and AS UNDERCOVER OF DEPARTING DAY..., signed and dated with initials MB 1919, with further open shelf below 61cm wide, 123cm high, 19cm deep Provenance: Paul Reeves, London

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

78 WILLIAM MORRIS (1834-1896) FOR MORRIS & COMPANY PAIR OF ‘BIRD’ PATTERN WOOL HANGINGS, CIRCA 1880 each with a repeat pattern of birds reserved on a flowering foliate ground (2) 263cm x 175cm Literature: Parry, Linda William Morris Textiles V&A 2013, p. 224, fig. 35 illus.

£3,000-5,000

79 PHILIP SPEAKMAN WEBB (18311915) FOR MORRIS & COMPANY ARTS & CRAFTS OAK SIDE TABLE, CIRCA 1870 the rectangular top with moulded edge and drop-leaf raised on three ringturned legs with brass castors, linked by chamfered stretchers 70.5cm wide, 70.5cm high, 115.5cm long Provenance: Paul Reeves, London Literature: MacCarthy, Fiona William Morris, A Life for Our Times, London, 1994, pl. 105 which shows a refectory table with similar characteristics in the study at Kelmscott House, Hammersmith.

£3,000-5,000

May Morris’ achievements in design and embroidery have often been overlooked in light of the reputation of her father William, who is recognised as a pioneer of the Arts & Crafts movement. Yet it was May who, at the age of only 23, took charge of Morris & Co.’s textile department and, in doing so, established herself as one of the leading female exponents of Arts & Crafts embroideries. This portière, titled The Fruit Garden and executed towards the latter period of her career, exemplifies some of May’s finest work and signals an attempt to distinguish herself from her father, carving her own successful legacy. Growing up in the shadow of her father, with her mother working within the textile department of his firm, May was unsurprisingly immersed in an environment of intense craftwork. At the time, embroidery was not seen to have the same reputation as fine artistry in the form of beautifully crafted furniture or elaborate paintings. This was largely due to the Victorian preoccupation with Berlin work – a variation of cross-stitch which required little dexterity and little aesthetic awareness as it was provided in pattern form. At the core of May’s creative output however was an appreciation of the intellectual quality of English medieval embroidery, which was, to her mind, the pinnacle of achievement in needlework. In The Fruit Garden, this is demonstrated by the complex array of embroidery techniques as the piece is worked in stem, darning, satin and herringbone stitches, to name only a few. As a result, May is regarded as an instrumental figure in elevating needlework from a mere domestic craft to a serious art form.

80 MAY MORRIS (1862-1938) FOR MORRIS & COMPANY ‘THE FRUIT GARDEN’, ARTS & CRAFTS SILKWORK EMBROIDERED HANGING, CIRCA 1880 the green silk damask ground with silkwork embroidered design of fruiting apple, pomegranate and plum trees with scrolling foliate motifs and flowering shrubs, the embroidered banner with inscription ALL WROUGHT BY THE WORM IN THE PEASANT-CARLE’S COT ON THE MULBERRY LEAFAGE WHEN SUMMER WAS HOT, reserved on a later braided cotton backing and border 274cm x 140cm Literature: Hulse, Lynn et. al, May Morris: Arts & Crafts Designer, Thames & Hudson, London, 2017, pl. 74-74, p.90-91

£10,000-15,000

The composition shows a central tree, flanked by a colourful orchard of sinuous apple, pomegranate and cherry trees, The Fruit Garden successfully depicts naturalistic interlocking sprays of acanthus leaves and fruiting vines with delicacy, skill and creative invention. The inscription, an excerpt taken from her father’s poem The Flowering Orchard implies the portière was intended as a series, each with subtle differences in the composition and bearing another excerpt from the poem. Records from May’s inventory indicate that four separate orders were placed from 1892 to 1896 and a near identical and signed version of this portière exists in the collection of the Museum of Fine Arts in Boston. As strong coloured silks intertwine against a deep green damask ground, The Fruit Garden is a stunning visual delight, made to complement the simplicity and subtlety of Arts & Crafts furniture. After William Morris’ death in 1896, May devoted much of her life preserving his work and legacy, perhaps at a detriment to her own. In recent years, further academic research has driven a resurgence in interest in her textile designs, and in many ways her acclaim as a talented embroiderer has surpassed that of her father. The Fruit Garden portières are recognised as some of the most exceptional products of art embroidery and illustrate May at the peak of her career, representing her desire to produce “meaningful pieces that fill a purpose and satisfy individual interest.”

81 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & COMPANY ‘ELMCOTE’ WOOL HANGING, CIRCA 1900 with repeating flowering foliate pattern, reserved on a cotton border and backing 243cm x 114cm Literature: Parry, Linda William Morris Textiles, V&A. 2013, p.262, pl. 104

£2,000-3,000

MAY MORRIS (1862-1938) FOR MORRIS & COMPANY ROSEWOOD FRAMED EMBROIDERED SILKWORK FIRE SCREEN, CIRCA 1890 the two-fold screen inset with two embroidered silkwork panels depicting pomegranates and tulips, framed and glazed Each fold 85cm x 33.5cm Literature: Hulse, Lynn et al May Morris: Arts & Crafts Designer, Thames & Hudson 2017, p.93, plate 78 where the Tulip version of this pattern is illustrated.

£800-1,200

83 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & COMPANY ARTS & CRAFTS EBONISED & PAINTED ‘SUSSEX’ ARMCHAIR, CIRCA 1880 with white painted highlights, the spindle back above open arms and rush seat above turned legs, 50cm wide, 85.5cm high, 40cm deep; and a MORRIS & COMPANY BEECH SIDE CHAIR, with slatted back and rush seat (2) Note: This chair was named after a country chair found in Sussex, which inspired the design with the turned frame and rush seat.

£300-500

84 MANNER OF MORRIS & COMPANY ARTS & CRAFTS MAHOGANY ADJUSTABLE FRAMED ARMCHAIR, CIRCA 1900 with loose back and seat cushions, the slatted back above corresponding arms, raised on square section double baluster legs and terminating in pot castors 63.5cm wide, 64cm high approx., 93.5cm deep

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

85 WILLIAM ARTHUR SMITH BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER CEILING LIGHT, CIRCA 1900 comprised of layers of copper and brass leaves, with later glass shade, stamped BENSON 21.5cm wide, 28.5cm high (excluding shade) Literature: Hammerton, Ian W.A.S. Benson, Woodbridge 2005, p.257, pl. 7, no. 804

£300-500

86 MANNER OF WILLIAM ARTHUR SMITH BENSON ARTS & CRAFTS BRASS AND COPPER CEILING LIGHT, CIRCA 1900 the leafy copper and brass cowl above four curved arms with light fittings and leafy shades 38cm wide, 22cm high

£400-600

87 WILLIAM ARTHUR SMITH BENSON (1854-1924) ARTS & CRAFTS COPPER AND BRASS CEILING LIGHT, CIRCA 1900 the central fitting with concentric embossed and shaped brass and copper leafy shades 65.5cm diameter, 10cm deep

£500-800

88 MANNER OF JOHN PEARSON ARTS & CRAFTS REPOUSSÉ COPPER FENDER, CIRCA 1890 of rectilinear form, repoussé-decorated with longboats and a spouting whale, reserved on a hammered ground 139cm wide, 10cm high, 38cm deep

£300-500

89 ENGLISH SCHOOL GROUP OF THREE ARTS & CRAFTS BRASS HANGING LANTERNS, CIRCA 1900 each with prism pediments with castellated decoration above four bowed frosted glass panels, comprising a LARGE LANTERN, 47cm high; and a PAIR OF SMALLER LANTERNS, each 33cm high; together with a MATCHING NEWEL POST LIGHT, of corresponding design with scrolling base, 46cm high (excluding fitting) (4) £500-800

90 WILLIAM MORRIS (1834-1896) FOR MORRIS & COMPANY ‘HONEYSUCKLE’ SILKWORK EMBROIDERED PANEL, CIRCA 1880 with flowering honeysuckle reserved on a green ground, within later cotton borders and quilted backing 52.5cm x 53cm Note: Embroidery designs by Morris, such as this one, were sold at the Royal School of Needlework and marketed as kits, sold with the silks and with the pattern printed onto the linen.

£800-1,200

91 WILLIAM MORRIS (1832-1896) FOR MORRIS & COMPANY ‘BRER RABBIT’ OR ‘BROTHER RABBIT’ PRINTED COTTON PANEL, DESIGNED 1882 with repeating pattern of rabbits and birds amongst flowering foliage, printed selvedge mark REGD. MORRIS & CO., with later cotton border and backing 61cm x 91.5cm Literature: Parry, Linda William Morris Textiles, V&A 2013, p. 229, pl. 45 Note: This pattern was named after a character in ‘Uncle Remus, His Songs and His Sayings’, published in 1882, by J. C. Harris, which was being read to Jenny and May Morris at the time.

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

92 WILLIAM DE MORGAN (1839-1917) TRIPLE LUSTRE EARTHENWARE BOWL, LATE 19TH/ EARLY 20TH CENTURY decorated by Fred Passenger in blue and red glazes, the interior decorated with a goose within repeating pattern of berries and seed heads, with stylised foliage to the exterior, painted initials F. P. 14.3cm diameter

£800-1,200

93 WILLIAM MORRIS (1834-1896) ‘TULIP & ROSE’ PATTERN WOOL HANGING, CIRCA 1876 woven woollen 3-ply cloth, backed with cotton and later-applied rope braiding panel 234cm x 122cm Literature: Parry, Linda William Morris Textiles V&A 2013, p. 210, fig. 18 illus.

£1,500-2,000

94 WILLIAM DE MORGAN (1839-1917) PERSIAN TILE, 1872-1881 decorated in yellow and green, with stamped marks for Chelsea Period 15cm square

£200-300

95 ATTRIBUTED TO RICHARD NORMAN SHAW FOR MORRIS & COMPANY SET OF FOUR BEECH ‘HAMPTON COURT’ DINING CHAIRS, CIRCA 1900 each with broad splats above rush seats on tapered legs linked by stretchers (4) 45.5cm wide, 94.5cm high, 39cm deep Literature: Bennett, Daryl Liberty’s Furniture, Woodbridge 2012, p.260 pl.7.37 for an illustration of the 1911 Morris and Co catalogue which includes this design. Note: Examples of this chair appear in the National Trust Collection at Standen House and Wightwick Manor and in the collection of the Fitzwilliam Museum, Cambridge

£300-500

96 MORRIS & COMPANY ARTS & CRAFTS HAND KNOTTED ‘HAMMERSMITH’ CARPET RUNNER, CIRCA 1900 wool, the field with repeat pattern of flowering foliage reserved on an indigo ground within guard bands and corresponding meandering and floral border, with knotted cotton fringing to each end 141cm x 580cm

£10,000-15,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

ATTRIBUTED TO HARRY NAPPER FOR SILVER STUDIOS

ATTRIBUTED TO ALEXANDER MORTON & CO

PAIR OF ARTS & CRAFTS WOVEN CURTAIN PANELS, CIRCA 1880

ARTS & CRAFTS ‘MADRAS MUSLIN’ PANEL, CIRCA 1880

with repeating pattern of luxuriant flowering foliage within corresponding border and reserved within a later cotton backing (2)

with repeating pattern of lilies and roses, reserved on a later cotton border and quilted backing

245cm x 128.5cm

205cm x 121.5cm

£1,000-1,500

£400-600

100

ENGLISH SCHOOL

WILLIAM MORRIS (1834-1896) FOR MORRIS & COMPANY

ARTS & CRAFTS SILKWORK PANEL, CIRCA 1880

‘BIRD’ PATTERN WOOL PANEL, CIRCA 1880

with repeating lattice design of flowering foliage, later chenille and silk borders with rope braiding

with later linen border and backing, panel 252cm x 42cm; together with a PAIR MORRIS STYLE CURTAINS, each with repeating pattern of flower clumps on later interlined ground with later applied braiding to the edges, 245cm x 57cm; together with a MATCHING SCALLOPED PELMET, 25cm x 192cm (4)

81cm x 68cm

£200-300

Literature: Parry, Linda William Morris Textiles V&A 2013, p. 224, fig. 35 illus.

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

101 NEWLYN SCHOOL PAIR OF ARTS & CRAFTS COPPER CHAMBERSTICKS, CIRCA 1900 each with leafy drip trays, repoussédecorated with two opposing carps (2) 26cm long

£200-300

102 ENGLISH SCHOOL

GOTHIC REVIVAL BRASS, COPPER AND PATINATED WROUGHT IRON CHANDELIER, CIRCA 1880 the pierced corona supporting three curved branches with later iridescent glass shades, the central knopped column with scrolling bracket supports 89cm high, 64cm diameter

£1,000-1,500

103 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED WOOLWORK AND APPLIQUÉ PANEL, CIRCA 1900 the central panel worked as a fruit tree with lilies, the meandering border of fruiting foliage reserved on a later padded linen backing 209cm x 111cm £700-1,000

104 MANNER OF WILLIAM ARTHUR SMITH BENSON PAIR OF ARTS & CRAFTS BRASS EXTENDING STANDARD LAMPS, CIRCA 1900 each with turned column and scrolling brackets, raised on tripod base (2) 152cm high (closed), 195cm high (extended), 54cm wide

£800-1,200

105 ENGLISH SCHOOL NEAR PAIR OF ARTS & CRAFTS EMBROIDERED WOOLWORK PELMET PANELS, CIRCA 1890 each designed with a repeat pattern of peony and artichokes, 42cm x 313cm ; the other 42cm x 307 cm; together with an ARTS & CRAFTS CUSHION, with stylised lily design, later made up, 53cm square (3) £300-500

106 ENGLISH SCHOOL ARTS & CRAFTS FRAMED SILKWORK EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks on a black ground, depicting a peacock and two opposing squirrels in a tree 55cm x 45cm

£250-350

107 COTSWOLD SCHOOL ARTS & CRAFTS ELMWOOD LADDERBACK ARMCHAIR, CIRCA 1900 with moulded open arms raised above a rush seat and turned legs linked by stretchers 59.5cm wide, 115cm high, 49cm deep

£300-500

108 ENGLISH SCHOOL COMPOSITE APPLIQUÉ DOOR SURROUND, 19TH CENTURY AND LATER with Gothic Revival woven and embroidered fabric panel, enclosed by braided borders, with applied fringing, later braided chenille borders 341cm; side panels 68cm wide; the whole 264cm wide

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

109 ENGLISH SCHOOL AESTHETIC MOVEMENT WROUGHT IRON AND COPPER CEILING LIGHT, CIRCA 1880 with spherical Vaseline glass shade, the frame later overpainted and suspended from associated cast iron ceiling rose, rose bears date lozenge for August 1868 47cm wide, 48cm high (excluding chains), ceiling rose diameter 70cm

£400-600

110 ENGLISH SCHOOL AESTHETIC MOVEMENT BRASS AND COPPER FRAMED CEILING LIGHT, CIRCA 1880 with cylindrical Vaseline glass shade, suspended from an associated cast iron ceiling rose, ceiling rose bears date lozenge for February 1877 20cm diameter, 72cm high including rose, rose diameter 70cm

£400-600

111 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED SILKWORK TABLECLOTH worked in coloured silks on a lace and muslin ground with roundels of floral motifs, later mounted on covered board panel 90cm x 92cm

£300-500

112 CONTEMPORARY SCHOOL GOTHIC STYLE OAK DRESSER, CIRCA 1990 the cornice with pennant decoration, above three open shelves, the base with an arrangement of eight drawers on a plinth base 136cm wide, 260cm high, 52cm deep

£300-500

113 COTSWOLD SCHOOL PAIR OF ARTS & CRAFTS CARVED WALNUT SINGLE BEDS, CIRCA 1930 the headboards with leaf-carved finials, the footboards with central panel and finials carved as perched birds, each retains sprung base (2) 94cm wide, 114cm high, 206cm long

£1,200-1,800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

OTHER PROPERTIES

114 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL BRASS AND ENAMELLED CANDLESTICKS, CIRCA 1880 each with a barley-twist stem supporting a pierced sconce above an enamelled knop set with clear glass cabochons, all raised on an enamelled conical base (2) 29.5cm high

£600-800

115 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL BRASS CANDLESTICKS CIRCA 1880 each with broad galleried trip trays, converted to table lamps (2) 56cm high to fitting

£200-300

116 ENGLISH SCHOOL TWO PAIRS OF GOTHIC REVIVAL JEWELLED BRASS CANDLESTICKS, CIRCA 1880 each with broad galleried trip trays and set with cabochon stones (4) 43cm and 41.5cm high

£400-600

117 ENGLISH SCHOOL TWO PAIRS OF GOTHIC REVIVAL JEWELLED BRASS CANDLESTICKS, CIRCA 1880 each with broad galleried trip trays and set with cabochon stones; one pair with enamelled decoration (4) 32.5cm and 23cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

118 ATTRIBUTED TO HART, SON, PEARD & CO. GOTHIC REVIVAL BRASS INKSTAND, CIRCA 1880 with a glass inkwell set into the rectangular stand with a scalloped apron and paw feet 38cm wide, 17cm high, 26cm deep

£300-500

119 GILLOW & CO., LANCASTER GOTHIC REVIVAL OAK DRESSING TABLE, CIRCA 1880 the crested swing mirror above twin lift-up jewellery compartments, over an arrangement of five drawers, stamped maker’s marks to middle drawer GILLOWS/ LANCASTER 137cm wide, 168cm high, 63cm deep

£300-500

120 MANNER OF CHARLES BEVAN GOTHIC REVIVAL INLAID ASH WARDROBE, CIRCA 1880 the moulded and castellated cornice above a central mirrored door flanked by two further doors, each with line and dot inlay and diagonal tongue and groove panels, enclosing a fitted interior raised on a plinth base, bears stamp verso WILLIAMS & EVANS/ LATE FRANCIS STYLES/ CABINET MAKERS/ 68 ARGYLE STREET/ BIRKENHEAD 201cm wide, 209cm high,61cm deep Provenance: By repute Marton Hall, near Baschurch

£700-1,000

121 WILLIAM BURGES INTEREST VICTORIAN GOTHIC REVIVAL SIDE CABINET, CIRCA 1880, WITH LATER DECORATION the pitched roof cornice with single open compartment above twin doors, opening to reveal a fitted interior with shelves and pigeon-holes, the base with two further doors enclosing a fitted shelf, the whole later painted to the interior and exterior by Peter Farlow Decoration, London to the designs of William Burges 103cm wide, 234cm high, 48cm deep Literature: The Strange Genius of William Burges, South Western Printers, 1981, p.72-85 Note: This cabinet demonstrates stylistic characteristics of furniture produced by John Starling Chapple and The Cardiff Workshops of Lord Bute. The top of this cabinet has a pitched roof with a gable, and includes other architectural arrangements observed on Burges’ Great Bookcase, with carved columns as seen on Burges’ Yatman’ Cabinet and Writing Cabinet, the latter a collaboration between Burges and W. Gaulbert Saunders. Originally plain the cabinet has been decorated, circa 2000, as a homage to the work of William Burges and the decorative schemes for his home, the Tower House, in London. The sides of the cabinet bear later painted panels celebrating the two elements of Burges’ career, set under depictions of heavenly gardeners. In one, after Burges as Architect by Frederick Weekes, Burges works alongside a model of his Holland Park home, The Tower House. In the second, Burges is shown in his capacity as a builder. Centrally, five painted scenes represent the trades of carpentry, pottery, metalwork, stone-masonry and leatherwork, in the style of Henry Stacy Marks RA, who completed a number of murals and tiles for The Tower House. Four designs on the inside of the cabinet doors show craftsmen’s tools and materials within gold borders, referencing those found within the library’s bookcases in the Tower House. The feet of the cabinet are further decorated with armed mice and toads, in battle: such characters are seen on beams in the Butterfly Room at The Tower House. Somewhat an homage to Burges, painted borders include porcupine motifs and gold branches set against red ground, found on Burges’ Architecture Cabinet and Sideboard respectively. Further details include five-petal floral motifs and quatrefoils, as well as depictions of the Green Man.

£8,000-12,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

122 ATTRIBUTED TO EDWARD WELBY PUGIN FOR JOHN HARDMAN & CO. GOTHIC REVIVAL SILVER AND ENAMEL BEAKER, BIRMINGHAM 1866 with gilt interior, bearing inscription AND HE SHOWED ME A PURE RIVER OF WATER OF THE CLEAR AS CRYSTAL, with an applied central band of Gothic tendrils and four enamelled cartouches, one depicting the Virgin teaching the Christ child to read, with maker’s marks and hallmarks for Birmingham 1866, weight 8.29ozt approx. 10cm high

£1,000-1,500

123 HARDMAN, POWELL & CO. PAIR OF GOTHIC REVIVAL BRASS ALTAR CANDLESTICKS, CIRCA 1885 each with a castellated drip tray, above a turned and knopped column on a spreading base, one with stamped maker’s marks to nozzle (2) 40cm high

£400-600

124 MANNER OF AUGUSTUS WELBY NORTHMORE PUGIN GOTHIC REVIVAL OAK SIDE TABLE, CIRCA 1890 with elaborate pierced upstand, the rectangular top above an arcaded frieze, raised on moulded legs 185cm wide, 138cm high, 51cm deep Literature: Cooper, J ‘Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, p.98, pl. 100 Note: A variant of a serving table designed by Pugin for Abney Hall, Cheshire

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

125 JOHN POTTER GOTHIC REVIVAL PAINTED PANEL, CIRCA 1900 oil on canvas, with repeating lattice design 122cm high, 106cm wide Literature: Arts and Crafts Vol.1 1904 p.236-7 Note: This panel formed part of a group of stencilled panels by Potter, of which this was presumably a study

£300-500

126 MANNER OF EUGÈNE VIOLLET-LE-DUC GOTHIC REVIVAL DESIGN FOR A SCREEN pen, ink, watercolour and gouache, framed 37cm x 31cm

£200-300

127 MANNER OF AUGUSTUS WELBY NORTHMORE PUGIN GOTHIC REVIVAL CAST IRON HOB GRATE, MID-19TH CENTURY the back panel cast with pointed arches, quatrefoils, tracery and crockets, above a fire grate and hanging arch apron, flanked by architectural pointed arch panels 107cm wide, 98cm high, 37cm deep

£1,800-2,200

128 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL EXTENDING BRASS CANDELABRA, CIRCA 1880 each with six branches and a seventh central branch all cast with leaves and rosettes, with hexagonal drip trays, above a knopped column stepped hexagonal base (2) 59.5cm high

£300-500

129 BURMANTOFTS POTTERY, LEEDS TWO SPOON WARMERS, CIRCA 1890 each moulded as a toad grotesque, in turquoise and yellow glazes, impressed maker’s marks (2) 13cm high

£300-500

130 BURMANTOFTS POTTERY, LEEDS LARGE FAIENCE WALL PLAQUE, CIRCA 1880 decorated in thick impasto with sprays of flowers in a landscape, impressed marks BURMANTOFTS FAIENCE/ ENGLAND/ 116, 42cm diameter; a BURMANTOFTS BOTTLE VASE, turquoise glaze, No 72, 18.5cm high; a smaller BURMANTOFTS VASE, green glaze, No. 4, 12cm high; and another BURMANTOFTS VASE, indistinctly marked, 17cm high (4) £200-300

131 ENGLISH SCHOOL AESTHETIC MOVEMENT OAK BOOKSHELVES, CIRCA 1900 with carved foliate roundels, the three open shelves set against embossed Japanoise wallpaper, embellished with gilt 52.5cm wide, 48.5cm high, 25cm deep

£200-300

132 ATTRIBUTED TO BRUCE J. TALBERT AESTHETIC MOVEMENT WALNUT OCCASIONAL TABLE, CIRCA 1880 the octagonal moulded top on incised and ring-turned legs with corresponding cross stretchers 55.5cm diameter, 67cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

133 MAW & CO., JACKFIELD, SHROPSHIRE PAIR OF AESTHETIC MOVEMENT GLAZED TILES, CIRCA 1880 each painted with a heron, moulded maker’s marks verso MAW/ FLOREAT SALOPIA, framed (2) 15cm square

£300-500

(2)

134 ATTRIBUTED TO MINTON & CO. AESTHETIC MOVEMENT PÂTE-SURPÂTE MOON FLASK, CIRCA 1875 terracotta, decorated with Japanoise panels of flowering foliage and centred to one side with a panel of a seated girl in a landscape, signed on the body FR. RICHARD 35cm high

£300-500

135 BOMBAY SCHOOL OF ART FURNITURE AESTHETIC MOVEMENT HARDWOOD WALL CABINET, CIRCA 1880 the mirrored back with embossed leather panels and open shelves 83cm wide, 136cm high, 22cm deep

£400-600

136 PRE-RAPHAELITE SCHOOL PAIR OF WALL PANELS, CIRCA 1880 oil on hessian, later framed (2) 102cm x 41cm

£400-600

137 TIFFANY & CO., NEW YORK GROUP OF ‘FAVRILE’ IRIDESCENT GLASSES, CIRCA 1920 comprising a NEAR PAIR OF IRIDESCENT GOBLETS, the amber glass bowls covered in gold/blue iridescence, above twisted baluster stems, raised on circular feet, etched marks and serial number L.C.T/ M9691/M9696, tallest 19.7cm high; together with a SET OF SIX IRIDESCENT CORDIAL GLASSES, the amber glass bowls covered in gold iridescence and trailed decoration above faceted stems, each with etched serial nos. to base, 12cm high (8) £400-600

138 H. W. BATLEY (1846-1932) FOR GILLOW & CO., LANCASTER AESTHETIC MOVEMENT MAHOGANY CORNER CABINET, CIRCA 1875 the upper section with fretwork, an arrangement of open shelves and a cupboard, the base with blind fretwork drawer, stamped maker’s marks to the drawer GILLOW & CO./ LANCASTER/ L11046 87cm wide, 229cm high, 55cm deep Literature: Soros, Susan Weber Rediscovering H.W. Batley (1846-1932), British Aesthetic Movement Artist and Designer, Studies in the Decorative Arts, VI, no. 2 (Spring-Summer 1999), pp. 6-8 Note: Soros states that what distinguishes Batley’s work from other art furniture by designers such as T.E. Collcut and E.W. Godwin is the dense effect of the sheer quantity of decorative devices he used, including tooled leather, turned spindles, applied and painted panels, carved details, and decorative mouldings, as in the present example. Batley trained under Bruce Talbert and designed in the Gothic Revival style in the 1860s, however although this cabinet demonstrates some Gothic origins, here Batley incorporates Japonesque Aesthetic details in an asymmetric composition.

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

139 AUBREY BEARDSLEY (1872-1898) ‘THE COIFFING’ depicting a couple within an elaborate interior, signed in ink lower right, AUBREY BEARDSLEY/ DIEPPE/ 1897, framed, 31cm x 22cm; and ‘MADEMOISELLE DE MAUPIN’ PRINT, circa 1898, photogravure printed in black, published in Paris, bears artist’s initials lower right, framed, 19cm x 12cm £200-300

140 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE POTTERY SAKE BOTTLE, CIRCA 1880 impressed maker’s marks LINTHORPE/ HT (Henry Tooth) and indistinct impressed facsimile signature 17cm high

£400-600

141 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY GOURD VASE, CIRCA 1880 indistinct maker’s marks 19.5 cm high Literature: Whiteway, M., Christopher Dresser; 1834-1904, Milan 2001, p.145 Durant, S., Christopher Dresser, London, 1993, p.121

£800-1,200

142 CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY ‘OWL’ VASE, CIRCA 1890 of flaring cylindrical form with tall neck, surrounded by four smaller necks, each moulded with owls, the body further moulded with stars and clouds, glazed in brown and green, applied and impressed maker’s mark to the base, ENGLAND and shape number ‘365’

143

38cm high

CHRISTOPHER DRESSER (1834-1904)

Literature: Lyons, Harry Christopher Dresser: The People’s Designer: 18341904, Woodbridge, 2005, pp.80-4

TRUTH. BEAUTY. POWER: PRINCIPLES OF DECORATIVE DESIGN circa 1873, third edition, brown cloth bound with gilt embossed decoration, Cassell Petter & Galpin, London, Paris, New York, pub.; and W.A.S. BENSON ‘ELEMENTS OF HANDICRAFT AND DESIGN’ cloth binding, published by Macmillan & Co. 1893 (2) £200-300

£1,000-1,500

Note: Ault Faience was founded in 1887 by William Ault, and became Ault’s English Art Pottery in 1910. Dresser’s connection with the pottery ran from 18911896. Although this shape was produced after the termination of Dresser’s contract it is believed that the design is Dresser’s and was with Ault before March 1896.

144 CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD ‘THE RICHMOND’, AN AESTHETIC MOVEMENT WALNUT AND MIXED METAL COAL BOX, CIRCA 1880 with brass fitting, the lift-up door inset with mixed metal Japanoise panel 36cm wide, 43cm high, 51cm deep Literature: The Furniture Gazette, 1st October 1886, p. 347 Halen, Widar Christopher Dresser, Phaidon 1993, pp. 179, 187, pl. 218 illus. Note: A contemporary critic praised six new coal box designs produced by Benham & Froud in the late 1870s including this example, the Richmond. He went on to praise the firm for “(lifting) the coal-box and the fitments of the grate from the decrepitude into which they had, some years ago, fallen.”

£400-600

145 FRENCH SCHOOL PAIR OF AESTHETIC MOVEMENT CERAMIC AND SILVERED OIL LAMPS, CIRCA 1870 each with associated glass shades, the silvered reservoirs above ceramic bases decorated with flowering peony on elaborate silvered stands (2) 37cm high to top of fitting, 63cm total height

£250-350

146 ENGLISH SCHOOL AESTHETIC MOVEMENT CERAMIC WALL PLATE, CIRCA 1880 hand-painted, depicting a ‘Boy with a Flute’ after Benedetto Luti, impressed marks 2/ 77, painted marks LUTI/ A. BUTTS/ 37325, 31cm diameter; together with SEVEN PLATES, depicting months of the year, painted artist’s mark A. BUTTS (8) £150-250

147

148

149

150

CONTINENTAL SCHOOL

MANNER OF CHRISTOPHER DRESSER

ENGLISH SCHOOL

HEATH & MIDDLETON, IN THE MANNER OF CHRISTOPHER DRESSER

ARTS & CRAFTS WALL PLATE, CIRCA 1900 painted with a pair of figures in a rose garden, impressed mark verso MD / 58 40cm across

£200-300

AESTHETIC MOVEMENT CAST IRON STICK STAND, CIRCA 1880 cast with stylised foliage with support for sticks and drip tray below 31cm wide, 72cm high, 16cm deep

£150-250

OVERPAINTED THREE-FOLD SCREEN, CIRCA 1900 painted in French grey, each section having panels surrounded by gesso decoration and enclosing lithographs from Flora’s Feast; A Masque of Flowers (Walter Crane illus., printed by Cassell & Company Limited, London, 1889), the lithographs signed in monogram on the plate 185cm wide (open); largest panel 196cm high,

each comprised of openwork spaces with sphere terminals, comprising a pair, 10.5cm long; and a single, 14cm long, stamped marks 4308 (3)

each panel 61cm wide

£200-300

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

GROUP OF THREE ELECTROPLATED TOAST RACKS, LATE 19TH CENTURY

151 CHRISTOPHER DRESSER (1834-1904) ET AL FOR BENHAM & FROUD, LONDON GROUP OF AESTHETIC MOVEMENT MIXED METAL FINGER PLATES AND DOOR HANDLES, CIRCA 1880 comprising SEVEN DOOR HANDLES, 5cm diameter; SEVEN LARGE FINGER PLATES, 30.5cm x 7.5cm; and FIVE SMALLER FINGER PLATES, various sizes, each variously decorated with rabbits and cats, flowering and fruiting foliage, musical instruments and strapwork designs, some stamped with maker’s marks, smallest 22cm x 8cm (19) Literature: Halen, Widar Christopher Dresser, Phaidon 1993, p. 130, pl. 142 where the design for opposed cats appears on a plate design for Minton & Co.

£400-600

152 ENGLISH SCHOOL, STYLE OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT PAINTED PITCH PINE WARDROBE, CIRCA 1870 the moulded corners above two panelled doors, each inlaid with Minton tiles of flying cranes, above panels decorated with field mice and enclosing a fitted interior 135cm wide, 197.5cm high, 47cm deep

£800-1,200

153 CHRISTOPHER DRESSER (1834-1904) FOR WALKER & HALL SILVER-PLATED SUGAR BOWL, CIRCA 1890 with upright ebony handle, maker’s mark for Walker & Hall 16.5cm wide

£150-250

154 THÉODORE DECK (1823-1891) PAIR OF FRENCH AESTHETIC MOVEMENT FAÏENCE BALUSTER VASES, CIRCA 1880 each with polychromatic décor in the Japonisme style, comprising of birds, butterflies and insects amongst blossoming foliage, each with impressed maker’s marks in red under base TH. DECK (2) 52cm high

£1,500-2,500

Note: Born in Guebwiller, Haut-Rhin, Théodore Deck moved to Vienna as a young man, training as a stove-maker and producing work for Schönbrunn Palace. He returned to France in 1847 and, impressed by the majolica wares shown by the Minton factory at the Exposition Universelle of 1855, Deck was moved to produce his own. In 1856 he established his faïence workshop Joseph-Théodore Deck Ceramique Française, initially producing ceramics in the Islamic and Turkish Iznik style. Throughout the 1880s Deck’s pottery began to reflect elements of japonisme, a popular element of the Aesthetic Movement in the late 19th century. Working with notable artists such Raphaël Collin, Deck developed a number of his own glazes, the most familiar being bleu de Deck, used in this pair of baluster vases. Deck’s obituary in the New York Times recognises that it was “at the Exhibitions of Decorative Arts, in Paris in 1880 and 1884, [that] he attained world-wide celebrity with his vases, red, turquoise, Deck blue, and other colors, limpid, profound, and dazzling.” A committed aesthete, “Deck died at Sèvres, in the little pavilion-with rooms of gold, satin, and velvet, filled with vases painted in manganese violet and eel yellow colors, lacquers, netsukes, and swords of Japan…. He was inseparable from his surroundings; he wore the air of their art and charm as if he had been born among them.” Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

155 ATTRIBUTED TO WALTER CRANE FOR THE ROYAL SCHOOL OF NEEDLEWORK EMBROIDERED SILKWORK THREE-FOLD SCREEN, CIRCA 1880 each fold embroidered in silk and metal threads with elaborate flowering foliate and figural motifs, within mahogany frame 159.5cm high, 211cm wide With thanks to Lynn Hulse for her help in cataloguing this lot

£1,500-2,000

156 ENGLISH SCHOOL ARTS & CRAFTS STEEL FIRESCREEN, EARLY 20TH CENTURY the three-fold screen with hinged side panels pierced and repoussé decorated with birds in branches 140cm wide, 89cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

157 ROYAL SCHOOL OF NEEDLEWORK RARE EMBROIDERED PANEL, CIRCA 1910 worked in coloured wools and metal threads with a bird and pomegranate design, reserved on a linen ground, framed 31cm x 35.5cm Provenance: Lyon & Turnbull, Edinburgh Textiles as Art: from the collection of Paul Reeves, 23rd February 2017, Lot 93

£400-600

158 WILLIAM ARTHUR SMITH BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER TABLE LAMP, CIRCA 1900 with curved arm and embossed leaf fitting, associated Vaseline glass shade, stamped maker’s mark BENSON 43cm high

£500-800

159 MANNER OF MORRIS & COMPANY ARTS & CRAFTS MAHOGANY OCCASIONAL TABLE, CIRCA 1900 the rectangular top above arcaded frieze on turned legs linked by angled stretchers 73cm wide, 75cm high, 60cm deep

£200-300

160 ENGLISH SCHOOL ARTS & CRAFTS BRASS AND CAST IRON FIRE GRATE AND DOGS, CIRCA 1890 the basket with sunburst fireback, the dogs with terminals pierced and chased with flowering foliage 89cm wide, 59cm high, 45cm deep

£400-600

161 GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & COMPANY ARTS & CRAFTS MAHOGANY OCCASIONAL TABLE, CIRCA 1895 the shaped and moulded circular top raised on slightly curved legs with leaf carving and linked by stretchers centred with a carved sunflower 76cm diameter, 69cm high Literature: J. Andrews, John Arts & Crafts Furniture, Woodbridge, 2004 p. 54, fig. 52 (similar example illustrated). Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, London, 1987, p. 173, fig. 450 (similar example illustrated).

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

162 CHARLES FRANCIS ANNESLEY VOYSEY (1857-1941) FOR GEORGE WRIGHT & CO., ROTHERHAM, SHEFFIELD ARTS & CRAFTS CAST IRON FIREPLACE, CIRCA 1908 cast with a decorative frieze of rooks below the mantel shelf, the jambs with ribbed decoration 99cm wide, 112cm high Literature: Livingston, K., C.F.A. Voysey: Arts & Crafts Designer, V&A Publishing, 2016, p.256

Â£1,500-2,500

163 THOMAS GRAHAM JACKSON (1835-1924) FOR JAMES POWELL & SONS SET OF EIGHT OLIVE GREEN DRINKING GLASSES, CIRCA 1870 each of swollen trumpet form raised on a spreading circular foot (8) 15cm high

£200-300

164 HARRY JAMES POWELL (1853-1922) FOR JAMES POWELL & SONS SET OF SIX GREEN GLASS TUMBLERS, CIRCA 1870 each of swollen ogee form (6) 9cm high

£200-300

165 HARRY JAMES POWELL (1853-1922) FOR JAMES POWELL & SONS SET OF SIX GREEN GLASS FINGER BOWLS ON STANDS, CIRCA 1870 each of swollen ogee form with dished stands (12) bowls 9.5cm diameter, stands 15.5cm diameter

£200-300

166 DANTE GABRIEL ROSSETTI (1828-1882) FOR MORRIS & COMPANY EBONISED ‘SUSSEX’ CHAIR, CIRCA 1890 the spindle gallery back with turned seat rails above a rush seat, on turned legs linked by stretchers 51.5cm wide, 88.5cm high, 51cm deep

£300-500

167 ENGLISH SCHOOL ARTS & CRAFTS EBONISED WALL MIRROR, CIRCA 1900 the rectangular bevelled plate enclosed within a frame carved with fruiting foliage 54cm x 64cm

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

§ 168 HENRY J. HUNT (1867-1951) ‘AH GALAHAD!’, A LARGE CARTOON FOR STAINED GLASS, CIRCA 1920 pen and ink, watercolour, and bodycolour, signed lower left H. J. HUNT and inscribed AH GALAHAD! HOLY CREATURE, I SEE THEE SO COMPASSED...LA QUOSTODEL SAINT GRAAL’ and depicting the knight overcoming Satan with attendant angels, framed 70cm x 47cm Note: Sir Galahad, and other Arthurian imagery was used in a number of memorial windows both in Britain and broad after the Boer War and the First World War.

£1,000-1,500

169 ATTRIBUTED TO GEORGE WASHINGTON JACK FOR MORRIS & COMPANY ARTS & CRAFTS MAHOGANY WRITING DESK, CIRCA 1890 the rectangular top with inset leather writing surface above six drawers raised on spirally turned and blocked legs linked by stretchers, stamped maker’s mark to drawer MORRIS & CO./ 449 OXFORD STREET/ W 137cm wide, 75.5cm high, 75cm deep

£1,500-2,500

170 WILLIAM DE MORGAN (1839-1917) ‘JERBOAS’ RUBY LUSTRE TILE, CIRCA 1890 with stamped marks for Sand’s End pottery 15.5cm square Literature: Greenwood, M. ‘The Designs of William de Morgan’, Richard Dennis 2007, p.127, pl.1016

£500-700

171 WILLIAM DE MORGAN (1839-1917) ‘HOOPOE’ RUBY LUSTRE GLAZED TILE, 1881-1887 stamped marks for Merton Abbey 15.6cm square

£500-700

172 WILLIAM DE MORGAN (1839-1917) ‘HOOPOE’ RUBY LUSTRE TILE, 1881-1887 stamped marks for Merton Abbey 15.6cm square

£400-600

173 WILLIAM DE MORGAN (1839-1917) RUBY LUSTRE TILE, 1882-1888 depicting a large bird, stamped marks for Merton Abbey 15.2cm square

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

174 WILLIAM DE MORGAN (1839-1917) ‘DODO’ RUBY LUSTRE TILE, CIRCA 1890 impressed marks for Sand’s End pottery 15.6cm square Literature: Greenwood, M. ‘The Designs of William de Morgan’, Richard Dennis 2007, p.129, pl.1019

£700-900

175 WILLIAM DE MORGAN (1839-1917) ‘EAGLE & SNAKE’ RUBY LUSTRE TILE, 1882-1888 decorated in red, impressed marks for Merton Abbey 15.2cm square Literature: Greenwood, M. ‘The Designs of William de Morgan’, Richard Dennis 2007, p.130, pl.968 where a similar tile is illustrated

£500-700

176 WILLIAM DE MORGAN (1839-1917) RUBY LUSTRE GLAZED TILE, CIRCA 1890 depicting a serpent with an apple branch, stamped marks for Sand’s End pottery 15.6cm square

£500-700

177 WILLIAM DE MORGAN (1839-1917) ‘HIPPOCAMP’ RUBY LUSTRE TILE, CIRCA 1890 stamped marks for Sand’s End pottery 15.6cm square Literature: Greenwood, M. ‘The Designs of William de Morgan’, Richard Dennis 2007, p.125, pl.909

£400-600

178 WILLIAM DE MORGAN (1839-1917) ‘EAGLE & SNAKE’ RUBY LUSTRE TILE, CIRCA 1890 stamped marks for Sand’s End pottery 15.2cm square Literature: Greenwood, M. ‘The Designs of William de Morgan’, Richard Dennis 2007, p.130, pl.968

£700-900

179 WILLIAM DE MORGAN (1839-1917) ‘KINGFISHER SPEARING FISH’ RUBY LUSTRE TILE, CIRCA 1890 stamped marks for Sand’s End pottery 15.7cm square Literature: Greenwood, M. ‘The Designs of William de Morgan’, Richard Dennis 2007, p.125, pl.1057

£500-700

180 WILLIAM DE MORGAN (1839-1917) RUBY LUSTRE TILE, CIRCA 1890 depicting a seated peacock, stamped marks for Sand’s End pottery 15.4cm square Literature: Greenwood, M. ‘The Designs of William de Morgan’, Richard Dennis 2007, p.128, pl.965

£500-700

181 WILLIAM DE MORGAN (1839-1917) PAIR OF ‘BERRIES & LEAVES’ GREEN-GLAZED TILES, 1872-1881 one with marks for Poole pottery, 15.2cm square; together with a GREEN GLAZED TILE, decorated with an allover leafy design, stamped Sands End marks, 15.5cm square (3) Literature: Greenwood, M. The Designs of William de Morgan, Richard Dennis 2007, p.139, pl.668 where a similar ‘Berries & Leaves’ tile is illustrated

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

182 WILLIAM DE MORGAN (1839-1917) RARE TWO-TILE PANEL, EARLY FULHAM PERIOD, CIRCA 1890 depicting opposed peacocks, each with impressed Sands End marks, framed (2) each tile 22cm x 22cm

£2,000-3,000

183 WILLIAM DE MORGAN (1839-1917) IZNIK VASE, EARLY FULHAM PERIOD CIRCA 1890 of baluster form with swollen neck, decorated in blue on a white ground with fronds, flowers and leaves, impressed pottery mark, painted artist’s initials J.H./ 15 for James Hersey 24cm high

£1,000-1,500

184 WILLIAM DE MORGAN (1839-1917) RARE SGRAFITTO TILE, EARLY FULHAM PERIOD, 1888-1897 depicting a seated beast with crescent moon and geometric patterning to the right hand side, impressed Sands End maker’s mark; and a MAW & CO. TILE, printed with the figure of a seated ram, turquoise glaze, moulded maker’s marks (2) each 15.5cm square Literature: Catleugh, Jon William de Morgan Tiles, Richard Dennis 2002, p.145, pl. 237 illus.

£200-300

185 SIR ALFRED GILBERT (1854-1934) ‘CHRIST SUPPORTED BY ANGELS’ gilt bronze 12cm high

£300-500

186 SIR ALFRED GILBERT (1854-1934) DESIGNS FOR JEWELLERY charcoal, framed 10.5cm x 13.5cm

£300-500

187 ALBERT EDWARD JONES (1878-1954) ARTS & CRAFTS SILVERED CASKET, CIRCA 1900 cast with fruiting foliate decoration, the cover centred with a blue and green enamelled roundel 19.5cm wide

£300-400

§ 188 ATTRIBUTED TO DORRIE NOSSITER ARTS & CRAFTS MULTI-GEM BROOCH, CIRCA 1920 set with cabochon stones including lapis lazuli, moonstone, citrine and amethyst 3cm diameter

£300-500

189 GLASGOW SCHOOL REPOUSSÉ COPPER ‘PEACOCK’ PHOTOGRAPH FRAME, CIRCA 1900 chased with a pair of opposing peacocks on a hand-beaten textured ground, within a beaded border and mahogany easel frame backing 29cm x 24cm

£300-500

190

191

BEST & LLOYD LTD., BIRMINGHAM

ALBERT EDWARD JONES (1878-1954)

‘CAMBRAY WARE’ SILVER PLATED AND ENAMEL SET GLOVE BOX, CIRCA 1900 with central cartouche bearing the inscription GLOVER, stamped maker’s mark to base CAMBRAY WARE 32cm wide

£200-300

ARTS & CRAFTS COPPER CASKET, CIRCA 1900 with planished finish and strapwork decoration, the cover and sides centred with blue and green enamelled roundels 20cm across

£200-300

192 JOHN PEARSON (1859-1930) AFTER WILLIAM DE MORGAN

193

THREE ARTS & CRAFTS PAINTED TILES, CIRCA 1900

JOHN PEARSON (BRITISH (FL. 1885-1910) PAINTED CERAMIC JUG., CIRCA 1900 painted in blue with a frieze of crows amongst stylised foliage on a white ground, with artist’s monogram 16.5cm high

painted with a Dragon and its Young; Bird with Serpent; and Griffin, each painted blue on a glazed Minton blank, later framed (3) 20cm square

£1,000-1,500

£300-400

194 JOHN PEARSON (FL. 1885-1910) PAINTED CERAMIC PLATE., CIRCA 1910 decorated with a central mythical creature amongst stylised foliage, bears artist’s monogram 17cm diameter

£200-300

195 JOHN PEARSON (FL. 1885 - 1910) LARGE EARTHENWARE BOWL, CIRCA 1900 the interior painted with a bird, monkey and snake amongst stylised foliage in blue, green and metallic paint, the exterior painted with a frieze of foliate motifs, bears artist’s monogram 26cm diameter

£300-400

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

196 RAMSDEN & CARR (OMAR RAMSDEN & ALWYN CARR) ART NOUVEAU SILVER BON-BON DISH, LONDON 1906 with three pierced shouldered handles inset with cabochon stones, raised on a circular foot, stamped maker’s marks, hallmarked London 1906 10.5cm high Provenance: Private collection of G. S. May Esquire

£300-500

197 EDWARD SPENCER (1872-1938) FOR ARTIFICERS GUILD ARTS & CRAFTS SILVER BOWL, LONDON 1935 with faceted body and planished finish, the rim and foot rim with meandering foliate and punched decorative bands, stamped maker’s and artist’s marks, hallmarked London 1935 8.7cm diameter

£250-400

198 MANNER OF THE GUILD OF HANDICRAFTS ARTS & CRAFTS ENAMELLED BOWL & COVER, CIRCA 1910 the tapered bowl with embossed flower sprig decoration, the cover set with an enamel roundel, unmarked, tests as silver 10.5cm diameter

£400-600

199 MANNER OF CHARLES ROBERT ASHBEE ARTS & CRAFTS EMBOSSED LEATHER PANEL, EARLY 20TH CENTURY the design of peacocks and exotic beasts amongst luxuriant foliage, painted in colours with gilt embellishments 98cm x 65cm

£200-300

200 CHARLES ROBERT ASHBEE (1863-1942) PAIR OF ARTS & CRAFTS SILVER SALTS, LONDON 1904 each with planished hemispherical bowl on sphere supports and circular domed base, stamped maker’s mark CRA, hallmarked London 1904 (2) 4.5cm high

£800-1,200

201 THE GUILD OF HANDICRAFT SILVER PRESERVE SPOON, 1933 the tapering oval bowl and stem with divided finial, stamped maker’s marks, hallmarked London 1933, approx. weight 41.5g 15cm long

£300-500

202 ATTRIBUTED TO CHARLES ROBERT ASHBEE FOR THE GUILD OF HANDICRAFTS COPPER, ENAMEL AND PLATED CHALICE & COVER, CIRCA 1900 with planished surface, the cover with red enamel roundel and openwork finial, set with a red cabochon and enclosing a plated interior, the bowl above a knopped stem with openwork plant form supports, above a circular base with six domed roundels 35.5cm high Literature: Crawford, Alan ‘C.R. Ashbee’, Yale University Press 1985, pp.318-321.

£2,000-3,000

Note: During the early 1890s, the Guild of Handicrafts started using silver and silver plate for the first time. The focus at first was decorative sports trophies and cups, followed by more functional objects in the latter half of the decade as the Guild shifted its attention to silver tableware. Ashbee continued to make cups with covers, some of which were used as prizes or trophies for sport in the late 1890s and early 1900s. These he produced partly because of his interest in watching competitive sports, and also because of his passion for craftsmanship and his disdain for mass-produced trophies that he believed to be an insult to both art and athletics. The cup and cover offered here demonstrates this admiration for hand-crafted metalwork.

The textured surface of the metal is intentionally left unsmooth or planished to show the human interaction and imprint of the craft. It demonstrates typical characteristics of Ashbee’s designs, not only with regard to its finish but also due to the foliate openwork decoration, the enamelling and the setting of cabochon stones (which also feature in his jewellery and metalwork from the early 1890s.) The plated finish on the interior is thought to have extended throughout the piece and has now been polished away. The form is inspired by German and Dutch standing cups of the 1600s, of which there was a fine collection at the South Kensington Museum in London, where Ashbee was a regular visitor.

203 JAMES COUPER AND SONS, GLASGOW LARGE ‘CLUTHA’ GLASS BOWL, CIRCA 1900 with aventurine and milky trailed inclusions 34.5cm diameter

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

204 ATTRIBUTED TO CLEMENT HEATON FOR MINTON, HOLLINS & CO. SET OF THIRTEEN AESTHETIC MOVEMENT ‘AESOP’S FABLES’ TILES, CIRCA 1875 each with moulded maker’s marks (13) each 15.3cm square Note: For a similar collection of tiles see V&A Collection C.186A-1976

£500-800

205 LOUISE POWELL (1865-1956) FOR WEDGWOOD SHALLOW LUSTRE BOWL, EARLY 20TH CENTURY decorated with an eagle and bearing inscription STREETE COURT, painted artist’s monogram 3806, impressed maker’s marks WEDGWOOD/ MADE IN ENGLAND/ 2020 31cm diameter Note: Streete Court, a school based at WestgateOn-Sea, moved near to Tandridge in Surrey during the war and closed in 1995.

£300-500

206 ENGLISH SCHOOL ARTS & CRAFTS INLAID ELM ARMCHAIR, CIRCA 1900 the broad top rail with inlaid plant motif above open arms and drop-in seat 59.5cm wide, 107.5cm high, 53cm deep

£300-500

207 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED WOOLWORK PANEL, CIRCA 1900 depicting a swan, coloured wools, framed 35cm x 51.5cm Provenance: Lyon & Turnbull, Edinburgh Textiles as Art: from the collection of Paul Reeves, 23rd February 2017, Lot 83

£150-250

§ 208 FRANK LYNN JENKINS (1870-1927) AND GERALD MOIRA (1867-1959) ARTS & CRAFTS PAINTED PLASTER MURAL, CIRCA 1900 painted in gilt and colours and sculpted in relief depicting a scene from Much Ado About Nothing, bearing inscription MUCH ADO/ ABOUT/ NOTHING/ SHAKESPEARE, later framed 74.5cm x 95cm Note: Frank Lynn Jenkins inherited his father’s marble merchant business H.T. Jenkins and Son, and developed it into a business of international standing involved in the execution of work such as Thomas Brock’s Queen Victoria Memorial in the Mall, the Whitehall Cenotaph and William Goscombe John’s monument to the Marquis of Salisbury in Westminster Abbey, among many other prestigious commissions. With the painter and a fellow student, Gerald E. Moira he developed an innovative style of painted, low relief, plaster panels employed in a commission they won from the restaurateur Joe Lyons to decorate the entrance to the Trocadero Restaurant, Shaftsbury Avenue. This was followed by other similar schemes at the Throgmorton Restaurant, the Hotel Metropole, Folkestone, the Passmore Edwards Library, Shoreditch and a library in a private house in Beverley, North Yorkshire where the present lot was sited.

£1,500-2,000

209 ENGLISH SCHOOL ARTS & CRAFTS PATINATED COPPER POT POURRI JAR & COVER, CIRCA 1900 of cylindrical form set with amethyst-coloured cabochon stones and panels of repoussé decoration 18cm high

£250-350

210 ENGLISH SCHOOL ARTS & CRAFTS COPPER MANTEL CLOCK, DATED 1900 the single train movement with enamelled dial within case repoussédecorated with a ship at sea and fruiting vines and bearing inscription TIME AND TIDE WAIT FOR NO MAN/ 1900, bears maker’s stamp CBH 28.5cm high

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

§ 211 SOPHIA ROSAMOND PRAEGER (1867-1954) FAITH HEALING plaster plaque moulded in relief, incised artist signature S R PRAEGER, inscribed FAITH HEALING, framed 32cm x 40cm

£400-600

§ 212 SOPHIA ROSAMOND PRAEGER (1867-1954) A WIND FROM THE EAST relief patinated plaster panel, signed lower left S. R. PRAEGER and inscribed A WIND FROM THE EAST, framed 31.5cm x 16.5cm

£300-500

§ 213 SOPHIA ROSAMOND PRAEGER (1867-1954) PLASTER PLAQUE moulded in relief, depicting a woman and child gazing out to sea, incised artist signature S R PRAEGER, framed 31cm x 24cm

£300-500

§ 214 JOHN HENRY MONSELL FURSE (1860-1950) THE ARTIST’S SON, RALPH life-size bronze figure, signed in the bronze I.H.M. FURSE / 5 OF 11, raised on a granite plinth 122.5cm high, plinth 65cm long, 9.5cm high, 42cm deep Note: Henry Mansell Furse was born in Egham, Surrey in 1860. He is noted for his relatively short production period due to an illness which led him to being an invalid for the last forty years of his life. Furse studied under Herkomer before attending the Slade School. He worked at the British Museum from 1881 to 1887, after which he produced many sculptures, most notably of animals though also human subjects, as in this example. His keen observational eye allowed him to capture the subtleties of movement into a static object, as though they were about to come alive. His works were regularly exhibited at the Royal Academy of Arts as well as other well-known galleries.

£6,000-8,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

215 FRANCIS DERWENT WOOD (1871-1926) ALLEGORICAL FIGURE bronze, unsigned, raised on a Siena marble plinth base bronze 35cm high, with plinth 48cm Literature: British Sculpture 1880-1915 : A loan exhibition of sculpture and medals sponsored by the Victorian Society, The Fine Art Society, London 1968, illus. fig. 199 Note: This figure is a reduction of one of ‘The Four Seasons’ series, which were originally designed as garden ornaments.

£600-800

216 AFTER SIR EDWARD COLEY BURNE-JONES ‘HOPE’, ARTS & CRAFTS OAKFRAMED PRINT, CIRCA 1890 the sepia print within carved frame with fluted pilasters and cast plaster capitals and beaded details frame 72cm x 39.5cm

£200-300

217 THE STUDIO MAGAZINE comprising s ixteen single volumes, hardback; vols. 14, 17, 20, 22, 24, 25, 28, 30 (2),33, 38, 40, 46, 49, 51, 56; Ten double volumes, hardback; vols. 14-15, 16-17, 20-21, 22-23, 24-25, 26-27, 34-35, 36-37, 82-83, 86-87; thirteen individual nos., softback, nos. 78, 299, 332, 372, 379, 380, 383, 399, 402, 405, 412, 475, 512, with further nos. 227 and 228 printed in French; also in hardback; The Studio; Jan.-June 1900, vols. 19-20, nos. 8287, with Special Winter Number, The Studio; vol . 24, nos. 103-106, The Studio; vol. XXVI, nos. 111-114, The Studio; 1902, nos. 106, 108, 109, 110, 112, 115, The Studio; vol. 33, vols. 33-34, nos. 140-146, The Studio, nos. 91,98,108,110,112,117,118, The Studio, vol. 86, no. 366 (bound later as a hardback) and The Studio Yearbook of Decorative Art, 1922; t ogether with Masters of English Landscape Painting by Holme, Charles (edit.), 1903, The Connoisseur, vols. 11,13,32,36 and 37, the latter with EXTRA CHRISTMAS NUMBER, and Onze Kunst, two vols. for latter halves of 1903 and 1904 £300-500

218 WILLIAM HOLMAN HUNT (1827–1910) THE DESOLATION OF EGYPT, CIRCA 1837 etching, for The Art Union of London, framed, 3.6cm x 10.5cm; and THE ABUNDANCE OF EGYPT, CIRCA 1857, etching, for The Art Union of London, framed, 14cm x 10.5cm; and A DAY IN THE COUNTRY, etching, signed and inscribed in pencil A DAY IN THE COUNTRY/ W. HOLMAN HUNT, framed, 14cm x 21cm (3) Literature: published in the Germ magazine entitled The Desolation of Egypt 1854/1857

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

219 WALTER CRANE (1845-1915) AND WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO. LANCASTRIAN LUSTRE ‘LION’ BOWL, DATED 1910 decorated with a frieze of lions above a panel of rosettes and hearts, painted artist’s and designer’s cyphers to the base, impressed factory monogram and marks ENGLAND. 2469/ X 21cm diameter

£700-900

220 GLADYS ROGERS FOR PILKINGTON’S TILE AND POTTERY CO. ROYAL LANCASTRIAN LUSTRE VASE, CIRCA 1920 decorated with a band of fruiting plums and foliage on a shaded purple and pink ground, impressed maker’s mark and painted artist’s cypher to base 27cm high

£400-600

221 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE AND POTTERY CO. ROYAL LANCASTRIAN LUSTRE BOWL, CIRCA 1925 moulded in relief with the figure of a knight on horseback, incised artist’s mark to base JOYCE, painted artist’s monogram RJ, impressed maker’s mark 27cm diameter

£800-1,200

222 ENGLISH SCHOOL ART NOUVEAU BRONZED PENDANT LIGHT, CIRCA 1910 with silk shade, the pierced frame repoussé-decorated with a frieze of geese 50cm diameter, 50cm deep

£400-600

223 ATTRIBUTED TO G.M. ELLWOOD FOR J.S. HENRY, LONDON ARTS & CRAFTS OAK FRAMED ARMCHAIR, CIRCA 1900 the splat with inlaid heart panel above open arms, on square chamfered supports 66cm wide, 109cm high, 51cm deep

£300-500

224 GOODYERS, LONDON ARTS & CRAFTS OAK FRAMED WINGED ARMCHAIR, CIRCA 1910 with later-upholstered back and seats, the open arms above planked supports linked by stretchers, bears maker’s label GOODYERS/ REGENT STREET / LONDON 68.5cm wide, 118cm high, 64cm deep

£300-500

225

226

ENGLISH SCHOOL

ARTS & CRAFTS WALNUT OCCASIONAL BOOKCASE/ TABLE, CIRCA 1915

ARTS & CRAFTS PEWTER FRAMED WALL MIRROR, CIRCA 1900

the canted square top above an arrangement of open shelves with marquetry inlaid upright supports on bracket feet 61.5cm wide, 62cm high

rectangular, with hand-beaten pewter border applied with a rosette to each corner enclosing an oval-shaped blister pearl, with bevelled glass

£200-300

52cm x 62cm

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

227 BATH CABINETMAKERS ARTS & CRAFTS OAK DRESSER, CIRCA 1900 the superstructure with twin doors with embossed copper panels and open shelf, above a pierced frieze and an arrangement of a cupboard and two drawers 151.5cm wide, 175.5cm high, 53cm deep

£1,500-2,500

228

229

230

231

ENGLISH SCHOOL

ATTRIBUTED TO DAVID FURSE FOR ASHTEAD POTTERY

JAMES DIXON & SON, SHEFFIELD

ENGLISH SCHOOL

ARTS & CRAFTS COPPER HANGING LIGHT, EARLY 20TH CENTURY

ARTS & CRAFTS OAK AND BRASS MOUNTED STATIONERY BOX, CIRCA 1910

RARE VASE, CIRCA 1930

ARTS & CRAFTS SILVER TAZZA, SHEFFIELD 1910

of tapering square section form, with four glass panels inset with four red cabochons and opaline glass

covered in an orange glaze, printed and painted maker’s marks V32/ M, moulded mark No. 2

with hammered bowl above turned column on spreading base, stamped maker’s marks, hallmarked Sheffield 1910

the sloping lid decorated with stylised foliate motifs, opening to a compartmented interior, with key

23cm wide, 39.5cm high

27.5cm high

15.5cm high

£150-250

£200-300

£150-250

£200-300

24.5cm wide, 18.5cm high, 13cm deep

232 COMPTON POTTERS’ ART GUILD TWO OVAL POTTERY WALL PLAQUES, CIRCA 1920 the first, ‘Will-o’-the Wisp’, depicting a child holding a lantern, 10cm x 8cm; the other ‘Harmony’, depicting a lute player, bearing inscription FROM HARMONY TO HARMONY, 10cm x 8cm; and a COMPTON POTTERY WALL PLAQUE OF THE CHRIST CHILD, bearing inscription ARBOUR/ VITE, impressed seal mark, 13.5cm x 9.5cm (3) Literature: Calvert, Hilary & Louise Boreham, Mary Seton Watts and the Compton Pottery, London, 2019, p.224 for examples of the oval plaques

£200-300

233 COMPTON POTTERS’ ART GUILD TWO POTTERY WALL PLAQUES, CIRCA 1920 each painted in tempera, with impressed maker’s marks, depicting St George and St Joan of Arc (2) 18cm x 11cm and 15.5cm x 13.5cm Literature: Calvert, Hilary & Louise Boreham, Mary Seton Watts and the Compton Pottery, London, 2019, pp.212-213 for examples of these plaques

£250-350

234 COMPTON POTTERS’ ART GUILD OVAL POTTERY WALL PLAQUE OF THE NATIVITY, CIRCA 1920 painted in tempera, impressed maker’s marks 22cm x 19cm Literature: Calvert, Hilary & Louise Boreham, Mary Seton Watts and the Compton Pottery, London, 2019, p. 213 for examples of this plaque

£250-350

235 COMPTON POTTERS’ ART GUILD POTTERY FIGURE GROUP ‘HEAR NO EVIL, SAY NO EVIL, SEE NO EVIL’, CIRCA 1920 painted in tempera, moulded inscription HEAR NO EVIL/ SAY NO EVIL/ SEE NO EVIL, impressed seal mark, 13.5cm wide, 14.5cm high; and a COMPTON POTTERY TRINKET BOX, decorated with grapes and foliage, 10cm wide, 7cm high (2) Literature: Calvert, Hilary & Louise Boreham, Mary Seton Watts and the Compton Pottery, London, 2019, p. 210 for an example of this figure group

£200-300

236 COMPTON POTTERS’ ART GUILD STANDING POTTERY FIGURE OF THE VIRGIN AND CHILD, CIRCA 1920 painted tempera on plaster, impressed seal mark and initial H 32cm high

£200-300

237 COMPTON POTTERS’ ART GUILD LARGE POTTERY PLAQUE, CIRCA 1920 painted in tempera, with moulded inscription THE WORLD IS SO FULL OF A NUMBER OF THINGS I’M SURE WE SHOULD ALL BE AS HAPPY AS KINGS, incised C to verso 28cm x 24cm

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

238 PILKINGTON’S TILE AND POTTERY CO. RARE PAIR OF ROYAL LANCASTRIAN BOOKENDS, CIRCA 1920 each moulded as a turkey, glazed in shades of pale green, impressed maker’s marks to base (2) 15cm high £200-300

239 RUSKIN POTTERY GROUP OF CRYSTALLINE VESSELS, CIRCA 1920 including a VASE, impressed maker’s marks, incised H. Howson Taylor signature mark, 16cm high; a smaller VASE, impressed maker’s marks, 11cm high; and a BOWL, impressed maker’s marks, 23cm diameter (3) £200-300

240 RUSKIN POTTERY EGGSHELL FOOTED BOWL, 1924 covered in a lavender lustre glaze, impressed marks RUSKIN/ ENGLAND/ 1924, 23cm diameter; together with a GREEN LUSTRE BOWL, impressed marks, RUSKIN/ ENGLAND/ 1922, 25cm diameter; and a BLUE LUSTRE FOOTED BOWL, impressed mark RUSKIN, 24.5cm (3) £200-300

241 RUSKIN POTTERY EGGSHELL BOWL covered in a dusky pink lustre glaze, apparently unmarked, 21cm diameter; together with a STRAWBERRY LUSTRE FOOTED TAZZA, impressed marks RUSKIN/ ENGLAND/ 1925, 24cm diameter; an ORANGE LUSTRE GLAZED BOWL, the interior well decorated with leaves, with painted crossed swords mark, 15cm diameter; a miniature YELLOW LUSTRE EGGSHELL BOWL, apparently unmarked, 10cm diameter; a MINIATURE LAVENDER EGGSHELL BOWL, apparently unmarked, 8.5cm diameter; and an ORANGE LUSTRE BOTTLE VASE, impressed marks RUSKIN 1924, 16cm high (6) £250-350

242 HANNAH BARLOW (1851-1916) FOR DOULTON & CO., LAMBETH STONEWARE LEMONADE PITCHER & BEAKER, DATED 1879 with incised decoration of Wild Boar and Hounds, impressed and incised maker’s marks and artist’s cypher (2) pitcher 23.5cm high, beaker 13.3cm high

£400-600

243 WILLIAM MORRIS AND COMPANY, RUSKIN HOUSE CATALOGUE OF METAL CASEMENTS, STAINED GLASS AND DECORATIVE IRONWORK London: printed by Arthur Chilver, [c.1910]. Folio (375 x 260mm), catalogue number 773, original cloth stamped with knight on horseback to upper cover, illustrated throughout, some colour illustrations £300-400

244

245

246

248

A. GARLAND

MARY HOWARTH ROWLINSON

E. D. CORRY

MAX COWPER (FL.1892-1911)

ARTS & CRAFTS SILVERED PHOTOGRAPHY PRIZE PLAQUE, CIRCA 1910 embossed with an allegorical scene and inscribed CITY OF LINCOLN ARTS & CRAFTS EXHIBITION, with recipient’s name HERBERT CODD/ DRAWING FROM LIFE, signed lower right A GARLAND, on oak mount, plaque 22cm x 15cm ; together with an ARTS & CRAFTS SILVER PLATE PHOTOGRAPHY PRIZE PLAQUE, DATED 1911, by J. RIDING, cast with figures allegorical of the Arts and inscribed NORTHERN PHOTOGRAPHIC EXHIBITION LIVERPOOL 1911, with recipient’s name W. BICKERTON F.Z.S., cast signature lower right J.M. RIDING, on oak mount, plaque 26cm x 14.5cm (2)

ARTS & CRAFTS SOLID SILVER CASKET, CHESTER, 1928-9 the hinged cover with folding hasp clasp, engraved with a design of quatrefoils and crosses within a corded border applied at intervals with chased flowerheads, maker’s mark MHR, hallmarked Chester, 1928-9, and engraved maker’s monogram MR, 1929, weight 19ozs 20.5cm x 10.5cm Note: Mary Howarth Rowlinson of The Homestead, Brown Edge, Lymm, Cheshire, registered her mark at the Chester Assay Office in 1929 as an Artist, Gold and Silversmith

£300-500

FAIRIES IN THE WILD GARDEN AT ROWALLENE, SAINTFIELD

‘COPPICING’

watercolour, signed lower left E D CORRY, bears label verso, framed

watercolour, signed in pencil lower left MAX COWPER, framed

51cm x 35cm

35cm x 24.5cm

£200-300

247

249

MANNER OF CHARLOTTE RHEAD

PRE-RAPHAELITE SCHOOL

LANDSCAPE TILE PANEL, CIRCA 1920

ARTS & CRAFTS EMBROIDERED SILKWORK ROUNDEL, CIRCA 1900

depicting sheep grazing in a landscape and comprising nine tiles (9)

worked as a sleeping maiden in coloured silks on a linen ground, later framed and mounted

each tile 15.2cm square

31cm diameter

£200-300

£400-600

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

250 CHARLES VIRION (1865-1946) FOR MONTIGNY-SUR-LOING PAIR OF FRENCH IMPRESSIONIST GEESE VASES, CIRCA 1900 the moulded and slip-painted vases decorated with geese and flowers, signed to bodies CH. VIRION, with painted, impressed and incised maker’s marks (2) 23.5cm high

£300-500

251 ENGLISH SCHOOL ARTS & CRAFTS OAK HALL BENCH, CIRCA 1900 the curved and carved back panel above open back, the whole raised on square form legs, linked by a stretcher 111cm wide, 107cm high, 48cm deep

£250-350

252 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK HALL SETTLE, CIRCA 1920 the panelled back carved to the top rail with inscription GOD’S PROVIDENCE IS MINE INHERITANCE, above open arms and solid seat on turned and blocked legs linked by stretchers 127cm wide, 101cm high, 35cm deep

£800-1,200

§ 253 ANNIE FRENCH (1872-1965) THE FAIRY TALE LADY pen & ink, bodycolour and gilt on vellum, signed and dated lower right ANNIE FRENCH/ DEC. 1921, bears label verso, framed 25.5cm x 41cm

§ 254

Provenance: Barclay Lennie Fine Art 1993

ANNIE FRENCH (1872-1965) STUDY FOR ‘THE BRIAR MAIDEN’

£3,000-5,000

ink and pencil on paper, depicting an allover design of flowering roses, unsigned, framed 20.5cm x 12.5cm

£200-300

§ 255 ANNIE FRENCH (1872-1965) ‘SEATED GIRLS WITH FLOWERS’ ink on paper, unsigned and later framed, with exhibition label verso 11.5cm x 13cm

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

256 GLASGOW SCHOOL OF ART CAST BRONZE MEDALLION, DATED 1916/17 awarded to Agnes L. Jenkins, mounted in a contemporary oak frame with linen mount medallion 7.5cm x 4cm

£400-600

257 GLASGOW SCHOOL ART NOUVEAU CARVED OAK PANEL, CIRCA 1900 carved in relief with stylised foliate forms, within later frame 48cm x 42.5cm

£500-800

258 MANNER OF GEORGE HENRY WALTON MAHOGANY DISPLAY CABINET, CIRCA 1910 the projecting cornice above two glazed doors opening to a shelved interior, above a long drawer with brass-backed cut-out handles, the whole raised on square legs 126.5cm wide, 151cm high, 41.5cm deep

£400-600

259 AFTER CHARLES RENNIE MACKINTOSH NEAR PAIR OF ASH EASY CHAIRS, CONTEMPORARY manufactured by Bruce Hamilton, Glasgow, each with upholstered back and seat with broad tapered armrests and curved supports, bears maker’s label (2) 75.5 and 68.5cm wide, 69cm high, 72cm deep Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs’, Cameron & Hollis, 2009, p. 224, pl. D1905.21 and 21A Note: The design of this chair was taken from two Mackintosh drawings for chairs of around 1905, neither of which were commissioned. The drawings could possibly have been prototype sketches for the resulting ‘Easy Chair’ for the drawing room at the Hill House, Helensburgh (1905.20).

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

§ 260 CECILE WALTON (1891-1956) THE ANGEL AND THE FAWN, DATED 1912 pen and ink, signed, inscribed and dated lower right, CECILE WALTON 1912 52cm x 23.5cm

£600-800

261 MARGARET MACDONALD MACKINTOSH (1865-1933) ‘DEUTSCHE KUNST UND DEKORATION’, MAY 1902 magazine published by Alexander Koch, Darmstadt, with cover designed by Margaret Macdonald Mackintosh, later woven spine binding, pp. 365-418 Literature: Garner, Phillipe (ed.), Encyclopaedia of Decorative Arts 1890-1940, Van Nostrand, New York, 1978, p. 199 Hunterian Museum and Art Gallery, Glasgow, ref. GLAHA 41548 Note: Alexander Koch, organiser of the House for an Art Lover competition, was editor of ‘Deutsche Kunst und Dekoration’. A major article appeared in the September 1902 issue featuring the Mackintoshes’ contribution to the Turin exhibition. The cover design by Margaret Macdonald Mackintosh is closely related to her contemporaneous decorative panels in gesso. The straightforward lettering incorporated within the design is most probably her work.

£400-600

262 CHARLES RENNIE MACKINTOSH (1868-1928) BEECH HIGH STOOL, CIRCA 1894 the circular seat raised above three turned legs linked by stretchers 32cm wide, 69cm high Literature: Billcliffe, Roger, Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs, Moffatt 2009, page 32, illus. D1894-96.1 Note: Made for Queen Margaret Medical College, Glasgow, the treatment of the stretchers appear to echo those of the domino table designed by Mackintosh in 1898 for the Argyle Street Tea Rooms.

£500-800

263 SABATTINI, AFTER CHARLES RENNIE MACKINTOSH BOXED SET OF PLATED CUTLERY, CONTEMPORARY comprising a KNIFE; a FORK; and TWO KNIVES, within original box, each stamped with maker’s marks (4) £200-300

264 GEORGE HENRY WALTON (1867-1933) GLASGOW SCHOOL OVERPAINTED WARDROBE, CIRCA 1900 the moulded swan-neck pediment above central glazed and leaded door with secretaire drawer below opening to reveal a fitted interior above five further drawers, each with cut-out copper-backed handles the whole flanked by two further glazed and leaded doors raised on an ogee plinth 194cm wide, 215cm high, 42cm deep Literature: Moon, Karen George Walton: Designer & Architect, Oxford 1993, p. 37, pl. 39 Note: This wardrobe bears similarities to furniture designed by Walton for Drumalis House, Larne, Northern Ireland. Walton’s source for the chest element appears to have come from a chest of drawers designed by Ford Maddox Brown for Morris & Co. and exhibited at the Manchester Jubilee Exhibition of 1887. The architectural pediment and leaded glass also point to the ‘Queen Anne’ aesthetic which Walton favoured at this time.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

265 GEORGE HENRY WALTON (1867-1933) STAINED ASH CUPBOARD, CIRCA 1900 the projecting cornice above three doors, each with glazed and leaded panels enclosing shelves and hanging space on an ogee base 211.5cm wide, 181cm high, 44cm deep

£1,000-1,500

266 ATTRIBUTED TO GEORGE HENRY WALTON ARTS & CRAFTS OAK EXTENDING DINING TABLE, CIRCA 1900 the circular top opening with concertina action and including an additional leaf, raised above a plain frieze on angled legs, hinges marked KLDW/ 5848 120cm diameter (closed), 182cm long (extended), 71cm high, 122cm deep

£800-1,200

§ 267 JESSIE MARION KING (1875-1949) SIX PENCIL STUDIES depicting various scenes including a castle within a woodland landscape and a young girl seated amongst birds in a flowering garden, all framed (6) largest 24.5cm x 18cm

£800-1,200

§ 268 JESSIE MARION KING (1875-1949) ‘THE PONT DES ARTS’, CIRCA 1910-1911 watercolour and pencil, framed

§ 269 JESSIE MARION KING (1875-1949) ‘THE ENCHANTED WOOD’

16cm x 20cm Exhibited: Scottish Arts Council, Jessie M. King Exhibition, 1971-72, No. 36

watercolour and pencil, framed

Provenance: Merle Taylor Ewan Mundy Fine Art, Glasgow

16cm x 10.5cm

£300-500

Provenance: Maurice Dodds, Carlisle Moss Galleries, London Ewan Mundy Fine Art, Glasgow

£200-300

§ 270 ELEANOR ALLEN MOORE (ROBERTSON) (1885–1955) ‘A JAPANESE TEMPLE’, EARLY 20TH CENTURY watercolour, framed 25cm x 34.5cm Provenance: The Artist’s Family Ewan Mundy Fine Art, Glasgow

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

§ 271 § 272 JESSIE MARION KING (1875-1949) BOOK COVER FOR A. M. WILLIAMS pen and ink, bearing inscription A BUNDLE OF YARNS/ TALES AND/ MEMORIES/ A. M. WILLIAMS/ GOWANS AND GREY LTD/ LONDON AND GLASGOW, bears artist’s signature lower left, framed, 14.5cm x 9.5cm; and a BOOKPLATE FOR VERA L. HOLME, print, bears inscription VERA L. HOLME/ O FREEDOM BEAUTIFUL BEYOND COMPARE/ THY KINGDOM IS ESTABLISHED/ JESSIE M. KING, framed, 12cm x 8cm (2) £200-300

273 ATTRIBUTED TO ANN MCBETH GLASGOW SCHOOL SILKWORK EMBROIDERED PANEL, CIRCA 1900 worked as a stylised lilies design reserved by a green linen ground, framed 68cm x 50cm

£400-600

JESSIE MARION KING (1875-1949) “WHEN CHILDER PLAYS..”, CIRCA 1907 watercolour with pen and ink, framed and glazed 37cm x 105cm

£2,000-3,000

100

274 JOHN KEPPIE (1862-1945) ‘BANKHEAD CORNTUNOCK’ 1937 pencil on paper, signed and dated lower left, framed, 16.5cm x 18.5cm ; together with ‘ PORTLING FARM’ 1928, pencil on paper, signed and dated lower left, framed, 16.5cm x 18.5cm (2) £500-800

275 ROBERT BURNS (1869-1941) THIS IS THE CAT, TWO ORIGINAL ILLUSTRATIONS pen & ink, both mounted within a single frame (2) each 26cm x 20cm Note: The original illustration by Burns (circa 1936) for the book The House that Jack Built, first published in 1937

£300-500

276 JOHN KEPPIE (1862-1945) REST IN THE DESERT watercolour, signed lower left JOHN KEPPIE, with original receipt letter from the artist, framed 30cm x 48cm

£600-800

277 GLASGOW SCHOOL EMBROIDERED APPLIQUÉ PANEL, CIRCA 1910 depicting a stylised bird amidst foliage, reserved on a linen ground, framed 61cm x 46cm Provenance: Lyon & Turnbull, Edinburgh Textiles as Art: from the collection of Paul Reeves, 23rd February 2017, Lot 77

£250-350

278

279

SCOTTISH SCHOOL

GLASGOW SCHOOL

ARTS & CRAFTS PAINTED AND EMBROIDERED PANEL, CIRCA 1900

ARTS & CRAFTS BRASS TRIVET, EARLY 20TH CENTURY

worked in coloured wools on a hessian ground with painted details and applied ‘jewels’, later framed 42cm x 41cm

£200-300

the rectangular top with repoussé-decorated stylised plant forms, raised on curved supports, 41cm wide; a BRASS BLOTTER, the corners repoussé-decorated with butterflies, 30cm x 45cm; together with a GLASGOW SCHOOL BRASS WALL SCONCE, CIRCA 1910, the rectangular back plate embossed with stylised roses, above a galleried drip tray with twin nozzles, 20cm wide, 46cm high (3) £300-500

101

280 MARGARET GILMOUR (SCOTTISH 1860-1942) GLASGOW STYLE BRASS WALL CLOCK, CIRCA 1900 with repoussé Celtic entrelac design with inset enamelled panel, includes decorated weights and pendulum, stamped monogram mark MG dial 44cm square Literature: Burkhauser, Jude (ed.) The Glasgow Girls; Women in Art and Design 1880-1920, Edinburgh, 1990, p. 164, fig. 213 where a similar example is illustrated

£1,500-2,500

281 AFTER MARGARET GILMOUR GLASGOW STYLE BRASS WALL SCONCE, CIRCA 1910 repoussé decorated with a peacock amongst stylised foliage, with twin applied candle arms 31.5cm wide, 69cm high

£200-300

282 MANNER OF TALWIN MORRIS GLASGOW SCHOOL REPOUSSÉ BRASS PANEL, CIRCA 1900 worked as a peacock design, framed 43cm x 23cm

£200-300

283 GLASGOW SCHOOL

284

285

ALEXANDER KELLOCK BROWN (1849-1922)

SCOTTISH SCHOOL

ARTS & CRAFTS COPPER CANDLE SCONCE, CIRCA 1900 repoussé-decorated with the profile of a girl with galleried tray below holding two candle sconces

PAIR OF WROUGHT IRON FIRE DOGS, CIRCA 1930

‘SPRING’, EMBROIDERED SILKWORK & APPLIQUÉ PANEL, CIRCA 1907

each with pierced totem design (2)

depicting a girl gathering flowers by a stream within carved oak frame, inscribed MD. C & BT/ 1907 & 08/ SPRING

47cm high

44cm x 44cm

£150-250

£200-300

46cm high

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

102

286 SCOTTISH SCHOOL PATINATED COPPER WALL MIRROR, CIRCA 1900 with rectangular frame repoussé-decorated with scrollwork and reserved on an oak back 90.5cm high, 104cm wide

£300-500

287 WYLIE & LOCHHEAD, GLASGOW OAK HALL BENCH, CIRCA 1900 the pierced back enclosed by open arms with carved lion surmounts, raised above a solid planked seat with outswept plank supports, stamped mark 28828 133cm wide, 92cm high, 44cm deep

£600-800

288 ATTRIBUTED TO ERNEST ARCHIBALD TAYLOR FOR WYLIE & LOCHHEAD, GLASGOW GLASGOW SCHOOL OAK HALL STAND, CIRCA 1900 the projecting cornice above two panelled doors, inset with embossed metal panel, above an open interior with coat hooks and sectioned umbrella stands, the whole raised on square feet 100cm wide, 193cm high, 35cm deep

£400-600

289 SCOTTISH SCHOOL GROUP OF THREE ARTS & CRAFTS WROUGHT IRON TABLE DECORATIONS, CIRCA 1900 each with elaborate floral and foliate designs; together with certificate of honour from the Exhibition of Industry and Art, Aberdeen, bearing inscription AWARDED TO JAMES SPENCE / GOLD MEDAL FOR CASE OF WROUGHT IRON (4) Largest 39cm high

£200-300

§ 290

291

ERNEST ARCHIBALD TAYLOR (1874-1951)

SCOTTISH SCHOOL

ARRAN HILLS

watercolour, unsigned, bears traces of Glasgow School of Art label verso, framed

crayon, signed lower right E. A. TAYLOR, framed 20.5cm x 26cm

£300-500

SYMBOLIST FIGURES IN A LANDSCAPE

45cm x 30cm

£300-500

103

292 JAMES CROMAR WATT (1862-1940) ARTS & CRAFTS ENAMEL, PEARL AND SAPPHIRE-SET NECKLACE, CIRCA 1905 the enamelled boteh pendants flanking a teardrop pearl and star sapphire drop, below corresponding pearl teardrops, linked by chains fitted with small pearls and enamelled spacers Overall length: 38cm

£1,000-1,500

§ 293 ELIZABETH MARY WATT (1886-1954) FAIRIES & MISCHIEVOUS ELVES AMIDST HAREBELLS & COWSLIP watercolour, pen and black ink, signed lower right ELIZABETH MARY WATT, framed 36.8cm x 25.5cm Literature: Elizabeth Mary Watt was born in Dundee and studied at the Glasgow School of Art from 1906-1917. She is well known for her playful depictions of flowers, fairies & elves as a favoured subject matter in her delicately executed watercolours, and handpainted porcelain boxes, trays, tea-ware etc. Examples of her work are held by Glasgow Museums. This watercolour shows Watt’s characteristic theme of floral fantasy with exuberant lively Fairies & Elves frolicking amidst harebells and zlips - a true Garden of Delight. A similar work, Mischievous Fairies, was sold: The Neil Wilson Collection, Christie’s London, 4th Sept, 2014, lot 10

£800-1,200

§ 294 ELIZABETH MARY WATT (1886-1954) FAIRIES AND ELVES pen, ink and watercolour with bodycolour, signed lower right ELIZABETH MARY WATT 34cm x 27.5cm

£700-1,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

104

105

295 FRENCH SCHOOL TWO PAIRS OF ART NOUVEAU CAST BRONZE DOOR HANDLES, CIRCA 1900 each with cast whiplash foliate design (4) 21.5cm and 16cm tall

£200-300

296 CONTINENTAL SCHOOL LARGE PAIR OF ART NOUVEAU PATINATED VASES, CIRCA 1900 the vases in the form of unopened flowers, with applied models of a hunter and huntress with attendant hounds in a landscape (2) 75cm high

£800-1,200

297 OTTO PETRI (1860-1942) FOR GOLDSCHEIDER ART NOUVEAU TERRACOTTA CENTREPIECE, CIRCA 1900 modelled as a boy fishing with a glass bowl, signed to figure PETRI, impressed and painted maker’s marks 2850/ 606/ 4/ MADE IN AUSTRIA 65cm high

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

106

298 LOETZ, AUSTRIA TWIN-HANDLED IRIDESCENT GLASS VASE, CIRCA 1910 of bulbous form with twin scrolled handles 14.5cm high

£300-500

299 LOETZ, AUSTRIA ‘TITANIA’ IRIDESCENT GLASS VASE, CIRCA 1910 the ruby glass body with pulled silver iridescent frieze and bubble inclusions 19.5cm high

£600-800

300 THERESIENTHAL SIX ART NOUVEAU HOCK GLASSES, CIRCA 1905 each painted in gilt and coloured enamels with stylised flower heads (6) 21.5cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

107

301 MORITZ HACKER (1849-1932) PAIR OF JUGENDSTIL SHELL TABLE LAMPS, CIRCA 1900 silvered pewter with shell shades (2) 38cm high

£800-1,200

302 WILHELM ZWICK (1839-1916) FOR KAYSER BRONZED SPELTER RACING CAR INKSTAND, CIRCA 1900 cast as a Mercedes Benz racing car, with glass inkwell under the bonnet and stamp holder in the boot, marked with signature W. ZWICK 40.5cm wide, 15cm high, 22.5cm deep

£1,000-1,500

108

303 CONTINENTAL SCHOOL ‘ST. GEORGE’, ARTS & CRAFTS SILVERED TABLE LAMP, CIRCA 1920 with planished finish, depicting the knight and dragon and raised on a domed base, fitted with a glass shade 67cm high excluding shade

£800-1,200

304

ENGLISH SCHOOL ARTS & CRAFTS COROMANDEL, IVORY AND JEWELLED TABLE LAMP, CIRCA 1900 the silvered reservoir with glass shade above a turned column with ivory, gilt metal and cabochon-set collar raised on a spreading base set with panels of boulder opals, motherof-pearl within leaf-cast silvered banding 64cm high to top of fitting, 89cm with shade

£500-800

305 CANTIGALLI, FLORENCE RUBY LUSTRE PLATE, LATE 19TH CENTURY decorated with a stylised bird amongst fruiting foliage, with painted cypher mark and inscribed MADE IN ITALY, 25.5cm diameter; together with a CANTIGALLI STYLE TWINHANDLED RUBY LUSTRE VASE, of tapering form, decorated with an allover design of rosettes and vines, 45cm high (2) £300-500

109

306 BERNHARD BLOCH TWO AUSTRIAN POLYCHROME DECORATED TERRACOTTA FIGURES, CIRCA 1890 both leaning on ‘wood’ fencing, one with a stick, with impressed marks ‘BB/ 4715’ and ‘BB/ 4727’ (2) 58.5cm and 56cm high

£1,000-1,500

307 GOLDSCHEIDER AUSTRIAN TERRACOTTA FIGURE OF A MAN, CIRCA 1890 the standing figure modelled with a tray, the base signed by the artist ROZEL and with impressed maker’s marks 97cm high Literature: for a similar figure see Ora Pinhas, Goldscheider: A Catalogue of Selected Models, 2006, model 727, p. 26.

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

110

308 JOHANN MARESCH AUSTRIAN POLYCHROME DECORATED TERRACOTTA FIGURE OF A BOY, CIRCA 1900 modelled holding a pewter chamber stick and wearing a fez, impressed with mark ‘JM/ 6454’ 65.5cm high

£500-800

309 GOLDSCHIEDER, AUSTRIA AND DELARUE PICARD, PARIS TWO POLYCHROME DECORATED TERRACOTTA FIGURES, CIRCA 1900 each figure seated on a chair, comprising a boy in an orange cap, with impressed maker’s mark DELARUE PICARD 1885 PARIS MODELLE DEPOSE’, 44cm high (on chair); the other in a brown jacket, with impressed marks GOLDSCHIEDER PRODUCTION RESERVE/ 1223’, 50cm high (on chair) (2) £600-800

310 JOHANN MARESCH AND OTHERS ELEVEN AUSTRIAN BARREL-FORM POLYCHROME DECORATED TOBACCO JARS, CIRCA 1900 comprising a PILOT, impressed marks ‘JM/ Austria/ 3586’, 19cm high; a MAN WITH A MONOCLE, impressed marks ‘JM/ 3342’, 22cm high; an OLD LADY , unmarked, 16cm high; a BOY, impressed marks, ‘Austria/ JM/ 3587’, 20cm high; a MAN WITH A HAT, impressed marks ‘Austria/ JM/ 8630’, 19.5cm high; an AUSTRIAN MAN, impressed marks ‘JM/ 3585’, 19cm high; an AUSTRIAN BOY, impressed marks ‘Austria/ JM/ 1893’, 20cm high; a further AUSTRIAN MAN, impressed marks ‘Austrian/ JM/ 2379’, 22cm high; a further AUSTRIAN BOY, unmarked, 20cm high; a BEARDED MAN, impressed marks ‘JM/ A’, 18cm high; and a LARGE BARREL with a boy wearing a top hat, unmarked, 29cm high (11) £250-350

311 JOHANN MARESCH AND BERNHARD BLOCH NINE AUSTRIAN POLYCHROME DECORATED TOBACCO JARS, CIRCA 1900 all of figural form, comprising PAUL KRUGER, impressed marks ‘BB/ 8155’, 31.5cm high; a FIREMAN, impressed marks ‘JM/ Austria/ 3627’, 30cm high; BENJAMIN DISRAELI, impressed marks ‘BB/ 117’, 25cm high; a MAN AT A LECTERN, impressed marks ‘BB/ AX/ 147’, 24cm high; a MAN WITH A DOG, impressed marks ‘BB/ 361’, 25cm high; LOUIS ADOLPHE THIERS, impressed marks ‘BB/ 141’, 26cm high; a MAN WITH A PIPE, impressed marks ‘BB/ 189’, 29cm high; a MAN TAKING SNUFF, impressed marks ‘BB/ 6283’, 26cm high; and a MAN IN BLACK, impressed marks ‘BB/ AX/ 333’, 27cm high (9) £400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

111

312 BERNHARD BLOCH AND OTHERS FIVE AUSTRIAN POLYCHROME DECORATED TOBACCO JARS, CIRCA 1900 all of animal form, comprising two by Bernhard Bloch, one a CAT wearing an official’s cap, with impressed marks ‘BB / Austria / 8001’, 15.5cm high; the other a DOG in a top hat, with impressed marks ‘BB / 8136’, 31.5cm high; together with a jar modelled as DONKEY with a monocle, with impressed marks ‘385’, 23.5cm high; a FOX as Robin Hood, with impressed marks ‘1309’, 22cm high; and an OWL, with impressed marks ‘HB / 326’, 13cm high (5) £500-800

313 JOHANN MARESCH, BERNHARD BLOCH AND OTHERS FIVE AUSTRIAN POLYCHROME DECORATED FIGURES AND TOBACCO JARS, CIRCA 1900 all of figural form, comprising a jar of a MAN WITH A PISTOL, impressed marks ‘JM/ 8303’, 27cm high; a figure of a BOY CARRYING A TRAY, impressed marks ‘BB/ 4452’, a figure of a BOY WITH A WATER POT, with marks ‘BB/ 4128’, 26.5cm high; a jar depicting a BOY WITH A MONKEY, impressed marks ‘2376’, 21cm high; and a jar modelled as a CAMEL RIDER, impressed marks ‘G&St/ 3946’, 25cm high (5) £250-350

314 BERNHARD BLOCH AND OTHERS SEVEN AUSTRIAN POLYCHROME DECORATED TOBACCO JARS, CIRCA 1900

315

in the form of figural caricatures, comprising a MAN IN A HOMBURG HAT, 20cm high; a MAN IN A FEZ, impressed marks ‘BB/ 8175’, 19.5cm high; a LADY with a monocle, unmarked, 20cm high; a JOCKEY, impressed marks ‘848’, 21cm high; a MAN IN A FLAT CAP, impressed marks ‘BB /8208’, 15cm high; a MAN IN A GREY HAT, unmarked, 19cm high; and a MAN IN A TASSEL HAT, impressed marks ‘410’, 17cm high (7)

JOHANN MARESCH AND BERNHARD BLOCH

£400-600

SIX AUSTRIAN POLYCHROME DECORATED TOBACCO BOXES, CIRCA 1900 all modelled as figures on boxes, including a recumbent BOY, impressed marks ‘JM/ Austria/ 3355’, 21cm long; a JESTER, impressed marks ‘BB/ 365’, 24cm high; a BEAR, impressed marks ‘JM/ Austria/ 3645’, 18cm high; a MONK, impressed marks ‘JM/ 3453’, 22cm high; a SOLDIER, impressed marks ‘JM/ 3767’, 23cm high; and a COBBLER, impressed marks ‘JM/ 3339’, 23cm high (6) £400-600

316 JOHANN MARESCH AND OTHERS SIX AUSTRIAN POLYCHROME DECORATED TOBACCO BOXES/JARS, CIRCA 1900 all modelled as figures on tree stumps, comprising a FAIRY, unmarked, 28.5cm high; a BUTCHER, impressed marks ‘JM/ 3498’, 22cm high; a MAN with an umbrella, impressed marks ‘JM/ 5458’, 21.5cm high; a recumbent MAN in a top hat, impressed marks ‘JM/ 3396’, 20cm high; a BOY in a headdress, unmarked, 20cm high; and a GIRL, unmarked, 19cm high (6) £300-500

112

317 CONTINENTAL SCHOOL ARTS & CRAFTS PAINTED WALL CLOCK, CIRCA 1900 painted with opposed pelicans dial 39cm wide, 45.5cm tall

£300-500

318 THEODOR FAHRNER (1859-1919) JUGENDSTIL ENAMELLED BROOCH, CIRCA 1900 set with opal cabochon stones, stamped maker’s marks TF/ 950/ REG.D 3cm across

£300-500

319 THEODOR FAHRNER (1859-1919) JUGENDSTIL BROOCH, CIRCA 1900 set with green cabochon stones and a blister pearl, stamped maker’s marks TF/ 900/DEPOSE 3.5cm across

£250-350

320 MURRLE BENNETT & CO. ART NOUVEAU 15 CARAT GOLD BROOCH, CIRCA 1900 set with a blister pearl, stamped maker’s marks MBCo/ 15CT, with safety chain 3.1cm across

£200-300

321

322

ATTRIBUTED TO PETER BEHRENS

MEYLE & MAYER

JUGENDSTIL STONEWARE EWER AND SMALL BASIN, EARLY 20TH CENTURY

JUGENDSTIL ENAMELLED BROOCH, CIRCA 1900

each glazed in green and blue with stylised motifs, the ewer with impressed mark 1237/ 5, 33cm high; the basin with impressed mark 2169/ 5, 25.5cm diameter (2) £200-300

worked as an Art Nouveau maiden with flowing hair, stamped maker’s marks DEPOSE/ 900 3.5cm across

£250-350

113

323 MICHAEL POWOLNY (1871-1954) FOR LOETZ ORANGE CASED GLASS JAR & COVER, CIRCA 1920 with trailed black striped decoration 18cm high

£300-500

324 MICHAEL POWOLNY (1871-1954) FOR LOETZ ORANGE CASED GLASS VASE, CIRCA 1920 with trailed black striped decoration 24cm high

£200-300

325 CONTINENTAL SCHOOL OAK AND BRASS-MOUNTED OCCASIONAL TABLE, CIRCA 1920 the circular hammered top on square stepped supports linked by a lower tier 40.5cm diameter, 76cm high

£200-300

326 ATTRIBUTED TO OTTO WAGNER FOR GEBRÜDER THONET SECESSIONIST BENTWOOD ARMCHAIR, CIRCA 1900 with embossed close-nailed leather upholstery, the square tapering legs with brass caps, branded maker’s stamp 54cm wide, 77cm high, 56cm deep

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

114

327 MANNER OF FRANK BRANGWYN ARTS & CRAFTS WALNUT DESK, CIRCA 1920 the quarter-veneered top with ebony line inlay above a single drawer and square chamfered legs linked by stretchers 107cm wide, 77cm high, 68cm deep

£500-800

328 CONTINENTAL SCHOOL JUGENDSTIL ASH TWO-TIERED TABLE, CIRCA 1920 the square bowed top with reeded edge above square supports linked by a lower tier 43.5cm wide, 78cm high

£250-350

329 AMSTERDAM SCHOOL OAK DRAWING ROOM CABINET, CIRCA 1920 the stepped top with glazed door above three further doors each inset with etched composite panels 112.5cm wide, 96.5cm high, 42cm deep

£500-800

330

331

332

WMF (WÜRTTEMBERGISCHE METALLWAREN FABRIK)

GERMAN SCHOOL

JEAN NOVERDY, FRANCE

ART NOUVEAU EMBOSSED PEWTER CARD TRAY, CIRCA 1905

JUGENDSTIL PEWTER AND GLASS CENTREPIECE, CIRCA 1900

ART NOUVEAU BRASS TABLE LAMP, CIRCA 1920

cast as three uprights meeting in the middle and terminating in sconces, raised on an embossed base with a green glass liner

with frosted glass shade, signed on the shade NOVERDY , FRANCE

35cm high

34.5cm high

£100-200

£150-200

of shaped oval form, depicting a young couple in profile, stamped marks 1/0, 27cm across; together with a WMF ART NOUVEAU EMBOSSED CARD TRAY, of octagonal form, depicting a young woman in profile, stamped marks EP/ AS, 24cm across (2) £200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

115

333 ALPHONSE MUCHA (1860-1939) PAIR OF HAND-COLOURED LITHOGRAPH PRINTS, CIRCA 1900 comprising ‘Rose’ and ‘Iris’ from the ‘Les fleurs’ series, published by F. Champenois, Paris, framed (2) 19cm x 17.5cm

£200-300

334 MANNER OF HARRY NAPPER FOR SILVER STUDIOS ART NOUVEAU PRINTED VELVET PANEL, CIRCA 1910 with repeat pattern of flowering tulips 230cm x 190cm; also an ART NOUVEAU WOVEN COTTON FABRIC PANEL, repeat pattern of oak leaves and acorns, 239cm x 117cm; an ART NOUVEAU WOVEN COTTON TABLECLOTH, 133cm square; an ART NOUVEAU MACHINE-EMBROIDERED LINEN TRAY CLOTH, 133cm square; and an EMBROIDERED LINEN TABLE CLOTH, 72cm square (2) £300-500

335 MANNER OF CHRISTOPHER DRESSER FOR LIBERTY & CO. TWO PRINTED LINEN PANELS, 1970S allover repeat pattern, marks to selvedge VAT COLOURS/ LIBERTY OF LONDON/ EXCLUSIVE DESIGN/ ‘KYOTO’, 99cm x 124cm and 114cm x 124cm; also TWO REPEAT PATTERN PRINTED COTTON CURTAINS in the manner of JESSIE M. KING, 138cm x 71cm; a ‘DULEEK’ PATTERN MACHINE-WOVEN CURTAIN, after C.F.A. Voysey and of recent manufacture, 242cm x 178cm; and a GOTHIC REVIVAL PLUSH CURTAIN PANEL, in the manner of WILLIAM MORRIS, with repeat pattern of flowering foliage 390cm x 170cm (6) £200-300

336 SCOTTISH SCHOOL WOVEN WOOL HANGING, EARLY 20TH CENTURY abstract geometric design, 190cm x 160cm; also a REPEAT PATTERN LINEN PANEL, in the manner of RAOUL DUFY, 122cm x 116cm; a PRINTED COTTON PANEL, in the manner of FRANK BRANGWYN, 162cm x 119cm; a WOVEN RAYON PANEL in the SECESSION STYLE, 232cm x 116cm; TWO AUSTRIAN SCHOOL WOVEN COTTON PANELS, foliate repeat pattern, 113cm x 95cm and 113cm x 95cm; and a LINEN NAPKIN in the manner of JOSEF HOFFMANN, 62cm square (6) Literature: Kelley, Charlotte The Arts & Crafts Sourcebook, Thames & Hudson, 2003, P.51 where a hanging of this design is attributed to Ann McBeth

£300-500

116

117

337 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘REVIVED CORNFLOWER’ TEAPOT, CIRCA 1910 signed to base W. MOORCROFT, impressed mark 722 14cm high

£700-1,000

338 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘REVIVED CORNFLOWER’ TWIN-HANDLED FLARING VASE, CIRCA 1910 painted signature W. MOORCROFT, impressed and printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND/ 160 25.5cm high

£1,000-1,500

339 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘SPANISH’ TWIN-HANDLED BOWL, CIRCA 1918 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND, 27.5cm diameter 27.5cm diameter

£300-500

340 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY LARGE ‘SPANISH’ GINGER JAR AND COVER, CIRCA 1916 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND 27.5cm high

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

118

341 WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON ‘BIG POPPIES’ PEWTER MOUNTED TAZZA, CIRCA 1920 stamped maker’s marks H/ TUDRIC/ MOORCROFT/ 01312 25cm diameter

£400-600

342 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ TWIN-HANDLED FOOTED TAZZA, CIRCA 1918 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND 29cm across

£250-350

343 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. PAIR OF ‘POPPIES’ TAPERING VASES, CIRCA 1905 painted signature W. MOORCROFT/ DES, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, RD. NO. 401753, 22.5cm high; and a ‘POPPIES’ TAPERING VASE, CIRCA 1900, painted signature W. MOORCROFT, printed maker’s marks FLORIAN WARE/ JAS. MACINTYRE & CO. LD./ BURSLEM ENGLAND/ RD. NO. 401753, 15cm high (3) £500-800

344 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘FORGET-ME-NOT’ GINGER JAR & COVER, CIRCA 1918 painted signature W. MOORCROFT, indistinct impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND 27cm high

£500-700

119

345 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. FLORIAN WARE TWIN-HANDLED FOOTED BOWL, CIRCA 1900 painted signature W. MOORCROFT/ DES., printed maker’s mark FLORIAN WARE/ JAS. MACINTYRE & CO. LD./ BURSLEM ENGLAND/ RD. NO. 360575 18cm across

£300-500

346 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘EIGHTEENTH CENTURY’ TWINHANDLED FOOTED BOWL, CIRCA 1910 painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, painted mark M2591, 22cm across; and a ‘POPPIES’ TWIN-HANDLED FOOTED BOWL, CIRCA 1908, painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, 24.5cm across £300-500

347 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘DAISY’ FLORIAN WARE TWINHANDLED BALUSTER VASE, CIRCA 1900 painted signature W. MOORCROFT/ DES, printed maker’s marks FLORIAN WARE/ JAS. MACINTYRE & CO. LD./ BURSLEM ENGLAND/ RD. NO. 360576 20cm high

£500-800

348 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY TWIN-HANDLED FOOTED TAZZA, CIRCA 1918 decorated with panels of flowers, painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND 30cm across

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

120

349 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘DAISY’ FLORIAN WARE SINGLE-HANDLED TAPERING JUG, CIRCA 1910 painted signature W. MOORCROFT/ DES 23.5cm high

£400-600

350 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘GREEN AND GOLD’ FLORIAN WARE TWINHANDLED GOBLET, CIRCA 1910 painted initials W.M. DES., printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, painted mark M2017 19.5cm high

£250-350

351 352 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘GREEN & GOLD’ FLORIAN WARE BOTTLE VASE, CIRCA 1910 blue colourway, painted initials W.M./ DES. and M2154/ 4, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND

WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. EARLY ‘IRIS’ FLORIAN WARE TAPERED VASE, CIRCA 1899 incised initials W.M. DES/ 20 29cm high

£300-500

27.5cm high

£300-500

353 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘LILAC’ BALUSTER VASE, CIRCA 1910 painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, painted mark M2841 22cm high

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

121

354 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘REVIVED CORNFLOWER’ TWIN-HANDLED TAPERING VASE, CIRCA 1910 painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND and retailer’s mark for RIGG & SON, GLASGOW 25.5cm high

£700-900

355 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. TALL ‘PANSY’ BALUSTER VASE, CIRCA 1918 painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, painted mark M2571 29.5cm high

£400-600

356 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘ALHAMBRA’ FLORIAN WARE TWINHANDLED VASE, CIRCA 1910 printed and painted maker’s marks MACINTYRE/ BURSLEM/ ENGLAND/ M2380/ 4 25cm high

£400-600

357 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘ALHAMBRA’ TWIN-HANDLED BONBONNIÈRE & COVER, CIRCA 1910 printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, painted mark M2413 22cm high

£400-600

122

358 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. TWO MINIATURE VASES, CIRCA 1910 one of tapering form decorated with blue pansies, 7.5cm high; the other of baluster form decorated with blue violets, 7cm high, both with printed factory marks and painted initials WM; and a MOORCROFT POTTERY MINIATURE BOTTLE VASE, in the ‘Pomegranate’ pattern, signed to base, 9.5cm high (3) £500-800

359 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PANSY’ BALUSTER VASE, CIRCA 1916 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ 4 25.5cm high

£1,000-1,500

360 WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON ‘LATE FLORIAN’ PEWTER MOUNTED TAZZA, CIRCA 1915 stamped maker’s marks H/ MADE IN ENGLAND/ TUDRIC/ PEWTER/ 01313, 22cm diameter; and a ‘POPPY’ DURA WARE VESTA, CIRCA 1910, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, 7.5cm high (2) £200-300

361 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PANSIES’ TWIN-HANDLED TAZZA, CIRCA 1918 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND 31.5cm diameter

£1,000-1,500

362 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘POPPIES’ FLORIAN WARE ELECTROPLATEMOUNTED SALAD BOWL, CIRCA 1900 painted signature W. M. DES., printed maker’s marks FLORIAN WARE/ JAS. MACINTYRE & CO. LD./ BURSLEM ENGLAND/ RD. NO. 326471, 26cm diameter; and a PAIR OF FLORIAN WARE SALAD SERVERS, CIRCA 1900, stamped marks EPNS, 30cm long (3) £300-400 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

123

363 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘IRIS’ FLORIAN WARE BOTTLE VASE, CIRCA 1900 painted signature W. MOORCROFT/ DES., printed maker’s mark FLORIAN WARE/ JAS. MACINTYRE & CO. LD./ BURSLEM ENGLAND 31cm

£600-800

364 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘LATE FLORIAN’ FLARED TAPERING VASE, DATED 1918 painted signature W. MOORCROFT/ 1918, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND/384 31cm high

£400-600

365 WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON ‘MOONLIT BLUE’ PEWTER MOUNTED VASE, CIRCA 1920 stamped maker’s marks H/ MADE IN ENGLAND/ TUDRIC/ MOORCROFT/ 01310 30cm high

£300-500

366 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘EIGHTEENTH CENTURY’ TWIN-HANDLED BALUSTER VASE, CIRCA 1910 painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, painted mark M2571, 25.5cm high; and an ‘EIGHTEENTH CENTURY’ BALUSTER VASE, CIRCA 1910, painted signature W. MOORCROFT, printed maker’s marks MACINTYRE/ BURSLEM/ ENGLAND, painted mark M2841, 22cm high (2) £300-500

124

367 SHAPLAND & PETTER, BARNSTAPLE ART NOUVEAU INLAID MAHOGANY CABINET, CIRCA 1900 the projecting cornice above a marquetry-inlaid door above an arrangement of open shelves and a single drawer, stamped maker’s mark to lock S&P/ B 68cm wide, 55.5cm high, 23cm deep £600-800

368 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK WARDROBE, CIRCA 1900 the projecting cornice above a frieze set with six Ruskin roundels and central mirrored door, flanked by two panelled doors, each further inset with Ruskin hearts, above two drawers, stamped maker’s marks P396/123, lock stamped S&P/B 206.5cm wide, 212cm high, 57.5cm deep

£800-1,200

125

369 FREDERICK ALFRED RHEAD (1856–1933) FOR WILEMAN & CO. FOLEY ‘INTARSIO’ TABLE CLOCK, CIRCA 1900 the later dial and movement within a canted and arched case, printed and painted with Art Nouveau maidens and flowers, and bearing inscription CARPE DIEM/ DIES NOX, printed and painted maker’s marks, Rd. no. 342574 29.5cm high

£600-800

370 MARK MARSHALL (1843-1919) FOR ROYAL DOULTON ART NOUVEAU STONEWARE VASE, EARLY 20TH CENTURY with coloured glazes and wax resist decoration of stylised foliate motifs on a green ground, impressed maker’s marks and incised initials MVM/ EP 50cm high

£400-600

371 FREDERICK ALFRED RHEAD (1856– 1933) FOR WILEMAN & CO. FOLEY ‘INTARSIO’ TABLE CLOCK, CIRCA 1900 printed and painted decoration, inscribed with motto PRITHEE WHATS O’CLOCK, printed and painted maker’s marks 3115 34cm high

£200-300

372 MANNER OF J. S. HENRY, LONDON ART NOUVEAU INLAID MAHOGANY SECRETAIRE CABINET, CIRCA 1900

FREDERICK ALFRED RHEAD (1856–1933)

the projecting cornice above two panelled doors, each painted with a stylised tree, opening to a fitted interior with writing slope

FIGURE OF A YOUNG WOMAN

91cm wide, 148cm high, 39cm deep

373

watercolour study, signed in pencil F. A. RHEAD, framed

£400-600

56.5cm x 38.5cm

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

126

374 E.G. PUNNETT FOR WILLIAM BIRCH, HIGH WYCOMBE ARTS & CRAFTS OAK HALL BENCH, CIRCA 1900 the open frame seat above pierced supports, raised on rectangular legs with tapering block feet 106.5cm wide, 68cm high, 36.5cm deep

£300-400

375 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK WARDROBE, CIRCA 1900 the projecting cornice above a frieze of four Ruskin roundels above one long door, the opposing door with embossed metal panel, above two short drawers, the whole above one long drawer, lock stamped S&P/ B 136cm wide, 208.5cm high, 59cm deep

£500-800

376 WARING & GILLOW, MANCHESTER ARTS & CRAFTS OAK SIDEBOARD, CIRCA 1900 the pierced cornice above a mirrored backboard, above a carved panelled cupboard and opposing short drawer above open shelf, above a long drawer, bears maker’s ivorine label WARING & GILLOW, LTD MANUFACTURERS BY SPECIAL APPOINTMENT TO THE QUEEN/ DEANSGATE MANCHESTER, also stamped 98 to rear 123cm wide, 168cm high, 56.5cm deep

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

127

377 ENGLISH SCHOOL TWO ARTS AND CRAFTS STAINED, PAINTED AND LEADED GLASS PANELS, EARLY 20TH CENTURY depicting a knight on horseback with a pleading man, 31.5cm x 26cm; and another panel depicting a knight, 29cm x 26cm (2) £300-500

378 ENGLISH SCHOOL ARTS & CRAFTS OAK BOOKCASE CABINET, CIRCA 1910 the projecting cornice above two glazed doors, opening to a shelved interior, above two drawers and two carved doors, raised on bracket feet, lock stamped RD/NO. 400724 134.5cm wide, 230.5cm high, 48.5cm deep

£300-500

379 ENGLISH SCHOOL ARTS & CRAFTS COPPER AND WROUGHT IRON FIREPLACE, CIRCA 1900 the hood with repoussé decoration and hammered finish, above grate with wrought iron front and fire dogs 102cm wide, 99cm high, 25cm deep

£400-600

128

§ 380 CLAUDE PRICE, BIRMINGHAM ‘PLUMS’ STAINED, PAINTED AND LEADED GLASS ROUNDEL, CIRCA 1950 depicting a worker harvesting plums, inscribed “PLUMS” and signed CLAUDE PRICE 36cm diameter

£150-250

381 ENGLISH SCHOOL ARTS & CRAFTS OAK SMALL HANGING CUPBOARD, CIRCA 1900 the single cupboard door inlaid with stylised budding organic motifs in the style of Voysey, with an overhanging curved cornice with shaped brackets 33cm high, 44cm wide

£200-300

382 MANNER OF SHAPLAND & PETTER, BARNSTAPLE ART NOUVEAU INLAID MAHOGANY BIJOUTERIE TABLE, CIRCA 1900 with glazed lid and sides raised on marquetryinlaid pierced supports united by a lower tier 63cm wide, 72cm high, 41cm deep

£500-800

383 ENGLISH SCHOOL, MANNER OF G. M. ELLWOOD ARTS & CRAFTS INLAID MAHOGANY CABINET, CIRCA 1910 the upper section with inlaid panel and open shelves above two glazed doors on square tapered legs linked by stretchers 94.5cm wide, 180cm high, 28cm deep

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

129

384 FREDERICK RICHARD PICKERSGILL (1820-1900) TONDO STUDY FOR ‘PERSEUS AND ANDROMEDA’ pencil and watercolour, framed 10.5cm diameter

£150-250

385 ALFRED HASSAM (1842-1869) THE HOLY FAMILY pen and ink, 13.2cm x 9.8cm ; and REGINALD HALLWARD (1858-1948) HOLY FAMILY, gouache, framed 8cm x 10.5cm (2) Provenance: Abbott and Holder

£300-500

386 EDWARD WILLIAM WYON (1811-1885) ‘THE PRINCESS’ bronzed plaster relief panel, inscribed THE PRINCESS/ TENNYSON, signed lower right E. W. WYON, with oak frame 31cm x 43cm

£300-500

387 GEORGE MONTAGUE ELLWOOD (1875-1955) FOR J. S. HENRY, LONDON ART NOUVEAU INLAID MAHOGANY ARMCHAIR, CIRCA 1900 the back inlaid in pewter and copper with a stylised peacock, upholstery distressed, stamped under side rail B 1164 55cm wide, 123cm high, 54.5cm deep

£150-250

388 ENGLISH SCHOOL COLLECTION OF EDWARDIAN WALL TILES, LATE 19TH CENTURY/ EARLY 20TH CENTURY comprising Art Nouveau examples, etc. floral and brickwork tiles (2) 94cm x 117.5cm and 132.5cm x 61.5cm

£200-300

130

389 MURRLE BENNETT & CO. ART NOUVEAU SILVER AND ENAMEL PENDANT, CIRCA 1900 the oval panel depicting the head of a stag within leafy filigree border, stamped maker’s marks MBCo/ 950 4.5cm long excluding chain

£300-500

390 MURRLE BENNETT & CO. ART NOUVEAU SILVER & ENAMEL PENDANT, CIRCA 1900 of shaped ovoid form with leaf and entwined tendril decoration and corresponding chain spacer, stamped maker’s marks MBCo/ 950 4cm long

£350-450

391 LIBERTY & CO., LONDON ART NOUVEAU SILVER & ENAMEL PENDANT BROOCH, CIRCA 1900 cast with stylised plant forms and set with turquoise enamels, stamped maker’s marks L&Co/ SILVER 7cm long including chain

£350-450

392 ATTRIBUTED TO FLEETWOOD CHARLES VARLEY ARTS & CRAFTS ENAMEL BROOCH, CIRCA 1905 with circular panel depicting trees in a landscape within rope-twist border, unmarked 3.3cm diameter

£200-300

393 H. W. DE KONINGH ARTS & CRAFTS STERLING SILVER AND ENAMEL-SET BROOCH, CIRCA 1910 the circular panel painted with a kingfisher, signed on the panel with initials HWK, stamped maker’s marks verso STERLING/ SILVER/ HWDK 6cm long

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

131

394 MRS. NEWMAN (1840-1927) SUITE OF ARTS & CRAFTS JEWELLERY, CIRCA 1900 moonstone and enamel set, comprising a BRACELET, 31cm long; a MATCHING NECKLACE, 41cm long including chain; and a PENDANT, 9.5cm drop excluding chain, all within original velvet and silk-lined fitted box, with maker’s mark MRS. NEWMAN/ GOLDSMITH & COURT JEWELLER/ 10 SAVILE ROW/ W., the lid with gilt tooled initials F.L.O. (3) £4,000-6,000

Note: Charlotte Newman (1840-1927), usually known as Mrs Philip Newman, was a London-based jeweller, making jewels in the Classical and Renaissance revival styles and later as in this case in the Arts & Crafts style. Her pieces were shown at the International Exhibitions in Paris in 1867 and 1878 and she was the first woman to be admitted to the Jewellers Guild in London.

132

395 H. W. DE KONINGH SILVER & ENAMEL NAVETTE-SHAPED ‘KINGFISHER’ PENDANT, CIRCA 1910 delicately painted with a kingfisher with iridescent bright blue plumage and golden breast, perched in a watery reed bed, on a silvery pale blue ground, signed with initials HWK, in a silver frame with bead & reel border, the plain silver reverse stamped with maker’s mark HW over K, and STERLING SILVER 5cm high Literature: Spiel, Erika Dictionary of Enamelling, pages 36-7 de Koningh, H. The Preparation of Precious and other Metals for Enamelling Note: Henri de Koningh, born in Dordrecht, established himself as an art enameller with premises at 14-15 D’Arblay Street, Poland Street, London

£200-300

396 ARCHIBALD KNOX (1899-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ SILVER & ENAMEL BELT BUCKLE, BIRMINGHAM 1903 cast with an Honesty design, stamped maker’s marks L&Co/ CYMRIC, hallmarked Birmingham 1903 6.5cm across Literature: Martin, Stephen Archibald Knox, Artmedia 2001, p.270 illus.

£300-500

397 GERMAN SCHOOL JUGENDSTIL SILVER & GREEN CHALCEDONY OVAL BROOCH, CIRCA 1900 chased with a central blossoming tree, set with two crescent-shaped and two square-shaped green chalcedony stones, unmarked, probably Pforzheim 6.2cm long

£200-300

398 HEINRICH LEVINGER SILVER & ENAMEL CALLING CARD CASE, BIRMINGHAM 1901 painted with sprays of blue hibiscus flowers and green foliage on a cream guilloche enamel ground with undulating wave pattern, maker’s mark HL, Birmingham import hallmarks for 1901 8.3cm x 4.8cm high

£150-250

399 LIBERTY & CO., LONDON TWO ART NOUVEAU BELT BUCKLES, BIRMINGHAM 1901

400 LIBERTY & CO., LONDON ART NOUVEAU SILVER & ENAMEL BELT BUCKLE, BIRMINGHAM 1909 set with turquoise enamel roundels, stamped maker’s marks L&Co, hallmarked Birmingham 1909, 8cm across; and a DEAKIN & FRANCIS ART NOUVEAU SILVER BUCKLE, with entwined foliate decoration, stamped maker’s mark D&F, hallmarked Birmingham 1908, 7cm across (2) £300-400 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

one designed by ARCHIBALD KNOX, 6.5cm across; the other set with turquoise enamels, 6.7cm across; each with stamped maker’s marks L&Co, and hallmarked Birmingham 1901 (2) £300-400

133

401 ATTRIBUTED TO LIBERTY & CO., LONDON SILKWORK EMBROIDERED PANEL, CIRCA 1910 depicting boats on a lakeside landscape, framed 50.5cm x 83.5cm

£200-300

402 LIBERTY & CO., LONDON ARTS & CRAFTS OAK WALL MIRROR, CIRCA 1900 the rectangular oak frame with exposed dowel decoration set with a Ruskin panel and enclosing a later mirror plate, ivorine label verso LIBERTY/ LONDON 62cm x 52.5cm

£300-500

403 ATTRIBUTED TO LIBERTY & CO., LONDON ARTS & CRAFTS OAK FRAMED WING ARMCHAIR, CIRCA 1910 with later upholstery the wings carved to each side with fruiting foliage, the whole raised on openwork front legs 81cm wide, 98cm high, 82cm deep

£800-1,200

404 LIBERTY & CO., LONDON TWO ART NOUVEAU OAK OCCASIONAL TABLES, CIRCA 1900 one with rectangular top above pierced support and square tapering legs, 46cm wide, 66.5cm high, 41cm deep; the other with square canted top above pierced tapered supports linked by a lower tier, 40.5cm diameter, 68cm high (2) £300-400

405 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF PEWTER SPILL VASES, CIRCA 1900 of tulip form, the scrolling twin handles ending in stylised leaves on a circular domed foot, stamped marks to base ENGLISH PEWTER/ 029, one also marked MADE IN ENGLAND (2) 31cm high

£200-300

134

406 LIBERTY & CO., LONDON ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 the oval frame with hammered finish set with Ruskin turquoise roundels 55cm x 75cm

£600-800

407 L. & J. G. STICKLEY ARTS & CRAFTS OAK ROCKING CHAIR, CIRCA 1910 the open slatted back above open arms and leather-upholstered seat cushion, raised on square legs with curved rails 74.5cm wide, 88cm high, 80.5cm deep

£300-500

408 LIBERTY & CO., LONDON PAIR OF ARTS & CRAFTS OAK OCCASIONAL TABLES, CIRCA 1910 each with hexagonal top above open shelves with pierced upright supports (2) 60cm diameter, 56cm high

£400-600

409 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS OAK SIDE CHAIRS, CIRCA 1900 the back splats pierced with heart motifs, above rush seat covers, raised on chamfered square legs linked by stretchers (2) 40.5cm wide, 105.5cm high, 45cm deep

£300-500

410 ETHEL LARCOMBE (1876-1940) PAIR OF ART NOUVEAU GLASGOW-STYLE SIGNED PRINTS signed in pencil lower right ETHEL LARCOMBE, artist’s monogram ‘EL’ centre right, printed by E W Savory Ltd. Bristol, framed (2) 26.5cm x 12.5cm Literature: Several of Ethel Larcombe’s commissioned Art Nouveau designs were printed on the bookbindings and endpapers of works published by Blackie & Son of Glasgow and Gresham circa 1905. Her artwork was illustrated in periodicals of the time and she also won many competitions featured in The Studio magazine

£200-300

411 ENGLISH SCHOOL ARTS & CRAFTS WALNUT AND ELM FRAMED CENTRE TABLE, CIRCA 1900 the hinged oval top with closenailed edge, raised on tapered legs linked by a stretcher and centred by a lyre upright support

412 MANNER OF LIBERTY & CO. ARTS & CRAFTS OAK STICK STAND, CIRCA 1900 the tapering sides pierced with hearts

130cm long, 71.5cm high, 106cm deep

66cm wide, 74cm high, 30cm deep

£200-300

£150-250

135

413 ATTRIBUTED TO LIBERTY & CO., LONDON ARTS & CRAFTS COPPER AND ENAMEL OVERMANTEL MIRROR, CIRCA 1900 the rectangular plate within frame with beaten finish, repoussé-decorated with stylised plant forms and set with enamels 124cm x 77cm

£1,200-1,800

414 ATTRIBUTED TO GOODYERS, REGENT STREET, LONDON PAIR OF ARTS & CRAFTS INLAID OAK ARMCHAIRS, CIRCA 1900 each with a chequer-inlaid spindle back and leather-upholstered seat (2) 63cm wide, 109cm high, 58cm deep

£800-1,200

415 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ TWIN-HANDLED PEWTER VASES, CIRCA 1900 each with ovoid bowls, cast with conjoined oval panels and raised on a moulded stem with spreading base, applied whiplash foliate handles, stamped marks TUDRIC 029 (2) 25cm high

£150-250

416

417

ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

‘CYMRIC’ SILVER RECTANGULAR BOX, BIRMINGHAM 1906

PAIR OF ‘CYMRIC’ SILVER SUGAR OR ICE TONGS, BIRMINGHAM 1902z

the hinged cover embossed with a stylised budding organic motif, maker’s mark L & Co./ CYMRIC, hallmarked Birmingham 1906 10cm long

with plain hoop-shaped bow, tapering arms and unusual crenelated grips, maker’s mark L & Co./ CYMRIC, hallmarked Birmingham 1902 (2)

£300-500

12.5cm long

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

136

418 ARCHIBALD KNOX(1899-1933) FOR LIBERTY & CO., LONDON CELTIC REVIVAL WHITE METAL & ENAMEL LOCKET PENDANT, CIRCA 1903 the frame worked as entwined Celtic knotwork infilled with turquoise enamels, unmarked 5.5cm long excluding chain

£300-500

419 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON RARE SET OF SIX SILVER & ENAMEL TEASPOONS, BIRMINGHAM 1903 each of differing design with stylised foliate finials highlighted in richly graduated enamel tones, maker’s mark L & Co., hallmarked Birmingham 1902, in a fitted case retailed by Edward & Sons of Glasgow (6) 11cm long

£800-1,200

420 LIBERTY & CO., LONDON GROUP OF FOUR ART NOUVEAU SILVER AND ENAMEL TEASPOONS, BIRMINGHAM 1903 each with polychrome enamelled terminals, stamped maker’s marks, hallmarked Birmingham 1903 (4) approx. 11cm long

£200-300

421 LIBERTY & CO., LONDON ARTS & CRAFTS PEWTER & ENAMEL BOX, CIRCA 1905 square-shaped with tapering base, the hinged cover inset with an enamel plaque in the manner of Fleetwood Varley, painted with a sunset scene with sailing boats at bay, with wood-lined interior, stamped pattern no. 0888 16cm x 15.5cm

£400-600

422 ATTRIBUTED TO CHARLES FLEETWOOD VARLEY FOR LIBERTY & CO., LONDON ARTS & CRAFTS PEWTER AND ENAMEL CIGAR BOX, CIRCA 1885 with hammered finish and applied foliate medallions, the cover inset with an enamel panel depicting boats in a harbour, later inscribed with golf related prize and date September 28th 1906, stamped maker’s mark 0145 27.5cm wide

£400-600

137

423 JOHN PEARSON (BRITISH FL. 1885 - 1910) FOR LIBERTY & CO., LONDON ARTS & CRAFTS ‘MEDIAEVAL’ COPPER CANDLE SCONCE, CIRCA 1900 repoussé- decorated with opposed birds on a beaten ground above a single sconce 29cm high Literature: Bennett, Daryl Liberty’s Furniture, Woodbridge 2012, p. 179, pl. 5.51 where this sconce is illustrated in the Liberty & Co. Yuletide Gifts catalogue of 1901

£300-500

424 LIBERTY & CO., LONDON ARTS & CRAFTS ‘DOMESTIC GOTHIC’ WALNUT CENTRE TABLE, CIRCA 1895 the octagonal moulded top on curved cross supports linked by stretchers 92cm diameter, 74cm high Literature: Bennett, Daryl Liberty’s Furniture, Woodbridge 2012, p.127, pl. 4.83 where a similar table is illustrated within an interior in a Liberty & Co. Handbook of Sketches entitled Hall Domestic Gothic, dated 1894

£400-600

425 LIBERTY & CO., LONDON OAK SIDE CHAIR, CIRCA 1910 the curved blind fretwork top rail above spindle back drop-in seat and barley twist legs

426

47.5cm wide, 100cm high, 42cm deep

CONTINENTAL SCHOOL

£300-500

GROUP OF ART NOUVEAU GLASS VESSELS, EARLY 20TH CENTURY to include THREE VASES, each of tapering form with wavy rims and trailed green ‘peacock’ inclusions, 13cm high; and ANOTHER SMALLER, of similar decoration, 9.5cm high; and TWO CZECH OPALESCENT GLASS VASES, each with pinched rims and applied trailing decoration in purple, largest 16.5cm high; together with TWO LOETZ STYLE OPALESCENT GLASS BOTTLE VASES, in green and milky white marbled glass with applied swirling decoration, 17cm high (8) £200-300

427 ARCHIBALD KNOX (1899-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ PEWTER CANDLESTICKS, CIRCA 1900 each with stamped maker’s marks ENGLISH PEWTER/ 0221, 14cm high; and a ‘TUDRIC’ BULLET-SHAPED PEWTER VASE, DESIGNED BY ARCHIBALD KNOX, 18.5cm high (3) £200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

138

139

428 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘FISH’, FLAMBÉ FOOTED BOWL, CIRCA 1935 decorated with swimming fish and covered with a flambé glaze, painted signature W. MOORCROFT, impressed maker’s marks and facsimile signature 26cm diameter

£1,000-1,500

429 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘FISH’, GINGER JAR & COVER, CIRCA 1935 decorated with swimming fish, painted signature W. MOORCROFT, impressed maker’s marks and facsimile signature 27cm high

£1,500-2,500

430 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘FISH’, FLAMBÉ VASE, CIRCA 1925 decorated with swimming fish and covered with a flambé glaze, painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ MADE IN ENGLAND 22cm high

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

140

431 WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON ‘POMEGRANATE’ PEWTER MOUNTED TAZZA, CIRCA 1920 stamped maker’s marks H/ MADE IN ENGLAND/ TUDRIC/ MOORCROFT/ 01343 25.5cm diameter

£300-500

432 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘BIG POPPIES’ SHOULDERED VASE, CIRCA 1920 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ MADE IN ENGLAND 26cm high

£400-600

433 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘WISTERIA’ BALUSTER VASE, CIRCA 1935 impressed mark, signed in green, 33cm high; and a ‘LEAF AND BERRY’ TAPERING VASE, covered in a f lambé glaze, impressed facsimile mark, signed in blue, 20.5cm high, restored (2) £400-600

434 RACHEL BISHOP FOR MOORCROFT POTTERY PAIR OF ‘MARINKA’ PATTERN VASES, DATED 2003 each of ovoid form, decorated with flowers on a cream and blue ground, painted and impressed maker’s marks, editions 242 and 237 of 300 (2) 37cm high

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

141

435 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘FISH’ BOTTLE VASE, CIRCA 1925 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ MADE IN ENGLAND 30.5cm high

£2,000-3,000

436 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘FISH’ CIRCULAR BOWL, CIRCA 1925 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ MADE IN ENGLAND 25cm diameter

£300-500

437 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘MOONLIT BLUE’ BOWL, CIRCA 1925 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ MADE IN ENGLAND 24cm diameter

£300-500

438 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PANSIES’ FLARED BOWL, CIRCA 1935 painted initials W. M., impressed maker’s marks with facsimile signature, MADE IN ENGLAND 31.5cm diameter

£200-300

142

439 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘DAWN LANDSCAPE’ FOOTED BOWL, CIRCA 1935 depicting a large tree in a landscape decorated in blue and white, signed with initials to base W. M., impressed factory marks, 17.7cm diameter; and a MOORCROFT POTTERY ‘ANEMONE’ ASHTRAY, of circular form with flambé glaze, stamped factory marks, 11.5cm diameter (2) £300-500

440 MOORCROFT POTTERY & DENNIS CHINA WORKS GROUP OF FIVE WARES, EARLY 20TH CENTURY comprising an OVOID VASE, with painted initials WM, 23cm high; an ‘ORCHIDS’ VASE, with painted initials WM, 18cm high; and a ‘CLEMATIS’ VASE, 14.5cm high; together with a GINGER JAR & COVER, 11cm high, all with impressed maker’s marks; and a DENNIS CHINA WORKS CERAMIC JAR & COVER, after a design by William Morris, decorated with an all over design of scrolling foliage, with printed factory mark DENNIS CHINA WORKS/ rmc 96 and painted marks D.C.W./ AFTER W.M./ VMW/ NO 1, 13cm diameter, 10cm high (5) £200-300

441 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY GROUP OF THREE VASES, EARLY 20TH CENTURY comprising a ‘PANSIES’ BOTTLE VASE, impressed factory marks and painted signature W. MOORCROFT, 21cm high; a ‘PANSIES’ SMALL BOWL, of baluster form, impressed factory marks, 7cm high; and a PERSIAN BOTTLE VASE, of squat baluster form, decorated with reserves of flowers on a blue ground, impressed factory marks MOORCROFT/ BURSLEM / ENGLAND, painted signature W. MOORCROFT, 26cm high (3) £200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

143

442 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘FISH’ JUG, CIRCA 1930 painted initials W. M. 20cm high

£300-500

443 WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON ‘CLAREMONT’ BOWL, CIRCA 1910 painted signature W. MOORCROFT, printed marks RD. NO. 420081/ MADE FOR LIBERTY & CO. 26cm diameter

£400-600

444 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ BALUSTER VASE, CIRCA 1918 painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND 17.5cm high; together with a ‘PANSIES’ POSY VASE, CIRCA 1915, painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM, 10.5cm high; and a ‘PLUM WISTERIA’ SHOULDERED VASE, CIRCA 1918, painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND, 18.5cm high (3) £400-600

144

§ 445 BENNO SCHOTZ (1891-1984) STANDING FIGURE OF A MAN bronze, signed in the bronze BENNO SCHOTZ, raised on a wooden plinth 13.5cm high (excluding base)

£400-600

446 HELLA UNGER BRONZE HEAD OF A BOY mid-brown patina, raised on a marble base, signed HELLA UNGER/ 844/ 107 32cm high (including base)

£400-600

§ 447 BENNO SCHOTZ (1891-1984)

§ 448 BENNO SCHOTZ (1891-1984) STANDING FIGURE OF A MAN plaster maquette with bronze patination, signed BENNO SCHOTZ 32cm high

SILVER RECUMBENT FEMALE NUDE, EDINBURGH 1923 signed and dated BENNO SCHOTZ/ 1923, stamped maker’s mark for Brook & Son, Edinburgh, hallmarked Edinburgh 1923, raised on a turned ebonised plinth 12cm diameter

£600-800

£250-350

449 NO LOT Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

145

§ 450 KARIN JONZEN (1914-1998) RECLINING NUDE terracotta, signed K. JONZEN 15.5cm wide

£200-300

§ 451 HAROLD JAMES YOUNGMAN (1886-1968) PAINTED PLASTER FIGURE OF SIRENE, EARLY 20TH CENTURY raised on a painted faux marble plinth, signed to the base H. YOUNGMAN, 32.5cm high overall; together with EDWARD CARTER PRESTON (1885-1965) ATHENA GODDESS OF WAR, patinated plaster, stamped maker’s mark to base E. CARTER PRESTON, 59cm high overall (2) £300-500

§ 452 AGNES YARNALL (1904-1998) HUNTER bronze, mid-brown patina, signed to base A. YARNALL/ C 1 63cm high

£600-800

146

§ 453 SYDNEY MARCH (1876-1968) FIGURE OF A SOLDIER, DATED 1900 bronze, mid-brown patina, signed to base SYDNEY MARCH. SC/ LONDON SEP 1900, bearing inscription KIMBERLEY 1900/ COPYRIGHT ELKINGTON & CO. LTD/ 170

454 RANDOLPH CALDECOTT (1846-1886)

22.5cm high

‘A HORSE FAIR IN BRITTANY’, CIRCA 1876

£300-500

bronze plaque, signed upper right RC, framed 16cm x 36cm Note: A version of this work was exhibited at the Royal Academy, 1876

£200-300

455 JOHN MACALLAN SWAN (1847-1910) HEAD OF A BEAR bronze, dark brown patina, raised on a graduated green marble plinth base, signed J. M. S. 6.5cm high (excluding base), 15.5cm high overall

£200-300

456 REGINALD FAIRFAX WELLS (1877-1933) ‘PUTTING THE SHOT’ bronze, modelled as a male nude figure throwing a shot put, signed on base WELLS 32cm high

£1,800-2,200

457 WILLIAM REYNOLDS STEPHENS (1862-1943) HEAD OF A YOUNG GIRL bronze, dark-brown patina, raised on a tapering marble plinth base, signed R.S, 28.5cm high overall, 11.5cm high (excluding base); together with ALFRED BERTRAM PEGRAM (1873-1941) HEAD OF A YOUNG BOY, silvered bronze, indistinctly signed A. BERTRAM PEGRAM, raised on a green marble plinth base, 21.5cm high overall, 11cm high (excluding base) (3) £300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

147

148

458 GLASGOW SCHOOL PAIR OF ARTS & CRAFTS BRASS CANDLESTICKS, CIRCA 1900 with square sconces above repoussé columns depicting Celtic knots, raised on square bases (2) 31cm high

£300-500

§ 459 HELEN C. YUILL CANTERBURY PILGRIMS pencil, watercolour and gouache, signed and dated lower right HELEN C. YUILL, 1931, bears label verso *RBURY PILGRIMS/ HELEN C. YUILL/ MEADOWWELL/ FALKIRK, framed 78cm x 78cm Note: Helen Yuill won the Newbury medal at Glasgow School of Art in 1931. The Newbury medal commemorated the service of Fra H. Newbury and was awarded by the governors of Glasgow School of Art each year to the most distinguished student who completed the Diploma course.

£600-800

460 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 196cm x 121.5cm

£400-600

461 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 196cm x 121.5cm

£300-500

149

462 ALEXANDER RITCHIE (1856-1941) SILVER NUNNERY PENDANT CROSS AND CHAIN, CIRCA 1930 the cross cast and chased with a Celtic knot design, the chain with spacers cast with longboats to one side and crosses to the reverse, stamped maker’s mark to cross AR/ IONA cross 7cm long, chain 55cm long Literature: MacArthur, Mairi E. Iona Celtic Art: The Work of Alexander and Euphemia Ritchie, Iona 2003, p. 38 where a similar cross is illustrated. Note: Ritchie based this design on a similar long-shafted cross design found on a slab in the Nunnery at Iona.

463

£400-600

ALEXANDER RITCHIE (1856-1941) CELTIC REVIVAL SILVER CROSS PENDANT, HALLMARKED 1930 the pendant cast with entwined knotwork decoration, with heavy chain and elliptical spacers cast with crosses and longboats, stamped maker’s marks A.R./ IONA, hallmarked Glasgow 1930 length of pendant 6cm long; length with chain 80cm long

£700-900

464 ALEXANDER RITCHIE (1856-1941) SILVER CELTIC CROSS PENDANT, CHESTER 1907 the cross formed of interlaced Celtic knotwork with integral suspension, stamped maker’s marks AR/ IONA, hallmarked Chester 1907, bears later inscription verso B.E.B./ MARCH 4TH/ 1ST APRIL 1923 8cm long

£400-600

465 ALEXANDER RITCHIE (1856-1941) CELTIC REVIVAL BRASS WALL MIRROR, CIRCA 1900 of rectangular outline, the mirrored plate enclosed by a brass frame, repoussé-decorated with stylised flora and wave pattern with entwined Celtic knotwork 34cm x 57cm Literature: E. Mairi MacArthur Iona Celtic Art: The Work of Alexander and Euphemia Ritchie, Iona 2003, p. 27, plates 3A, 3B and 3C.

£400-600

466 GLASGOW SCHOOL ARTS & CRAFTS CELTIC REVIVAL BRASS WALL MIRROR, CIRCA 1910 of oval outline, repoussédecorated with Celtic motifs 41cm x 86cm

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

150

467 SIR ROBERT LORIMER (1864-1929) ARTS & CRAFTS FUMED OAK CENTRE TABLE, CIRCA 1920 the octagonal sectional top with pegged construction, above chamfered frieze on spirally turned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports 86cm diameter, 78cm high

£4,000-6,000

468 AFTER SIR ROBERT LORIMER ARTS & CRAFTS WROUGHT STEEL COMPANION SET, CIRCA 1930 comprising an ASH SHOVEL; a POKER; a PAIR OF COAL NIPPERS; and a BRUSH, on a characteristic STAND (5) Stand 51cm high

£400-600

469 SIR ROBERT LORIMER (1864-1929) TWO ARTS & CRAFTS OAK SINGLE BEDS, CIRCA 1910 by Scott Morton or Whytock & Reid, Edinburgh, each with carved detail by W. & A. Clow and having an arched headboard, supported by faceted and turned uprights, oak side rails and footboards and sprung bases, one headboard carved in relief with the Virgin & Child, 139cm high, 86cm wide, 197cm long, the other carved with an angel holding a coat of arms, 86cm wide, 116cm high, 197cm long (2) Provenance: Sir Robert Lorimer, 54 Melville Street, Edinburgh Gibliston, Fife thence by direct descent until recently at Kellie Castle, Fife (on loan) Note: These beds were designed by Sir Robert Lorimer for his son and daughter Hew and Daphne Lorimer.

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

151

470 ERIC GILL (1882-1940) WOODCUT ILLUSTRATION FOR ‘THE CANTERBURY TALES’, CIRCA 1930 framed, signed lower right in pencil, 25.5cm x 18cm; and FOUR WOODCUT ILLUSTRATIONS, of varying sizes, each depicting religious subjects; together with THREE FURTHER WOODCUTS, unframed, all signed lower right in pencil (8) £400-600

471 ERIC GILL (1882-1940) ‘HAMLET’, 1932 unframed woodcut, edition 4 of 25, signed lower right in pencil, 27cm x 17cm; and ‘THE HISTORY OF KING HENRY VIII’, 1937, unframed woodcut, edition 3 of 10, signed lower right in pencil, 38.5cm x 22.5cm; and ‘MAN THROWING SPEAR. TWO MEN WITH SPEARS’, unframed woodcut, edition 6 of 10, signed lower right in pencil, 23cm x 19cm; together with THREE FURTHER WOODCUT ILLUSTRATIONS, unframed, each depicting scenes from Shakespeare’s ‘Hamlet, Prince of Denmark’, each signed lower right in pencil (6) £300-500

152

472 FRED FOSTER COTSWOLDS SCHOOL WALNUT EXTENDING OCCASIONAL TABLE, CIRCA 1940 the rectangular hinge-top raised on chamfered square supports linked by stretchers 30cm wide closed, 91cm wide open, 57cm high, 57cm deep Literature: Greensted, Mary The Arts & Crafts Movement in The Cotswolds, Alan Sutton Publishing Ltd. 1993, p. 173. pl. 12.3 illus.

£300-500

473 GORDON RUSSELL (1892-1980) FOR STEVENS & WILLIAMS SUITE OF ‘LYGON’ ARTS & CRAFTS GLASSWARE, CIRCA 1900 comprising a JUG; FOUR BOWLS; a SERVING TAZZA; FIVE LIQUOR GLASSES; FIVE PORT GLASSES; and FOUR WINE GLASSES; each with wrythen decoration (20) jug 23cm high Literature: Carruthers, Annette & Greensted, Mary Simplicity or Splendour Cheltenham Museum & Art Gallery, p. 156 catalogue number 205 for comparable examples.

£400-600

474 GORDON RUSSELL (1892-1980) PAIR OF WALNUT BEDS, CIRCA 1930 each with panelled head and footboard, the headboard with serpentine arched frame, retains iron side rails (2) 107cm wide, 107cm high, 202cm long

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

153

475 ERNEST GIMSON (1864-1919) LARGE COLLECTION OF PHOTOGRAPHS OF HIS WORK, EARLY 20TH CENTURY to include images of interiors, furniture and metalwork and including views and interiors of The Leasowes and Daneway House, Sapperton, Gloucestershire; Cottages at Kelmscott (for May Morris), workshop etc., silver gelatin prints, between 200 x 150mm and 105 x 135mm, some bearing inscriptions verso in pencil with clients’ names, photographer’s initials, locations etc. (220) Note: Rather than produce extensive illustrated catalogues to promote his designs, Gimson employed Dennis Moss of Cirencester to capture high quality photographs of his work. Many of these were sent to potential clients, often with Gimson’s own handwritten details including prices and instructions for their return. Similar photographs exist in the De Montfort University Archives and Special Collections, GB 3071 D/038/A

£800-1,200

476 ATTRIBUTED TO GORDON RUSSELL SET OF SIX COTSWOLDS SCHOOL OAKFRAMED ARTS & CRAFTS LADDERBACK CHAIRS, CIRCA 1920 including two carvers, each with rush seats (6) carver 59cm wide, 105cm high, 51cm deep

£500-800

477 SIR FRANK BRANGWYN (1867-1956) ‘THE STEAM TRAIN’ signed in pencil lower left, inscribed on mount, lithographic print, framed 61cm x 80cm

£300-500

154

478 ARTHUR W. SIMPSON (1857-1922), KENDAL TWO ARTS & CRAFTS OAK SERVING TRAYS, CIRCA 1920 each of galleried rectilinear form, one with pierced handles, 57cm x 30cm; the other with inlaid banding, 66.5cm x 34cm (2) £200-300

479 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK DRESSING CHEST, CIRCA 1910 the rectangular top with leaf-carved edge and chamfered dividing upstand above two graduated drawers with characteristic bronze handles 99cm wide, 91.5cm high, 49cm deep

£500-800

480 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK CHEST OF DRAWERS, CIRCA 1910 with two short over three long graduated drawers each with cedar lining and characteristic bronze handles 97cm wide, 101cm high, 50cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

155

481 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK WALL CABINET, CIRCA 1910 the moulded corners above leaf-carved frieze and a single door with carved panel and copper handle, stamped RATHBONE 75cm wide, 39.5cm high, 21cm deep

£600-800

482 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS MAHOGANY SIDE TABLE, CIRCA 1910 the canted rectangular top with carved edge above two doors, each with handles stamped RATHBONE/566, and raised on square chamfered legs 107cm wide, 71cm high, 52cm deep

£700-1,000

483 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK DOUBLE BED, CIRCA 1920 with slatted head and footboards, the footboard with additional panelled frieze 108cm wide, 143cm high, 203cm long

£600-800

156

484 ERIC GILL (1882-1940) ‘BELLE SAUVAGE’, CIRCA 1925 unframed woodcut, signed lower right in pencil, 9.5cm x 14cm; and ‘DIVINE LOVERS: 1’, woodcut, 10/25, signed lower right in pencil, framed, 16cm x 12.5cm; together with ‘GOD SENDING’ woodcut, unsigned, framed, 19cm x 14cm (3) £300-500

485 ERIC GILL (1882-1940) TWO WOODCUT ILLUSTRATIONS FOR ‘THE GREEN SHIP’, 1936 unframed, editions 11 and 12 of 12, each signed lower right in pencil, 28cm x 19cm; together with ‘AND’, unframed woodcut, edition 5 of 10, signed lower left in pencil, 13.5cm x 28cm (3) £150-250

§ 486 WILLIAM KERMODE (1895-1957) SIX LINOCUT PRINTS, CIRCA 1930 comprising AYYILER L’ABBE, 26cm x 36cm; THE MILLER’S SON, 27cm x 32.5cm; SCHWUR, 28cm x 33.5cm; AN ESSEX SIDESMAN, 28cm x 35cm; HIS OLD COMMAND, 28cm x 33cm; and COCKLE GATHERERS, 29cm x 33.5cm, all mounted and signed in pencil lower right; also CLARE LEIGHTON ‘THE RETURN OF THE NATIVE’ woodcut print, 27/30, mounted and signed in pencil lower right, 14cm x 10cm; together with ENGLISH SCHOOL ‘WHITE RABBIT’, watercolour and bodycolour, signed lower right with initials JED, 13.5cm x 10cm (8) £250-350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

157

§ 487 GWEN RAVERAT (1885-1957) GROUP OF WOODBLOCK ETCHINGS to include DANCING BOYS, signed and inscribed in pencil, 23.5cm x 32.5cm; HARVEST BY THE SEA, signed and inscribed in pencil, 10.5cm x 17cm; BOYS BATHING, signed and inscribed in pencil, 11cm x 16cm; BOLSHEVISTS ASSENT, signed and inscribed in pencil, 16.5cm x 15.5cm; AUGUST, inscribed, 9cm x 12cm; and another in the same frame, signed in pencil, 9.5cm x 11.5cm (5) £400-600

§ 488 ROBERT GIBBINGS (1889-1958) ‘CARYATID’ WOODCUT ENGRAVING, CIRCA 1925 edition of 50, signed lower right in pencil, mounted, 12cm x 10cm; and ‘WILLIAM PENNEFATHER’ woodcut in blue, signed lower right in pencil, mounted, 7cm x 6cm; and TWO FURTHER WOODCUTS, unframed, each signed lower right in pencil; together with ‘DAS RHEINGOLD SCENE 1’ woodcut by Paul Nash, mounted, signed lower right in pencil, 10cm x 11cm (5) £200-300

158

489 WORKSHOP OF ROBERT ‘MOUSEMAN’ THOMPSON PAIR OF OAK TRIPLE MICE BOOKENDS, CIRCA 1970 each carved with three mice, and with tooled finish (2) 18cm high

£1,000-1,500

490 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) CIRCULAR OAK BOWL, CIRCA 1945 with tooled surface, carved to the side with a mouse 23.5cm diameter

£300-400

491 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LARGE OAK TABLE LAMP, CIRCA 1935 of tapering form with tooled finish and carved mouse 31cm high to fitting

£400-600

492 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK BREAD BOARD, CIRCA 1950 of canted rectangular form, with moulded rim and carved mouse 31cm across

£100-200

493

494

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

WORKSHOP OF ROBERT ‘MOUSEMAN’ THOMPSON

OAK CHEESE BOARD, CIRCA 1940

LARGE OAK BOWL, CIRCA 1980

of oval form with adzed surface and carved mouse

with tooled finish, centred with a carved mouse

37.5cm long

29.5cm diameter

£300-400

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

159

495 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) PAIR OF EARLY OAK AND BURR OAK SIDE CHAIRS, 1930S each with burr oak back panels and latticed leather seats, carved mouse signature (2) 45.5cm wide, 90cm high, 48cm deep Note: For similar chairs see Lot 200 The Horlicks Collection, Sworders, sold 9th October 2018

£1,000-1,500

496 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK CORNER CABINET, CIRCA 1950 with single leaded and glazed door, enclosing glass shelves, with panelled cupboard below and craved mouse signature 65cm wide,187.5cm high, 46cm deep

£1,000-1,500

497 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK SIDEBOARD, CIRCA 1935 the rectangular top above two panelled cupboards, opening to a shelved interior 121.5cm wide, 92cm high, 50cm deep

£1,000-1,500

160

498 PAUL NASH (1889-1946) AVEBURY - LANDSCAPE OF THE MEGALITHS 1937 lithograph, published by Contemporary Lithographs Ltd., London, 1937, signed in pencil lower right PAUL NASH and signed in the plate lower left PAUL NASH, framed 51cm x 77cm

£1,000-1,500

§ 499 EDWARD ARDIZZONE (1900-1979) ORIGINAL ILLUSTRATION ‘THE JURY OR THERE’S ALWAYS A CHANCE’ pen and ink, inscribed lower centre THE JURY/ OR/ THERE’S ALWAYS A CHANCE, framed 24cm X 16.5cm Literature: Cecil, Henry Brief to Council, Michael Joseph Ltd., 1958, illus p. 185

£400-600

§ 500 THOMAS HEATH ROBINSON (1869-1954) HAIL, THOU QUEEN OF THE WORLD... pen and ink, signed lower right T.H. ROBINSON, bears labels verso with inscription HAIL, THOU QUEEN OF THE WORLD/ RED WITH THE ROSES OF THE MARTYRS/ AND WHITE WITH THE LILIES OF THE VIRGINS, framed 36cm x 22.5cm Provenance: With J.S. Maas & Co., Ltd.

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

161

501 CLAUD LOVAT FRASER (1890-1921) ‘THE QUEEN OF HEARTS’ COSTUME DESIGN ink, pencil and watercolour on paper, mounted on card, signed and dated lower right CLAUD FRASER/ JANY 1921, with inscription COLISEUM/ NURSERY RHYMES/ BALLET/ JANY. 1921/ DESIGN FOR DRESS/ MME: KARSAVENA AS “THE QUEEN OF HEARTS”, framed 47.5cm x 32cm

£500-800

§ 502 MICHAEL AYRTON (1921-1975) ‘PUCK’ COSTUME DESIGN, 1946 pen and ink, watercolour and bodycolour, signed and dated in pen lower left MICHAEL AYRTON 46, framed 25cm x 46cm

£300-500

§ 503 MICHAEL AYRTON (1921-1975) ‘AUTUMN’ COSTUME DESIGN pen and ink, watercolour and bodycolour, signed and dated lower left MICHAEL AYRTON 1946, inscribed AUTUMN PRINCIPAL DANCER, framed 25cm x 20cm

£300-500

§ 504 OSBERT LANCASTER (1908-1986) COSTUME DESIGN FOR ‘THE RAKE’S PROGRESS’ bodycolour, framed 26.5cm x 19cm

£300-500

162

163

505 DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD ‘POPLAR TREES’, A FAIRYLAND FLAME-LUSTRE FOOTED BOWL, CIRCA 1925 decorated to the exterior with ‘Poplar Trees’ design with a flame sky, and to the interior with ‘Woodland Bridge’, the centre roundel with ‘Mermaid’, printed in gilt and with four printed artist’s monogram marks to the interior, printed and painted maker’s marks to base Z5360 24cm diameter

£1,500-2,500

506 HEAL & SONS, LONDON PAIR OF OAK SIDE CHAIRS, CIRCA 1930 each with ladder back above later upholstered seat covers, raised on square legs linked by an H stretcher, bear ivorine maker’s label and incised mark AJ to seat rails (2) 45cm wide, 89cm high, 46.5cm deep

£200-300

507 HEAL & SON, LONDON ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1920 the circular quarter-sawn top, raised on square legs and linked by a cross stretcher, bears maker’s label under top 121cm diameter, 72.5cm high

£700-900

508 ATTRIBUTED TO HEAL & SON, LONDON OAK BOOKCASE CABINET, CIRCA 1930 the glazed doors opening to a shelved interior, raised on ball feet 122cm wide, 113cm high, 36cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

164

§ 509 DUNCAN GRANT (1885-1978) ‘SAPHO’, DESIGN FOR A DINNER PLATE watercolour and pencil, later framed with exhibition label verso 25.5cm diameter Provenance: Anthony d’Offay Sally Hunter Fine Art Limited, London Purchased by Lady Dundee Literature: Design & Decoration 1910-1960 (London: Spink, 1991), pp. 36-37. where designs from the service are illustrated Omega and after: Bloomsbury and the Decorative Arts, Thames & Hudson 1981, plate 49 illustrates the dinner service decorated by Vanessa Bell and Duncan Grant on Wedgwood blanks Note: The current lot is a design for a plate, which formed a large dinner service, commissioned from Vanessa Bell and Duncan Grant by Kenneth Clark, the late Lord Clark in 1932. The Famous Women Dinner Service was a 50-piece ceramic dish set featuring portraits of famous women from history, completed between 1932 and 1934. The subjects ranged from Hollywood star Greta Garbo to the Queen of Sheba to Marian Bergeron, who in 1933 became the youngest-ever Miss America at age 15.

£600-800

§ 510 CHARLES E. THOMAS (1883-1981) ‘DIANA’, DESIGN FOR BRONZE FOUNTAIN patinated plaster, bears cast inscription DEORUM TIMETEIRAM, and label verso ‘DIANA’, DESIGN FOR BRONZE FOUNTAIN/ CHARLES E. THOMAS ARBSA/ MANOR PARK NORTH/ EDGBASTON/ BIRMINGHAM/ 16 panel 94cm x 51cm, including frame 119cm x 59cm

£500-700

§ 511

§ 512

513

CHARLES E. THOMAS (1883-1981)

ATTRIBUTED TO VANESSA BELL

ENGLISH SCHOOL

‘SPRING’

THE RIVER

patinated plaster plaque, depicting a female figure in profile, modelled in relief, 69cm x 35cm; and ‘VIRGINIA’, A ROUNDEL, bearing inscription VIRGINIA, 26cm diameter, both unmarked (2)

watercolour, signed in pencil lower right V BELL, inscribed on the mount VANESSA BELL, framed

ART DECO WOOL CARPET, CIRCA 1930

24.5cm x 34cm

323cm x 227cm

£500-700

£300-500

machine-woven with abstract geometric design

165

514 ALFRED DUNHILL, LONDON BRASS MOUNTED ‘AQUARIUM’ CIGARETTE LIGHTER, MID-20TH CENTURY the lucite panels decorated with a hunting and fishing scene, cast maker’s mark DUNHILL/ MADE IN ENGLAND/ PATENT NO 143752 7cm high

£3,000-5,000

515 AFTER CHARLES ROBINSON SYKES ROLLS ROYCE PHANTOM ‘SPIRIT OF ECSTASY’ MASCOT, 1929 solid nickel, indistinctly inscribed to base R R Ltd 6-2-11, cast marks under wings TRADE MARK REG and REG US PAT. OFF figure 13cm high

£250-350 Note: The majority of Phantom I mascots are marked Rolls-Royce Ltd Feb 6 1911, but in 1929 when the Phantom II was introduced the shape of the base, on all mascots, and the lettering around it changed to R R Ltd 6-2-11

516 ENGLISH SCHOOL ART DECO SILVER PLATE TWINHANDLED WINE COOLER, CIRCA 1930 of square canted form with central ice compartment and four bottle receptacles 33cm wide, 22cm high

£200-300

517Y ENGLISH SCHOOL ART DECO ROSEWOOD AND CHROMEMOUNTED TROLLEY, CIRCA 1935 with two glazed tiers 74.5cm wide, 74.5cm high, 42cm deep

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

166

§ 518 NORMAN JOHN FORREST (1898-1972) TORSO carved wood, bears paper label to underside 32cm high Exhibited: Royal Scottish Academy 1947

£300-500

§ 519 IAIN MCINTOSH (B. 1945) ‘DAPHNE’ 1995 oak, inscribed to rear leg IM ‘95 60.5cm (excluding base)

£200-300

520 ATTRIBUTED TO ASCHER LTD., LONDON RARE MODERNIST SCREEN PRINTED RAYON SATIN PANEL, CIRCA 1940 with repeat still-life pattern, reserved on a black ground 176.5cm x 122cm Provenance: Lyon & Turnbull, Edinburgh Textiles as Art: from the collection of Paul Reeves, 23rd February 2017, Lot 151

£600-800

521 ENGLISH SCHOOL TOOLED VELLUM PANEL, MID-20TH CENTURY inscribed with the Lord’s Prayer in Latin and tooled in gilt on vellum, framed 28.5cm x 19cm

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

167

522Y DEMETRE H. CHIPARUS (1886-1947) ‘WINDY DAY’ BRONZE AND IVORY FIGURE, CIRCA 1920 with gilded embellishments raised on a white onyx base, founders mark to base ETLING/ PARIS 19.5cm high

£1,000-1,500

523Y ATTRIBUTED TO JOSEF LORENZL ART DECO BRONZE, IVORY AND ENAMELLED FIGURE, CIRCA 1925 modelled as a dancer, and raised on a turned green onyx base with square plinth 32cm high

£800-1,200

524 JOSEF LORENZL (1892-1950) ART DECO SILVERED BRONZE FIGURE, CIRCA 1925 depicting a naked female dancer, signed and inscribed in the bronze LORENZL/ MADE IN AUSTRIA, raised on an onyx base 14cm high

£200-300

168

525 EDOUARD BÉNEDICTUS (1878-1930) ‘RELAIS’, PARIS: ÉDITIONS VINCENT, FRÉAL & CIE, 1930 large 4to (47.5 x 37.6cm), 2ff. text (title page and preface), 15 pochoir prints, loose and contained within original card folder with pochoir design on front cover Note: Edouard Bénedictus was an influential French designer of textiles and wallpaper of the Art Deco period.

£600-800

526 M. OFFNER ART DECO COPPER FLOOR LIGHT, CIRCA 1925 with silver and brass geometric design, the turned shade on knopped column and spreading base with corresponding decoration, bears signature to base M. OFFNER

527

29cm wide, 168cm high

MARCEL GUILLARD FOR EDITIONS ETLING, PARIS

£400-600

LARGE CERAMIC FIGURE, CIRCA 1920 impressed maker’s marks MARCEL GUILLARD/ EDITIONS ETLING/ PARIS/ FRANCE, crack to base 61cm high

£200-300

528 FRENCH SCHOOL ART DECO MAHOGANY DINING ROOM SUITE, CIRCA 1930 comprising a SET OF SIX CHAIRS, each with horizontally fluted backs above drop-in seats and square tapered legs, 45cm wide, 86cm high, 43cm deep; a DINING TABLE, with rectangular section supports, 164cm long, 76cm high, 106cm deep; a SIDEBOARD, with rectangular marble top above four central drawers flanked by cupboards on a plinth, 196cm wide,101cm high, 50cm deep; a SMALL SIDE TABLE, with single drawer, 51cm wide, 81cm high, 34cm deep; and a DISPLAY CABINET, with marble top over a single door enclosing shelves with a mirrored back, above two drawers on a platform base, 93cm wide, 136cm high, 48cm deep (10) £500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

169

§ 529 RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER ORIGINAL FABRIC DESIGN, DATED 1917 pen and ink, collage, inscribed in pencil 1 NOIR PLOMBINE/ 1 NOIR MAT FOND/ 51586/ RENTIR LE MARDI 26 SEPT 1917/ NO 1878; together with TWO FURTHER TEXTILE DESIGNS BY RAOUL DUFY FOR BIANCHINI-FÉRIER, gouache and watercolour, each mounted in a single frame, 22cm x 16cm each (3) Provenance: ‘Two Centuries of Design: The Bianchini-Férier Collection’ Christies, London, 25-27th July 2001

£700-1,000

Note: Dufy was a painter who had exhibited with the Fauves and first began to design textiles for Paul Poiret in 1911. From 1912 until 1930 he designed woven and printed textiles for the silk manufacturers BianchiniFérier. He created a range of lively fabrics in bright colours, many of which were bought by leading couturiers such as Lanvin, Patou and Poiret.

530 ATTRIBUTED TO ANDRÉ ARBUS BRASS AND STEEL STANDING CANDELABRA, CIRCA 1940 with four curved candle branches on a ring-turned column with quadruped base 35cm wide, 161cm high

£400-600

531 JULES LELEU (1883 –1961) ART DECO BURR WALNUT ARMOIRE, 1930S with three doors, enclosing a fully veneered and fitted interior of drawers and shelves, the angles embellished with shaped fins with brass cappings, the whole raised on brass capped outswept bracket feet 210cm wide, 170cm high, 53cm deep

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

170

532 RENÉ LALIQUE (1860-1945) ‘SOLEIL’ OPALESCENT GLASS PLAFONNIER, DESIGNED 1926 wheel-engraved maker’s marks R. LALIQUE/ FRANCE 32cm diameter

£1,000-1,500

533 RENÉ LALIQUE (1860-1945) TWO ‘COQUILLES’ OPALESCENT GLASS BOWLS, INTRODUCED 1924 the undersides moulded with four scallop shells, with etched maker’s mark R. LALIQUE/ FRANCE (2) largest 21cm diameter; the other 13cm diameter

£200-300

171

534 RENÉ LALIQUE (1860-1945) ‘FORMOSE’ GREEN GLASS VASE, DESIGNED 1924 of ovoid form, moulded with fish, script etched marks R. LALIQUE/ FRANCE/ No. 934 17cm high

£1,000-1,500

535 RENÉ LALIQUE (1860-1945) ‘SOUCIS’ OPALESCENT BLUE GLASS VASE, DESIGNED 1932 the body moulded with flowers, with script etched mark R. LALIQUE 18cm high

£2,000-3,000

536 LALIQUE ‘BACCHANTES’ CLEAR AND FROSTED GLASS VASE, POST 1945 first introduced 1927, moulded with naked female figures, etched maker’s mark to foot rim LALIQUE/ FRANCE, with original box (2) 24cm high

£800-1,200

172

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

173

537

538

HARALD NIELSEN (1892-1977) FOR GEORG JENSEN

GEORG JENSEN (1866-1935)

PART CANTEEN OF SILVER ‘PYRAMID’ PATTERN FLATWARE, 1930S

STERLING SILVER PENDANT NECKLACE, MARKS FOR 1933-44

comprising 10 table knives, 10 dessert knives, 10 soup spoons, 10 table forks, 10 dessert spoons, 10 dessert forks, 9 grapefruit spoons, 2 carving knives, 2 carving forks, 2 salad servers, a sauce ladle, a pie fork and pie slice, 2 small butter knives, 6 table spoons, 10 fish knives, 10 fish forks, variously hallmarked with stamped maker’s marks and import marks for London 19311938 (mainly 1936-8 with one knife 1958), enclosed within an associated brass-mounted mahogany case comprising 4 fitted drawers (qty) £4,000-6,000

the entwined leafy pendant drop set with five blue cabochons, with fine link chain, stamped maker’s marks GJ/ 925 S/ STERLING/ DENMARK pendant 7.5cm long

£300-500

539 ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN 18 CARAT GOLD BROOCH, CIRCA 1935 designed with a kneeling deer amongst stylised flowers, within an oval frame, stamped maker’s marks GJ/ 18K/ 765/343 4.5cm wide

£300-500

540 GEORG JENSEN (1866-1935) STERLING SILVER AND AGATE BRACELET, MARKS FOR 1933-44 comprising four agate links and two further links with stylised flowers, set with two agates and four green cabochons, with link spacers, stamped maker’s marks GJ (twice)/ STERLING/ DENMARK/ 925/ 34 17.5cm long

£300-500

541 GEORG JENSEN (1866-1935) STERLING SILVER NECKLACE, POST 1945 comprising sixteen foliate links set with twenty-four blue cabochons, with link spacers, stamped maker’s marks GEORG JENSEN/ STERLING/ DENMARK/ 25 41cm long

£400-600

542 GEORG JENSEN (1866-1935) STERLING SILVER BRACELET, POST 1945 comprising six links in bird and foliate motifs, set with nine oval cabochons, stamped maker’s marks GEORG JENSEN/ STERLING/ DENMARK/ 32 18cm long

£500-800

174

543 HARALD NIELSEN (1892-1977) FOR GEORG JENSEN STERLING SILVER VASE, CIRCA 1930 of cylindrical form with flaring rim and faceted foot, stamped maker’s marks GEORG JENSEN/ 925S/ DENMARK STERLING/ DESSIN HN 13.5cm high

£500-800

544 ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN STERLING SILVER BROOCH, POST 1945 depicting a bird on a fern frond, stamped marks GEORG JENSEN/ STERLING/ DENMARK/ 309, 5cm wide; and another STERLING SILVER BROOCH, CIRCA 1940, depicting a songbird above fern fronds, stamped maker’s marks GEORG JENSEN/ STERLING/ DENMARK/ 258, 4cm wide (2) £300-500

545 ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN PAIR OF CUFFLINKS, CIRCA 1969 the terminals of circular outline, depicting a horse-head motif, stamp marks 925 S/DENMARK/GEORG JENSEN/63 ; with a matching TIE PIN; together with a FURTHER PAIR OF CUFFLINKS, by Harald Nielsen, the circular terminals with ship motif, stamped marks GEORG JENSEN/925 S/DENMARK/50; together with a matching TIE CLIP (4) £250-350

546 FLEMMING ESKILDSEN (B. 1948) FOR GEORG JENSEN PAIR OF 18CT GOLD CUFFLINKS, CIRCA 1966 the rectangular terminals of plain design, stamped marks GEORG JENSEN/750 18K/DENMARK/1084 (2) £200-300

547 HARALD NIELSEN (1892-1977) FOR GEORG JENSEN PAIR OF AMETHYST CUFFLINKS

548 GUNDORPH ALBERTUS (18871969) FOR GEORG JENSEN RARE IRON LETTER OPENER, EARLY 20TH CENTURY with white metal inlaid fan motifs, stamped GEORG JENSEN, with designer’s monogram GA 21cm long

£200-300

each squared terminal set with an amethyst sugarloaf-cabochon, stamp marks 925 S/DENMARK/GEORG JENSEN/ 44H (2) £200-300

175

549

550

ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN

STERLING SILVER NECKLACE, POST 1945

STERLING SILVER PENDANT, POST 1945

the circular pendant decorated with opposing butterflies, with fine link chain, stamped maker’s marks GEORG JENSEN/ STERLING/ DENMARK 105, pendant 5.5cm diameter; and a GEORG JENSEN BROOCH, designed by Arno Malinowski, depicting a deer and squirrel amongst foliage, stamped maker’s marks GEORG JENSEN/ STERLING/ DENMARK/318, 4cm square (2)

designed with a kneeling deer amongst stylised flowers, within an oval frame, with fine link chain, stamped maker’s marks GEORG JENSEN/ 925/ STERLING DENMARK/ 95, 4.4cm across; together with a GEORG JENSEN STERLING SILVER BROOCH, depicting a deer and squirrel amongst foliage, stamped maker’s marks GEORG JENSEN/ STERLING DENMARK/ 318, 3.6cm across (2)

£200-300

551

552

553

GEORG JENSEN, DENMARK

GEORG JENSEN (1866-1935)

STERLING SILVER BUCKLE, MARKS FOR 1933-44

STERLING SILVER BROOCH, POST 1945

PAIR OF CUFFLINKS, CIRCA 1964

5cm across

depicting a pair of leaping dolphins with fern frond and shell motifs within a heart, stamped maker’s marks GEORG JENSEN/ STERLING DENMARK/ 312, 4cm across; together with a STERLING SILVER CIRCULAR BROOCH, depicting a songbird and fern frond, stamped maker’s marks, GEORG JENSEN/ STERLING DENMARK/ 258, 4cm long (2)

£150-250

£200-300

the circular terminals with embossed bird motif, stamp marks GEORG JENSEN/STERLING/DEMARK/43; together with a GEORG JENSEN TIE CLIP, stamp marks 925 S/ DENMARK/ GEORG JENSEN/74A; a FURTHER PAIR OF CUFFLINKS, by Arno Malinowski, the circular terminals with charging bull motif, stamp marks GEORG JENSEN/925 S/DENMARK/71; and a matching TIE CLIP (4)

depicting two opposing birds behind fern fronds, stamped maker’s marks GJ (twice) 92*/ STERLING/ DENMARK/ 68

554

555

ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN

ARNO MALINOWSKI (18991976) FOR GEORG JENSEN

STERLING SILVER BROOCH, MARKS FOR 1933-44

STERLING SILVER BROOCH, CIRCA 1942

depicting a robin on a fern frond, stamped maker’s marks GJ/ STERLING DENMARK/ 309, 5cm across; together with a STERLING SILVER PENDANT, in the form of a bird amongst fern fronds within a heart, with fine link chain, stamped maker’s marks GJ/ 925/ STERLING DENMARK/ 97, pendant 4cm across (2)

of circular outline, depicting two butterflies amongst flowers, stamped marks GEORG JENSEN/952 S/DENMARK/283

£300-500

556 HENNING KOPPEL (1918-1981) FOR FOR GEORG JENSEN TWO PAIRS OF SILVER CRUETS, CIRCA 1960

5.5cm wide

stamped maker’s marks (4)

£200-300

8cm high

£150-200

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

176

557

558

559

557

560

JOHN S. SMITH

CLAUDE HENRY BUCKLE (1905–1973)

THE FIRTH OF CLYDE

FALKLAND PALACE

offset lithograph, c.1960, condition A-; not backed

lithograph, 1955, condition B+; not backed

40 x 25 in. (102 x 64 cm)

£200-300

40 x 25 in. (102 x 64 cm)

£200-300

560

558

561

JACK MERRIOTT (1901–1968)

ANONYMOUS

NORTHERN SCOTLAND, INVERSHIN

SCOTLAND FOR SKI-ING

offset lithograph, c.1952, condition B/ B+; backed on japan

offset lithograph, 1956, condition A-; not backed

40 x 25 in. (102 x 64 cm)

38 x 24 in. (97 x 61 cm)

£200-300

559 JACK MERRIOTT (1901–1968) RIVER FINDHORN offset lithograph, condition B+; not backed 40 x 25 in. (102 x 64 cm)

£200-300

561 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

177

562 JACK MERRIOTT (1901–1968) WEST HIGHLAND LINE lithograph, c.1957, condition B+; not backed 40 x 50 in. (102 x 125 cm)

£400-600

563 TERENCE CUNEO (1907-1996) TAY BRIDGE offset lithograph, 1957, condition B+; backed on japan 40 x 50 in. (102 x 125 cm)

£400-600

564 FRED TAYLOR (1875-1963) WELLS lithograph, c.1950, condition B; backed on japan 40 x 50 in. (102 x 125 cm)

£400-600

178

565

568

566

565

567

JOHN GILROY (1898-1985)

HARRY HUDSON RODMELL (1896-1984)

GUINNESS FOR STRENGTH lithograph, 1934, condition B+/A-; backed on linen

SHIP VIA HULL

30 x 20 in. (76 x 51cm)

40 x 25 in. (102 x 64 cm)

£400-600

£200-300

566

568

JOHN GILROY (1898-1985)

LESLIE CARR

MY GOODNESS MY GUINNESS

KENWOOD AND HAMPSTEAD HEATH

lithograph, condition B+; backed on linen

lithograph, c.1910, condition A-; not backed, framed

30 x 20in. (76 x 51cm)

£300-500

£800-1,200

lithograph, condition B+; not backed

567 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

179

570

569

571

ANONYMOUS

ROGER MARCEL LIMOUSE (1894-1990)

KEN WOOD AND HIGHGATE PONDS lithograph, condition A-; not backed, framed 30 x 20in. (76 x 51cm)

£800-1,200

570 FRANK NEWBOULD (1887 – 1951) EAST COAST TYPES, THE DONKEY BOY

571

THE FRENCH RIVIERA lithograph, 1965, condition A-; not backed, 39 1/2 x 24 1/2 in. (100 x 62 cm); together with FRANCE, VAL DE LOIRE, by Jacques Ceria Despierre, lithograph, 1963, condition A-; not backed, 39 1/2 x 24 1/2 in. (100 x 62 cm) (2) £200-300

lithograph, c.1930, condition B+; not backed 40 x 25 in. (102 x 64 cm)

£300-500

571

180

572

575

573

572

574

ADELIN CHARLES MOREL DE TANGUY (1857-1930)

L.F. DOMINIQUE

SAINT-RAPHAEL

offset lithograph, 1945, condition A-; backed on linen

lithograph, 1926, condition A-; backed on linen; together with UNION CASTLE LINE, anonymous, stuck on board, 101.5cm x 63cm (2)

ILE DE FRANCE

38 1/2 x 24 in. (98 x 61 cm)

£300-500

39 1/2 x 24 1/2 in. (100 x 62 cm)

£400-600

573

575

ERNEST-LOUIS LESSIEUX (1848–1925)

ROD REIDER

MENTON

PARIS, MONTMARTRE

lithograph, c.1907, condition A- ; not backed 40 x 25 1/2 in. (102 x 65 cm)

offset lithograph, c.1955, condition A-; not backed

£400-600

39 x 25 in. (99 x 64 cm)

£200-300 574 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

181

576

577

576 SOUPÇONS RENE PERON 1941, R.K.O. Radio Films, French, condition A-; backed on linen, framed 31 x 23 in. (79 x 59 cm)

£3,000-5,000

577 DR STRANGELOVE TOMI UNGERER (1937-2019) 1964, Columbia, US one sheet, condition A-; backed on linen 41 x 27 in. (104 x 69 cm)

£500-700

578 RESERVOIR DOGS MARC ZAREF DESIGN, NYC 1992, Cannes film festival style, US one sheet, condition A-; backed on linen 41 x 27 in. (104 x 69 cm)

£1,000-1,500 578

182

579

581

579 THE GODFATHER ANONYMOUS 1972, Paramount, British one sheet, condition A-; backed on linen 41 x 27 in. (104 x 69 cm)

£600-800

580 MEAN STREETS ANONYMOUS 1973, Warner Bros, US one sheet, condition A-; backed on linen 41 x 27 in. (104 x 69 cm)

£500-700

581 TAXI DRIVER ANONYMOUS 1976, US insert, condition A; backed on paper 36 x 14 in. (91 x 36 cm)

580

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

183

582

583

582 FROM RUSSIA WITH LOVE ANONYMOUS 1963, Eon, US one-sheet, style B, condition A-; backed on linen £300-500

583 SKILL, BRAINS AND GUTS / MUHAMMAD ALI ANONYMOUS 1975, re-release, US one-sheet, condition A-; backed on linen (Note this artwork is only used for this release) 41 x 27 in. (104 x 69 cm)

£600-800

584 THE JUNGLE BOOK ANONYMOUS 1967, Walt Disney, US one sheet, condition A-; backed on linen 41 x 27 in. (104 x 69 cm)

£800-1,200

584

184

585 THE BAYNARD PRESS FOR SCHOOL PRINTS LTD, LONDON GROUP OF FIVE POSTERS comprising ‘HARBOUR’, by Julian Trevelyan, 49.5cm x 76cm; ‘DRIFTER AND PADDLE STEAMERS’ by Felix Kerry, 49.5cm x 75.5cm; together with ‘FARMING SCENE’ by Kenneth Rowntree, 49.5cm x 75cm; ‘WINDOW PLANTS’ by John Nash, 49.5cm x 76cm; and ‘THE WRECK’ by Edward Ardizzone, 49cm x 76cm (5) £500-800

586 THE BAYNARD PRESS FOR LONDON TRANSPORT GROUP OF THREE POSTERS comprising ‘UNDERGROUND TO BETHNAL GREEN’ by Laurence Scarf, 101cm x 63cm; ‘WEEKEND WALKS’ by Clare Leighton, 102cm x 63.5cm; ‘THE COUNTRY NOW’ by Clare Leighton, 101cm x 63cm; together with ‘SHELTER SCENE’ by Edward Ardizzone, published by The Baynard Press for The National Gallery, 76cm x 101cm; ‘CHINGFORD’ by Tony Sarg, root number 35, printed by Johnson, Riddle & Co. Ltd, London, 75cm x 50.5cm; and ‘CROCUS TIME’ by Hawley Morgan, 75.5cm x 50.5cm (6) £300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

185

§ 587 SAX SHAW (1916-2000) ‘L’ARLESIEN’ WOOL TAPESTRY, DATED 1968 signed in the tapestry SHAW, inscribed verso L’ARLESIEN/ SAX SHAW/ 1968 141cm x 119cm

£800-1,200

186

§ 588 ALAN CAIGER-SMITH (B. 1930) LARGE STONEWARE TEAPOT painted artist’s monogram, brown and green brushwork decoration 26cm high

£150-250

§ 589 JOANNA CONSTANTINIDIS (1927-2000) GROUP OF THREE STONEWARE VESSELS each with textured bodies and impressed potter’s seal marks (3) largest 17cm high

£250-350

§ 590 SUTTON TAYLOR (B. 1943) PORCELAIN FOOTED LUSTREWARE BOWL decorated in orange, green and pink glazes, impressed potter’s seal mark, 19.5cm diameter; together with a JUDITH GILMOUR LARGE STONEWARE VESSEL, with a textured body decorated in orange and cream, apparently unmarked 37.5cm high; a TAKESHI YASUDA CREAMWARE ‘SQUIRREL’ JUG, with pinched rim, potter’s paper label to base, 19cm high; and PETER LANE PORCELAIN BOWL, unglazed, with graduated decoration in blue, orange, yellow and pink, with incised artist’s signature, 21.5cm diameter; and a CELADON GLAZED VASE, in the manner of Edmund de Waal, of tapering square form, indistinct mark to base, 16cm high (5) £350-450

§ 591 ALICE MACFARLANE FOR DRYMEN POTTERY STUDIO LARGE BOWL covered in a pastel green and lilac glaze depicting stylised flower petals, signed DRYMEN/ SCOTLAND/ ALICE 49cm diameter

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

187

592 MANNER OF WILLIAM WILSON STAINED, LEADED AND PAINTED GLASS PANEL, MID-20TH CENTURY painted and etched with the profile of a boy 32cm x 37cm

£300-500

§ 593 CHRISTOPHER S. ASTON TILE PANEL, DATED 1969 modelled and glazed ceramic, on a hessian mount, bears inscription verso CHRISTOPHER S. ASTON / 1969 / BAWTOY / YORKSHIRE, framed Panel 81.5cm x 32cm

£300-500

§ 594 DOUGLAS HOGG (B. 1948) THE THIN BLUE LINE, STAINED AND LEADED GLASS PANEL, 1990 signed in the panel DOUGLAS HOGG 52cm x 40.5cm

£200-300

§ 595 ATTRIBUTED TO DAVID LEACH (1911-2005) FOR LOWERDOWN POTTERY STONEWARE POT AND COVER, MID 20TH CENTURY decorated with an oak leaf pattern, impressed pottery seal mark, 12cm high; and a LOWERDOWN POTTERY BOWL, the interior with a brown matt glaze, impressed pottery seal mark, 14.5cm high; together with a HELEN PINCOMBE TEA BOWL, with tenmoku glaze in mottled grey and red, impressed potter’s seal mark, 10.5cm high (3) £250-450

188

596 MANNER OF GERALD SUMMERS PAINTED PLYWOOD CHAIR, CIRCA 1930 of simple planked construction (dropin seat lacking); 44.5cm wide, 80.5cm high, 41cm deep; and a BAUHAUS OVERPAINTED SIDE-CABINET by ERICH DIECKMANN, CIRCA 1925, with single drawer and cupboard below, 35cm wide, 68cm high, 35.5cm deep (2) £200-300

597 NO LOT

598 ALVAR AALTO (1898-1976) BIRCHWOOD CHAIR 65, CIRCA 1960 with circular seat on curved legs 38.5cm wide, 79cm high, 40cm deep

£200-300

599 MANNER OF GIO PONTI ITALIAN SCHOOL WALNUT DESK AND CHAIR, CIRCA 1950 the desk with black melamine top above kneehole and four drawers raised on tapered legs with brass caps, 95cm wide, 71cm high, 60cm deep; and MATCHING CHAIR, with vinyl-upholstered back and seat raised on corresponding tapered legs with brass caps, 43.5cm wide, 99cm high, 44cm deep (2) £500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

189

600 CAROLE SABISTON (BORN 1939) EMBROIDERED & APPLIQUÉD TEXTILE HANGING, CIRCA 1970 abstract forms in looped wools and mixed threads with appliqué work, reserved on a puce ground, signed SABISTON 422cm x 198cm

£600-800

§ 601 SIR PETER SCOTT (1909-1989) “BLACKBOARD” SKETCHES FOR A LECTURE ON TIERRA DEL FUEGO initialled P.S. and inscribed with title verso, charcoal and coloured chalk, and six further sketches from the series (7) 105cm x 133cm

£300-500

190

602 BRITISH SCHOOL ABSTRACT WINGED FORM bronze, signed in the bronze and inscribed 6, raised on a marble plinth 15.5cm high

£300-500

603 AFTER MARCEL BREUER BIRCH CHAISE LONGUE, CIRCA 1970 with woollen upholstered seat with open arms raised on curved supports 61cm wide, 82cm high, 120cm long

£300-500

604 CHARLES EAMES (1907-1978) AND RAY EAMES (1912-1988) SET OF EIGHT DKR WIRE CHAIRS, DESIGNED 1951 chromium plated steel (8)

605

48.5cm wide, 83cm high, 53cm deep

OZ MAGAZINE

£400-600

SIX ISSUES, 1960S/1970S to include ‘School Kids Issue’, May 1970; ‘Hippie Atrocities!’, Dec 1969; ‘Crime and Conspiracy’, issue 41; and others (6) £150-250

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

191

606 FRENCH SCHOOL CHROMIUM PLATED CHANDELIER, CIRCA 1970 with eighteen arms each containing light fitting 83cm diameter, 30cm high (excluding fittings)

£300-500

607 ROBERT WELCH (1929-2000) FOR LUMITRON LTD. TABLE LAMP, DESIGNED 1969 cast aluminium and Perspex 65cm high

£200-300

608 DIETER RAMS (B. 1932) AND HANS GUGELOT (1920-1965) FOR BRAUN SK6 RADIO-PHONOGRAPH, 1960S powder coated steel, ash veneer and acrylic 58cm wide, 24.5cm high, 29cm deep

£200-300

609 CHARLES EAMES (1907-1978) AND RAY EAMES (1912-1988) LOUNGE CHAIR & OTTOMAN, DESIGNED 1956 covered in black leather upholstery with palisander ply (2) chairs 84cm wide, 96cm high, 55cm deep; ottoman 64cm wide, 48cm high, 51cm deep Provenance: The John Calcutt Collection

£1,000-1,500

192

610 LINO SABATTINI (B. 1925) FOR ARGENTERIA SABATTINI SILVER-PLATED ‘OGLAGA’ COFFEE POT, 1960S stamped SABATTINI / MADE IN ITALY, with stamped cypher 24.5cm high

£300-500

611 LINO SABATTINI (B. 1925) FOR CHRISTOFLE, FRANCE ‘MERCURY’ SILVER PLATED TEA AND COFFEE SET, 1970S comprising a TEAPOT, 13.5cm high; a COFFEE POT, 22cm high; a MILK JUG, 8cm high; a SUGAR BOWL AND COVER, 10cm diameter; and a SERVING TRAY, 43cm across, each with stamped maker’s marks (5) £400-600

612Y ARNE NORELL (1917-1971) FOR NORELL MÖBEL PAIR OF SIROCCO SAFARI CHAIRS, CIRCA 1965 rosewood frames with leather upholstery, bears maker’s label (2) 69cm wide, 71cm high, 49cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 584264/01

£800-1,200

613Y OLE WANSCHER (19031985) FOR A. J. IVERSEN, DENMARK ROSEWOOD WRITING DESK, CIRCA 1950 the rectangular top raised above two writing slides and an arrangement of eight drawers, fitted to the rear with two cabinets, shelf and central drawer, the whole raised on square legs

Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 578849/01

166cm wide, 73cm high, 84cm deep

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

193

614 ATTRIBUTED TO MAISON JANSEN PAIR OF TABLE LAMPS, CIRCA 1960 each with brass plated fittings, and mounted with porcelain figures of birds (2) 52cm high to top of fitting

£800-1,200

615 A. EDWARD JONES LTD. SILVER FOUR-PIECE TEA AND COFFEE SERVICE, BIRMINGHAM 1995 silver and hardwood, each of cylindrical form with ribbed decoration, comprising a COFFEE POT, 16cm high; a TEAPOT, 10cm high; a SUGAR BOWL, 4cm high; and a MILK JUG, 6cm high, stamped maker’s mark A.E.J., hallmarked Birmingham 1995 (4) £400-600

616 HANS OLSEN (1919-1992) FOR FREM RØJLE EXTENDABLE TEAK DINING TABLE & SIX CHAIRS, 1950S comprising an extending DINING TABLE with integral additional leaf, 105cm diameter (closed), 160cm long (extended), 73.5cm high; and SIX MATCHING CHAIRS, each with three legs and later fabric upholstery, 50cm wide, 70cm high, 42cm deep, bears branded maker’s marks FREM RØJLE/ MADE IN DENMARK £600-800

617 SWEDISH SCHOOL PAIR OF BIRCH AND EBONISED SIDE CHAIRS, MID20TH CENTURY each with curved back rails above circular seats with later purple upholstered cushions, above tapering legs, stamped under seat MADE IN SWEDEN (2) 41.5cm wide, 68.5cm high, 43.5cm deep

£200-400

194

§ 618 GLEN BAXTER (B. 1944) ‘I SENSED THAT BRENDA WAS TRYING TO IMPRESS ME...’ lithograph, 110/220, signed in pencil GLEN BAXTER ‘84 lower left 72.5cm x 52.5cm

£400-600

619 NO LOT

620 LINLEY SET OF THREE WALNUT ‘KUBIKOS’ CANDLE STICKS, CONTEMPORARY of tall cuboid form with acrylic midsections, the nozzles stamped LINLEY (3) 30cm high

£250-350

621 LINLEY INLAID SYCAMORE DINING TABLE, CIRCA 1995 the rectangular inlaid top raised on tapering legs 200cm long, 76cm high, 95cm deep

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

195

622 ATTRIBUTED TO A.VE.M. (ARTE VETRERIA MURANESE) GLASS FIGURE OF A NATIVE AMERICAN INDIAN CHIEF, MID-20TH CENTURY coloured glass with aventurine inclusions 30cm high

£300-500

623 NEXTIME, THE NETHERLANDS POSTMODERN STANDING CLOCK, CIRCA 1990 the twin train movement with glass case and etched chapters inscribed NEXTIME raised on a steel stand with brass sphere feet 37cm wide at base, 179cm high, 28cm deep at base

£300-500

624 ENGLISH SCHOOL BIRCHWOOD STOOL, CIRCA 1980 with bowed rectangular top with close-nailed leather seat on faceted legs with painted chevron feet 48.5cm wide, 46cm high, 42.5cm deep

£200-300

625 ANTONIO CITTERIO (B. 1950) FOR B&B ITALIA ‘ELIOS’ WRITING DESK, 1990S fitted with six drawers, with folding top converting to writing surface and raised on octagonal supports 124cm across, 94.5cm high, 50cm deep

£300-500

196

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. 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. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller.

A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS

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. All dimensions and weights are approximate only. 2. O UR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the

extent provided below. (a) 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 endeavour 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 us 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 us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) 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. (c) 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. 3. WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological

19.2 report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) 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, we make 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 we 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. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) 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. (e) 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. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID 1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

197 2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844. 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. 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. (c) Written 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. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction. 2. RESERVES

Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. 3. AUCTIONEER’S DISCRETION

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. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. 4. BIDDING

The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS

Bidding increments shall be at the Auctioneer’s sole discretion. 6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services. 7. SUCCESSFUL BIDS

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges. 8. RELEVANT LEGISLATION

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above. 3. A RTIST’S RESALE ROYALTY (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.

E. WARRANTIES

1. THE PURCHASE PRICE

1. SELLER’S WARRANTIES

For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 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. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. 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. (a) 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. (b) 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

198 2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below. In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original

purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will 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. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can 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. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) 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. (f) No purchase can be claimed or removed until it has been paid for. (g) 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. 2. IN THE EVENT OF NON-PAYMENT

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: (a) To proceed against You for damages for breach of contract; (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(s) (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 of 5% a year above the Bank of Scotland base rate from time to time 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. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) 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. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. 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. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots

199 which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. 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) We undertake 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. 8. 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 premises, 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. 9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com. 10. FORCE MAJEURE

We 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. 11. 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.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with. 1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” 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; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

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GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

PAYMENT

BY PHONE

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:

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof 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 uvntil 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.

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 endeavour 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 provided 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 is also available access through our website, or download the live bidding app L&T Live. This service is offered for no additional fee.

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. 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 & 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 are limited to £5,000 once per year.

Inside Back Cover Lot 525 [detail]

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