DESIGN Since 1860 | Auction 11 October 2023

BUYER'S GUIDE

BUYER’S PREMIUM

The buyer shall pay the hammer price together with a premium, at the following rate, thereon:

26% up to £20,000

25% from £20,001 to £500,000 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

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard rate of import VAT on the hammer price

Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

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.ukv

This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website).

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BIDDING & PAYMENT

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REMOVAL OF PURCHASES

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS

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. 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 Great Britain. For more information visit http://www. defra.gov.uk/ahvla-en/imports-exports/ cites

COLLECTION OF PURCHASED LOTS

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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.

Philip Smith Senior Specialist philip.smith@lyonandturnbull.com

Joy McCall Senior Specialist joy.mccall@lyonandturnbull.com

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

ATTRIBUTED TO A.W.N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO., BIRMINGHAM

CHANDELIER, CIRCA 1850

engraved brass, with enamelled decoration, later hanging chains, bears repeating inscription to corona EGO SUM LUX MUNDI (I am the light of the world) (1)

corona 53cm diameter, with candle holders 58.5 cm diameter, 28cm high £800-1,200

AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) OR EDWARD WELBY PUGIN (1834-1875)

NEEDLEWORK RUG, CIRCA 1860 wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpet

223cm x 147.5cm

Provenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.

Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This section of a needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.

£1,500-2,000

AFTER DONATELLO

CONTESSINA DE BARDI AS ST CECILIA IN THE ROBE OF ARTEMIS

painted plaster relief, framed (2)

57cm x 40.5cm (frame 73cm x 56.5cm)

Note: The original bronze bust relief was created by Donatello in 1412 while Contessina de Bardi, wife of the Cosimo de Medici, was still young.

£400-600

4

ENGLISH

PAIR OF GOTHIC REVIVAL STOOLS, CIRCA 1880

ebonised wood, with red and gilt-painted incised decoration, later upholstery (2) 57.5cm wide, 44cm high, 41.5cm deep

£400-600

5

ATTRIBUTED TO GILLOW & CO., LANCASTER

GOTHIC REVIVAL FREESTANDING BOOKCASE, MID-19TH CENTURY

oak, the hinged top with a ratchet adjustment and moulded bookrests

133cm wide, 103cm high, 65cm deep

Provenance: The Fine Art Society, London £1,500-2,500

A.W.N. PUGIN (1812-1852) FOR MINTON, HOLLINS & CO., STOKE-ON-TRENT

GROUP OF NINE GOTHIC REVIVAL TILES, CIRCA 1860 glazed earthenware, moulded marks verso (9) each tile 15.2cm square

7

ENGLISH

£300-500

£400-600

8

WILLIAM TONKS & SONS, MANNER OF THOMAS JECKYLL

GROUP OF FIVE AESTHETIC MOVEMENT

FINGER PLATES, CIRCA 1880

cast brass, stamped manufacturer’s mark WT&S (5) 28cm long

£300-500

9

ATTRIBUTED TO THOMAS JECKYLL (1827-1881) FOR ROBBINS & CO. AESTHETIC MOVEMENT BRASS DOORSTOP, CIRCA 1880 brass, with cast iron weight 45.2cm high

£600-800

Note: Encaustic tiles of this pattern were designed by Pugin and made for St. Mary’s convent in Handsworth, Birmingham, which opened in 1841.

AESTHETIC MOVEMENT MIRRORED WALL SCONCE, CIRCA 1890 cast metal, ebonised wood, bevelled mirror plate 45cm x 32.cm

Luke 12:27, King James Bible

ATTRIBUTED TO JOHN HARDMAN POWELL (1827-1895) OR A.W.N. PUGIN (1812-1852) FOR HARDMAN, POWELL

VICTORIAN ARTIST’S JEWEL, CIRCA 1850

gold and enamel, bears inscription CONSIDER THE LILIES 4cm diameter

&

CO.

Literature: Gere C. and Munn G., Artists’ Jewellery Pre-Raphaelite to Arts and Crafts, ACC, 1989, p.35, pl.15, for an illustration of a similar brooch, without the inscription, held in the collection of The Birmingham City Museum and Art Gallery and purchased by the museum along with other jewellery from an exhibition held at Bingley Hall in 1886. The names of the individual manufacturers were not recorded however the note states that the design history of these very distinctive jewels remains speculative, but they certainly stem from the inspiration of considerable talent of the order of A.W.N. Pugin or William Burges. Another example of this brooch was given by Pugin to his third wife Jane Knill (Christie’s London, April 16, 2013, Lot 204.)

Note: The original drawing and a tracing of this brooch survive in the Hardman archive, held at Birmingham Museum & Art Gallery. The Birmingham brooch and its design drawing were exhibited at Birmingham Gold & Silver 17731973, at the City Museum, 28th July-16th September 1973, cat. C54, where it was attributed to John Hardman Powell.

£2,000-3,000

Consider the lilies how they grow: they toil not, they spin not; and yet I say unto you, that Solomon in all his glory was not arrayed like one of these.

ENGLISH

PAIR OF GOTHIC REVIVAL ALTAR CANDLESTICKS, CIRCA 1890 brass, cast iron, inset with polished cabochon stones, marked 750/ W B & R (2)

38cm high

£500-800

FLORENCE E. BARLOW FOR DOULTON & CO., LAMBETH

VASE, CIRCA 1880

painted and glazed stoneware, impressed factory stamp and incised artist monogram/ 540

36.5cm high

£300-500

HANNAH BARLOW (1851-1916) FOR DOULTON & CO., LAMBETH

PAIR OF VASES, CIRCA 1880

glazed stoneware, each incised with a band of goats, incised artist’s monogram/ 309 and impressed factory marks (2)

42cm high

£500-700

14

ENGLISH, MANNER OF CHARLES BEVAN REFORMED GOTHIC BEDROOM SUITE, CIRCA 1870 Comprising a WARDROBE, 194cm wide, 217cm high, 62cm deep, a DRESSING CHEST, 136cm wide, 180cm high, 59.5cm deep, a POT CUPBOARD, 39.5cm wide, 80.5cm high, 37cm deep, a WASHSTAND, marble top and ceramic tile insert , 130.2cm wide, 105cm high, 61cm deep, and a TOWEL RAIL, 71.5cm long, 94cm high, 20.5cm deep, ash, with parquetry and marquetry inlay, pot cupboard stamped TPG (twice) (5)

£1,500-2,000

15

JOHN

G. CRACE & SON, LONDON

ORIGINAL FABRIC PANEL, CIRCA 1870

glazed oilcloth, later framed

102cm x 66cm (frame 116cm x 79.5cm)

Note: This fabric was used by the firm to make window blinds. £600-800

16

ATTRIBUTED TO CHARLES BEVAN (FL. 1865-82)

CABINET, CIRCA 1875

oak, with inlaid marquetry decoration and carved elements, single glazed door with velvet-lined interior, marble top 94cm wide, 96.7cm high, 48cm deep

Note: This lot has a Dent fossil limestone top, often used by Gillows £2,000-3,000

OWEN JONES (1809-1874)

FOR WARNER & SONS ‘SUTHERLAND’, FRAMED FABRIC PANEL, CIRCA 1870-71

woven silk satin

38.5cm x 53cm (frame 46.5cm x 61.5cm)

Note: For a panel of the same design see V&A collection accession no.T.51-1996

£300-500

ENGLISH PAIR OF GOTHIC REVIVAL CANDELABRA, CIRCA 1880 brass, with adjustable arms, stamped PATENT NO. 3467 (2) 62cm high

£400-600

19

HENRY HOLIDAY (1839-1927)

NINE STAINED GLASS DESIGNS ‘BEDE’, ‘OSWALD’, ‘WALBURGA’, ‘HILDA’..., CIRCA 1880 pencil and watercolour, within single mount, framed each 11.5cm x 3cm (frame 33.5cm x 61.5cm)

Provenance: The artist’s studio

Moss Galleries, London

Exhibited: London, Moss Galleries Henry Holiday, December 1987

Note: These designs are for stained glass windows Henry Holiday designed for St Mark’s Church, New Ferry, Cheshire.

£500-800

20

HENRY HOLIDAY (1839-1927)

STAINED GLASS DESIGN ‘MAGDALENE WASHING CHRIST’S FEET’, CIRCA 1865 watercolour

15.7cm diameter (frame size 37.7cm x 35.7cm)

Provenance: The artist’s studio

Moss Galleries, London

Exhibited: London, Moss Galleries Henry Holiday, December 1987

Note: This study is for the stained glass window Henry Holiday designed for St. Lawrence Jewry, Guildhall, London, which was destroyed by fire in 1940.

£400-600

21

ENGLISH AESTHETIC MOVEMENT STAINED GLASS PANEL, CIRCA 1890 stained, leaded and painted glass, depicting the figure of a butterfly collector

panel 90.5cm x 47.5cm, 98cm x 54cm (including frame)

£300-500

22

ENGLISH, MANNER OF BRUCE J. TALBERT

HARLEQUIN SET OF THREE AESTHETIC MOVEMENT CANDLE SCONCES, CIRCA 1880 embossed, engraved and cast brass (3) 38.3cm x 23cm

£600-800

23

WILLIAM TONKS & SONS, MANNER OF THOMAS JECKYLL AESTHETIC MOVEMENT FIRE GRATE, CIRCA 1880

cast iron, brass 78cm wide, 58cm high, 44cm deep £800-1,200

24

ATTRIBUTED TO BRUCE J. TALBERT (1838-1881)

AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880 ebonised wood, pierced and embossed brass, mirrored glass plates 161cm x 111cm

£4,000-6,000

CHILD & CHILD, LONDON

CADUCEUS BROOCH, CIRCA 1905 enamelled metal, set with pearls and a diamond, stamped maker’s mark verso, within the original gilt-tooled leather box with silk and velvet lining, bearing maker’s mark in printed gilt 4.9cm tall including bale

£400-600

26 MINTONS, LTD

GROUP OF THREE AESTHETIC MOVEMENT PLATES, CIRCA 1880 painted and glazed earthenware, each with painted initials JW and impressed MINTONS (3)

30cm diameter

£300-500

27

LUCIEN BESCHE (FL.1883-1885) FOR COPELAND & SONS

AESTHETIC MOVEMENT CHARGER, CIRCA 1878

painted, gilded and enamelled

earthenware, painted artist’s initials L.B., impressed maker’s mark COPELAND

40.3cm diameter

£500-700

28

MINTON’S ART POTTERY STUDIO, KENSINGTON GORE

AESTHETIC MOVEMENT WALL PLAQUE, CIRCA 1870

glazed and enamelled earthenware, within ebonised wood frame, impressed mark MINTON, printed maker’s mark, impressed and stamped for Minton’s, painted artist’s monogram/ 304

56.5cm diameter

£700-900

FURNITURE & WORKS OF ART FROM PAUL SHUTLER, DEALER IN HISTORIC DESIGN

Dealing and collecting since 2006, Paul Shutler is a dealer with a difference. He studied cabinet making and furniture conservation for five years to degree level, before portering for an international auction house. From this Paul gained a strong understanding of furniture construction and a wide knowledge of the antiques trade. His appreciation of good design was formed along with a passion for knowledge. Learning how to make a chair by hand allows him to identify a well-designed chair!

Paul deals without a shop and does not stand at antique fairs, preferring to spend much of his time in archives and libraries to bring the stories of the objects he finds to life. His passion for research has resulted in the production of

numerous articles for several peer-reviewed journals, one of the first solely about the importance of provenance and research.

This meticulous research has allowed him to make countless important discoveries and place a diverse range of objects in private collections and museums across the globe. His focus continues to be on furniture and works of art designed by architects and designers from 1750 to the present day, with quality being a prerequisite and each work being assessed on its unique merits.

Offered here are a fascinating selection of pieces that have strong provenance and/or design-merit in common, and most have new research to accompany them.

29

HALSEY RICARDO (1854-1928) (DESIGNER)

THE BIRMINGHAM GUILD OF HANDICRAFT LTD (MAKER)

PAIR OF DOUBLE WALL LIGHTS, CIRCA 1906-1907

24-carat gold-plated brass, gold foil enamel and original opalescent glass shades (2)

35.5cm wide, 30.5cm high, 19cm deep

Provenance: Supplied to Sir Ernest Debenham for Debenham House, 8 Addison Road, London, removed circa 1960

Phillips Auctioneers lots 148, 149, 150, 30th March 1993

Haslam & Whiteway, London

one pair British Art Market 2014

Paul Shutler

Literature: The Architectural Review, An Essay in Colour Architecture, March 1907

Country Life, Madge Garland, 8 Addison Road, Kensington - The Town Houses of Halsey Ricardo - II, 20th November 1975

£2,000-3,000

Sir Ernest Debenham (1865-1952) of the Debenham department store family, commissioned the architect and designer Halsey Ricardo to build him a house at 8 Addison Road in 1906. This house came to be known as Debenham House or, on occasion, The Peacock House. Halsey Ralph Ricardo established his architectural practice in 1878 but also worked in partnership with William De Morgan (1839-1917) designing ceramics. He advocated the use of architectural glazed tiles to resist the pollution of 19th century London. Debenham House is a striking example of this practice.

Ricardo clad the external walls with glazed Burmantofts tiles in bands of peacock greens and blues. He fitted the four reception rooms, seventeen bedrooms and six bathrooms, all with De Morgan tiled fire surrounds (with no two alike) and with De Morgan pictorial panels throughout the building. In addition to this, he used various marbles and architectural elements clad with Doulton ‘Carrara ware’ tiles.

Described as the last flourish of the Arts & Crafts movement, the house features plaster friezes by Ernest Gimson (1864-1919), stained glass by Edward Prior (1852-1932) and a mosaic designed by George Jack (18551931). Along with the exterior gates and railings, the interior door furniture, including the handles, finger plates, bell-pushes and light fittings were all designed and made under the supervision of Ricardo by the Birmingham Guild of Handicraft. It would have been inappropriate for Ricardo to use any

The central hall at Debenham House in Addison Road, circa 1905, showing examples of the current lot in situ. Image © London Metropolitan Archives (City of London).

other firm for this commission as Debenham’s father-in-law was Birmingham

MP William Kenrick (1831-1919), chief shareholder and director of the Birmingham Guild of Handicraft, and his brother-in-law was the Guild’s managing director, Claude Napier-Clavering (1869-1938).

These lights are one of the original three pairs designed specifically for the main hall, they feature butterflies circling a single rose before ivy leaves, a theme repeated throughout the building.

30

WILLIAM BURGES (1827-1881)

BOWL, 1870

archaic Chinese gui-form carved jade censor, inset with coloured glass and gemstone cabochons including emerald, garnet, ruby and turquoise, applied gilt metal mounts, inscribed in coloured enamels WIL’ BURGES: ME: F: F: EX: HONORARIIS: PPTER

DOSSALE: EDINBURG’NSE: COLLATIS: MDCCCLXX

rim 9.4cm diameter, body 11.1cm diameter, height 8.3cm

Provenance: William Burges, Tower House, London

Felix Emile Andrews (1888-1975)

Philip Andrews

Dreweatts, Newbury, 12 September 2012, lot 34

Daniel Katz Gallery, London

Sotheby’s, London, 12 November 2013, lot 235

Harris Lindsay, London, until 2016

John Gilbert Getty (1968-2020)

with Paul Shutler

On loan to the National Museum of Wales from 1931 to 1953

The abbreviated Latin inscription-

WIL’ BURGES: ME: F: F: EX: HONORARIIS: PPTER DOSSALE: EDINBURG’NSE: COLLATIS: MDCCCLXX

Translates as -

WILLIAM BURGES HAD ME MADE FROM THE FEES EARNED FOR THE EDINBURGH DOSSAL 1870

£15,000-20,000

William Burges’s only commission in Edinburgh was for a carved stone reredos or dossal for the high altar (though moved around 1900 to the lady chapel) of St Michael and All Saints Episcopal Church depicting the Annunciation flanked by Moses and Gideon. It was modelled by Thomas Nicholls and coloured and gilt by Charles Campbell of Harland and Fisher. This bowl was commissioned by Burges for his own collection using the funds he received for the work. Exotic antique works of art, such as the present example, mounted with precious metals and coloured enamels are typical illustrations of Burges’s enthusiasm for collecting and his antiquarian tastes. Burges commemorated his projects by having archaic items mounted and inscribed in this fashion. Another example of this, now in The Bute Collection, is his Cat Cup of 1867, an elaborately mounted Chinese crystal beaker which Burges had made for himself after his failed competition entry for the Law Courts, eventually won by G.E. Street. It is inscribed around the foot WILLIAM:BURGES:IN:REMEMBRANCE:OF:THE:LAW:COURTS:COMPETITION:AD:MDCCCLXVII.

SIR ARTHUR WILLIAM BLOMFIELD (1829-1899)

SIR ARTHUR WILLIAM BLOMFIELD’S REMEMBRANCE CABINET, CIRCA 1860

painted and gilded oak, patinated metal fittings 85cm wide, 226.5cm high, 36cm deep

Provenance - Mr & Mrs A. W. Blomfield

Private collection, Luxembourg

Northern France early 2010’s Oscar Graf 2017

John Gilbert Getty (1968-2020) with Paul Shutler

The exterior of this cabinet is decorated with a choir of angels on the front. Above the door is the Latin motto:

‘Non vox sed votum, non musica chordula sed cor, Non clamans sed amans, cantat in aure Dei’.

Translated as:

‘Not the voice, but the desire, not the musical instrument, but the heart, not the crier, but the lover, singeth in the ear of God’.

Or

‘It is the duty of a devout mind to pray to God, not with the voice or the sound of the voice but with the devotion of the mind and with the faith of the heart’.

The interior right-hand panel:

Gules two swords in saltire argent hilts and pommels or (for the See of London) Per fess indented argent and azure a bend gules (for Blomfield) - ensigned with a Cross and a Crozier

For the Bishop of London and Blomfield’s late father Charles James Blomfield (1786-1857).

The interior left-hand panel:

Argent on a bend azure between two unicorn’s heads couped three lozenges of the field (for Smith) Crest. A demitiger rampant azure holding a broken sword proper

Motto- Vigilando et orando (By watching and praying).

For Blomfield’s late wife Caroline Harriet Smith (1840-1882)

Note: Until the re-attribution of this cabinet, domestic furniture designed by Blomfield numbered just one: a cupboard, first published by his friend Charles Locke Eastlake in Hints on Household Taste, Plate XXX, of which a handful of examples exist.

Blomfield was not the only Gothic architect to make elaborate large-scale pieces for their home or office early on in their career. Richard Norman Shaw famously commissioned a cabinet that now resides in the collections of the Victoria & Albert Museum straight after he left the employ of George Edmund Street, and of course, the architect William Burges furnished his entire office and house with such cabinets.

The interior, later decorated following his wife’s death in 1882, is intended as a private memorial for his late father, the Bishop of London, Charles James Blomfield (1786-1857) and a memorial from a devoted husband to his late wife Caroline Harriet Smith (1840-1882).

£10,000-15,000

WILLIAM BURGES (1827-1881)

BOOK OF COMMON PRAYER, 1871

tooled leather, hardstones, enamelled metal, the mounts made by Jes Barkentin, published Oxford University Press, 1871 19cm x 15cm

Provenance: Lady Mary Vyner and Lady Ripon of Newby Hall, Yorkshire. John Gilbert Getty (1968-2020) with Paul Shutler

£4,000-6,000

In 1870 Frederick Vyner (1847-1870) was kidnapped by bandits while travelling in Greece. A large ransom was demanded and, in part, collected before his eventual murder. In his honour his mother Lady Mary Vyner and his sister Lady Ripon used the unspent ransom to commission two churches and this book of common prayer from the architect William Burges whose design for this binding is now held in the collection of the RIBA.

The two churches commissioned are The Church of St Mary, Studley Royal and The Church of Christ the Consoler, Skelton-on-Ure, where identical armorial shields are incorporated into the architecture of the external buttresses. A memorial tablet for Frederick Vyner is in York Minster.

Titus Salt Jr, the youngest son of Sir Titus Salt, married Catherine Crossley in 1866 and immediately moved into the newly vacant Baildon Lodge just outside Bradford, Leeds. While living at Baildon Lodge, the newlywed homemakers commissioned the local firm Marsh & Jones to supply a large number of furnishings from a grand piano to basic toilet wares between 1865-67. Marsh & Jones employed the designer Charles Bevan to provide the Salts with the most modern designs in the reformed gothic style. Along with Bruce Talbert exhibiting a handful of ‘medieval’ or ‘old English’ pieces (including the Pericles cabinet) on the Holland & Son stand at the 1867 Paris Exhibition, it is widely accepted Bevan’s designs for the Salts marked a turning point in British taste.

Between 1871 and 1873 the Salts moved to their partially built country house, Milner Field, with building work continuing around them they took the contents of Baildon Lodge with them. The architect used was Thomas Harris (c.1930-1900), a littleknown architect from London. The house too was built in the reformed gothic style with ornamental metalwork by Messrs Richardson, Slade & Co., furniture and panelling by Messrs Marsh & Jones, Stained glass by Messrs Saunders & Co. and cartoons and frescos painted by Frederick Weekes. The final two artists are best known for their collaborations with William Burges.

Catherine Salt was an avid musician and gifted singer and regularly sang at the many soirees the couple hosted. The music room suite that included these chairs would have been of great importance to her and so would no doubt have followed her when she left Milner Fields in 1903. Illustrations of the grand piano, duet stool and music cabinet from this commission were published in The Building News of 1st March 1867. Both the piano and the duet stool are in the collection of Lotherton Hall, Leeds.

Milner Field, courtesy of the Bradford Industrial Museum, showing one of the chairs in situ

CHARLES BEVAN (C.1815-1891) FOR MARSH & JONES, LEEDS CATHERINE SALT’S MUSIC CHAIRS,

CIRCA 1865

satinwood, ebonised and inlaid with various exotic timbers to the front and rear, each bears a printed maker’s label with job numbers 99124 and 99* (label incomplete) (2)

41cm wide, 86cm high, 39cn deep

Provenance: Baildon Lodge 1865-73 Milner Field until 1903 (now demolished) Denton Hall, near Ilkley until 1911

The Old Rectory at Thorp Arch near Boston Spa Unknown address in Harrogate until 1930

Rotterdam antique trade, The Netherlands 2021 Paul Shutler

Literature: Gilbert C. Furniture at Temple Newsam House and Lotherton Hall, Volume II, 1978.

Boynton L.O.J. High Victorian Furniture: The Example of Marsh and Jones of Leeds Furniture History Society, Journal III, 1967 where a transcribed copy of the Titus Salt order dated 8th August 1866 is seen in Appendix II (the rooms described are those at Baildon Lodge and not Milner Field.)

£1,000-1,500

EUGÈNE EMMANUEL VIOLLET-LE-DUC (1814-79) AND FATHER ARTHUR MARTIN (1802-1856) FOR POUSSIELGUE-RUSAND (1824–89)

PAIR OF FIVE-LIGHT CANDELABRA, CIRCA 1860

39.5cm wide, 64.5cm high, 18cm deep Private collection, Belgium, until November 2022

An appraisal of Viollet-le-Duc (1814-1879) ’ Decorative Art Society Journal No. 16, 1992

Viollet-le-Duc, his business partner Jean-Baptiste Lassus (1807-1857) and Father Arthur Martin all supplied designs to Notre Dame during its 25-year post-revolution restoration from 1845. The design of the lower portion of these candelabra was initially found in a set of six ormolu pricket candlesticks made by Poussielgue-Rusand for Notre-Dame in 1862. Violletle-Duc’s drawing for these is in the Heritage and Media Photographic Library at Cherenton-le-Pont, Paris. A set of six of the original pricket candlesticks designs was also used in the chapel of Saint Michael, Saint Raphael & Saint Gabriel at the Cathedral of Saint Julian of Le Mans, France. The pricket design was also exhibited by Poussielgue-Rusand at the 1867 Paris Exposition Universelle.

The upper section of candle arms was designed by Father Arthur Martin, and it featured in Poussielgue-Rusand’s catalogues from 1853, initially as a wall-mounted candle arm. Father Arthur Martin was a talented draughtsman and collector of medieval art and materials. In the 1840s he and his fellow Jesuit Brother Charles Cahier (1807-1882) began interpreting and classifying the collection. Their work was then published by Placide Poussielgue-Rusand from 1847 onwards in the highly influential multi-volume publication on

medieval art entitled ’Mélanges d’archéologie, d’histoire, et de littérature’.

The upper portion of the candelabra can also be compared to the grilles designed by Viollet-le-Duc in 1865 for the Basilica of Saint-Denis, among other places. An engraving of these was published in the Gazette des Architectes et du Batiment, Vol. 3 1865 No. 9, p. 133.

A pair of Viollet-le-Duc’s pricket-design candlesticks in lacquered bronze is in the collection of The Art Institute of Chicago and an elaborate casket designed by Father Martin is in the collection of Notre Dame.

Viollet-le-Duc’s writings on decoration and on the relationship between form and function in architecture had a fundamental influence on a whole new generation of architects, including all the major Art Nouveau artists. His writings also influenced John Ruskin, William Morris and the Arts and Crafts movement, and William Burges admitted in his late life “We all cribbed on Viollet-le-Duc even though no one could read French.”

Street designed these tables for the interior of his Law Courts (now The Royal Courts of Justice), opened by Queen Victoria in 1882. The first room to be completed, indeed the only room within Street’s lifetime, was the Barrister’s or Bar room in 1880. Street used the firm Collinson & Lock to supply furniture including two centre tables, two side tables and 24 chairs. Later, in 1882, after Street’s untimely death in 1881, Collinson and Lock were asked to supply further items of furniture of the same designs as the firm had previously made. The two architects entrusted with completing the building were Street’s friend Arthur William Blomfield (see lot 31) and his son Arthur Edmund Street. This time the budget was far tighter so savings were required and the elaborately carved panels seen at the ends of the original tables were omitted. A number of these later tables of the same design as the current lot remain in the Courts today.

GEORGE EDMUND STREET

(1824-1881)

REFORMED GOTHIC HANGING

BOOKCASE, CIRCA 1880

ebonised and gilded wood, with later silk backing and with three adjustable shelves

116.5cm wide, 150cm high, 23.3cm deep, shelf depth 14cm

Provenance: John Gilbert Getty (1968-2020) with Paul Shutler

Note: In 1874-5 G.E. Street added a chapel to his previous commission, Cuddesdon College near Oxford (1853). At the same time, he designed and supplied a suite of ebonised and gilt bookcases for the library, and, although it is not known for which commission the current lot was made, this hanging bookcase follows their design. As with most architects of the time, the re-use of a successful design for other commissions was commonplace.

£1,000-1,500

GEORGE EDMUND STREET

(1824-1881)

GOTHIC REVIVAL TABLE, CIRCA 1880 oak

163cm long, 73cm high, 108cm deep

Provenance: Paul Shutler

£800-1,200

CHARLES BEVAN (1815-1891)

FOR GILLOW & CO., LANCASTER & LONDON.

SIDE CABINET, CIRCA 1866

walnut, inlaid with boxwood, amboyna and fruitwood timbers

71cm wide, 107cm high, 40cm deep

Provenance; Possibly William Harrison (18**-1879), Samlesbury Hall, 1866

Paul Reeves, London 1992

Anissa Helou, Christies South Kensington, 19th May 1999, lot 602

Harris Lindsay, London, until 2000

Private British Collection until 2022

Paul Shutler

Literature: Croston, James The History of the Ancient Hall of Samlesbury in Lancashire’, 1871 Croston for an engraving of the Great Hall showing a number of pieces of furniture that appear to follow Bevan’s designs.

Sotheby’s, London The Best of British - Design from the 19th and 20th Centuries - Paul Reeves: The Auction, 20th March 2008, lot 81 for a related large cabinet, also potentially from the Harrison commission (£12,000).

Coleman B. The Best of British Arts & Crafts, Atglen, PA, 2004, p.69

£2,500-3,500

Along with Bruce Talbert, who exhibited a handful of ‘medieval’ or ‘old English’ pieces (including the Pericles cabinet now in the Metropolitan Museum, New York) on the Holland & Son stand at the 1867 Paris Exhibition, it is widely accepted that Charles Bevan’s 1865 designs for Titus Salt Jr marked a turning point in British taste. This cabinet was one of a pair, which were split up between two friends shopping in London at Harris Lindsay circa 2000. The other cabinet was purchased by the academic collector Peter Rose (recently sold at Christie’s London, 30th September 2021, Lot 110, as part of The Peter Rose and Albert Gallichan Collection (£12,000). Stamped ‘GILLOW & CO’ ‘2324’ the Christie’s example has a note in the provenance mentioning Samlesbury Hall in Lancashire. Although originally built in the 14th century, Samlesbury Hall was acquired by the industrialist Joseph Harrison (1805-1880) in 1862 and given to his son William Harrison (18** -1879). William Harrison spent a vast sum of money refurbishing the interiors and furnishing the hall. The Gillow estimate sketch books, held at the Westminster City archives, have records of him ordering numerous pieces of reformed gothic furniture in 1866. The commission includes pieces in Bevan’s distinctive style but also in Pugin’s.

The pared-back design of this candelabrum in 1901, marks the move away from the dependence on stylised plant forms that characterised early Munich Jugendstil (Art Nouveau) up to 1900, paving the way for modernism. The design frequently appeared in the catalogues of the Vereinigte Werkstätten Für Kunst im Handwerk (United Workshops for Art and Handicraft, Munich) between 1901 -1907. Examples are held in the collections of The Stadtmuseum Munich (1958); The British Museum (1993); Saint Louis Art Museum (1995) The Minneapolis Institute of Art (1998) The Museum of Fine Arts, Houston (2000) Los Angeles County Museum of Art (2008) and Philadelphia Museum of Art (2016).

This piece is often confused with a candelabrum made later by the Anderson Brass Works in Chicago. Apart from the obvious visual differences, these pieces are often signed with an ‘A’ in a triangle.

BRUNO PAUL (1874-1968) (DESIGNER)

K. M. SEIFERT & CO, DRESDEN LÖBTAU (MAKER)

CANDELABRUM, CIRCA 1901

brass, retailed by Vereinigte Werkstätten Für Kunst im Handwerk, München (1898-1991) (United Workshops for Art and Handicraft, Munich)

70.5cm diameter 40cm high

Provenance: German private collection until 2019.

Paul Shutler

Literature: Deutsche Kunst und Dekoration, vol. 21, (19071908), p.263

Bloom-Hiesinger K. (edit.), chapter by Graham Dry, Art Nouveau in Munich, Masters of Jugendstil, Philadelphia, 1988, pp.94, 100-101

Rudoe J. Decorative Arts 1850-1950, a Catalogue of the British Museum Collection, 1994, p.316 and front cover

Kaplan W. The Arts and Crafts Movement in Europe and America: Design for the Modern World, Los Angeles, 2004, p.89

£10,000-15,000

39

MINTON & CO. AESTHETIC MOVEMENT TILE PANEL, CIRCA 1880 painted earthenware, impressed twice to reverse MINTON, framed 23cm x 45.5cm (frame 26.8cm x 49.4cm)

£400-600

40

MAW & CO., JACKFIELD CHARGER, 1889

lustre-glazed earthenware, relief-moulded with a squirrel, painted camel symbol and inscription verso MAW & CO LD/ JACKFIELD SALOP/ MARCH 1889

34.5cm diameter

£500-800

41

ENGLISH, MANNER OF E.W. GODWIN

AESTHETIC MOVEMENT DINNER GONG, CIRCA 1890

oak, with brass hanging gong and with bamboo and leather striker 61cm wide, 73.5cm high

£500-800

43

CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON PICNIC SET, CIRCA 1880

silver plate, comprising: a kettle and cover, 9cm high; a teapot and cover, 8cm high, the teapot and kettle inscribed NELLIE; a tea caddy and cover incorporating paraffin burner and stand; a sugar bowl; a milk flask and cover; two teaspoons; a pair of sugar tongs; each bears crest, stamped marks ‘H & H 2110’ also with retailer’s mark ‘Leuchars & Son, London and Paris’; and two blue and white Royal Worcester cups and saucers, contained within a leathercovered fitted case, inscribed HELEN BRAND case 29cm wide, 19cm high, 15.5cm deep

£600-800

44

ENGLISH AESTHETIC MOVEMENT SIDE TABLE, CIRCA 1880 walnut, with brass fittings

72.5cm wide, 68.5cm high, 49.5cm deep

£400-600

GOTHIC REVIVAL PAIR OF CANDLESTICKS, CIRCA 1880 enamelled brass, marked to base with flower monogram and no. 9206 (2)

23cm high

£300-500

ENGLISH, MANNER OF WALTER CRANE

ARTS & CRAFTS WALL MIRROR, CIRCA 1900

repoussé-decorated brass, mirrored glass plate, oak frame 53.2cm x 77.2cm

£800-1,200

THOMAS GRAHAM JACKSON (1835-1924) FOR JAMES POWELL & SONS, WHITEFRIARS

GROUP OF DRINKING GLASSES, CIRCA 1906

green glass, comprising a red wine glass, 16cm high, a pair of white wine glasses, 13.5cm high; and five liqueur glasses, 10cm high; also a SET OF FOUR WINE GLASSES, attributed to James Powell & Sons, amber glass, each with applied decoration, 10.5cm high (12)

£300-500

ENGLISH

AESTHETIC MOVEMENT CABINET BASE, CIRCA 1880

ebonised and gilded mahogany, incised and gilded amboyna, inset with painted roundel after W.S. Coleman

175cm wide, 102.5cm high, 61cm deep

£600-800

48

CHRISTOPHER DRESSER (1834-1904) FOR J.W. & C. WARD, HALIFAX AESTHETIC MOVEMENT

FABRIC PANEL, CIRCA 1873

silk and wool, later framed 43cm x 60cm (frame 51.5cm x 68cm)

Literature: Whiteway M (ed.)

Christopher Dresser: A Design Revolution, V&A 2004, p.75, no.84

£700-900

49

ENGLISH

AESTHETIC MOVEMENT ARMCHAIR, CIRCA 1880

gilded and ebonised wood, later upholstery 63cm wide, 99cm high, 68cm deep

£300-500

50

ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD COAL BOX, CIRCA 1880

oak, with patinated iron fittings and with liner to interior 40cm high, 46cm long

£300-500

52

CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ VASE, CIRCA 1890

glass, etched to base CLUTHA/ DESIGNED BY CD/ REGISTERED

12cm high

Literature: See Lyons H. Christopher Dresser: The People’s Designer, 1834-1904, Woodbridge, 2004, pp.164-5, pl.313 where similar signed examples are illustrated.

£600-800

53

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY GOURD VASE, CIRCA 1880

glazed earthenware, impressed factory marks and facsimile signature

LINTHORPE / Chr Dresser / 330 / H

10.5cm high

Literature: Halén W. Christopher Dresser: A Pioneer of Modern Design, London 1990, p.163, pl.185 where a similar vase is illustrated.

£300-500

CHRISTOPHER DRESSER (1834-1904)

FOR LINTHORPE POTTERY

COVERED BOWL, CIRCA 1880

glazed earthenware, impressed factory marks and facsimile signature LINTHORPE / Chr Dresser / HT (Henry Tooth)

11cm high, 15cm diameter

Literature: Lyons H. Christopher Dresser: The People’s Designer, 1834-1904, Woodbridge, 2004, p.89, pl.116.C where a similar signed example, without a cover, is illustrated.

£400-600

54

CHRISTOPHER DRESSER (1834-1904)

FOR WILLIAM AULT & CO.

PAIR OF EWERS, CIRCA 1890

glazed earthenware, applied maker’s mark to base/ no.125 (2)

23cm high

Literature: Christopher Dresser: Ceramics, Glass and Metalware Crab Tree Farm 2015, p.21, no.5, where a signed example by Linthorpe Pottery of circa 1880 is illustrated

£400-600

55

MANNER OF WALTER CRANE WALLPAPER FRIEZE, CIRCA 1890

block-printed paper, later framed, depicting the Judgment of Paris 33cm x 67cm (frame 57.5cm x 91cm)

£400-600

56

EDWARD JOHN POYNTER (1836-1919) FOR MINTON’S ART-POTTERY STUDIO, KENSINGTON GORE

TILE FOR THE GRILL ROOM, SOUTH KENSINGTON, CIRCA 1870

glazed earthenware, painted decorator’s initials HR, monogram and no. 53/ 5354, printed and moulded maker’s mark 22.5cm x 28.7cm

Note: Edward Poynter, the director of the National Art Training School (NAT), which shared the building with the museum in the 1860s, designed the Grill Room at the South Kensington Museum including the tiles and fireplaces and it opened in 1871. The tiles were painted by students from the NAT porcelain class and then later by Minton’s Art Pottery Studio. The decoration of these tiles was virtually the first pottery teaching in a British art school.

£300-500

57

ATTRIBUTED TO STEPHEN WEBB (1849-1933)

CARVED PANEL, CIRCA 1890

mahogany

panel 25.5cm x 87cm (frame 52cm x 113cm)

Note: Stephen Webb was a modeller, plaster worker, sculptor, and designer, who worked for furniture and decoration firm, Collinson and Lock, between around 1881 and 1897. He also exhibited at the Arts & Crafts Society Exhibitions from 1888 to 1906 and was a committee member of both the Art Workers’ Guild and the Arts & Crafts Exhibition Society.

£600-800

57

T.E. COLLCUTT (1840-1924) FOR COLLINSON & LOCK, LONDON

AESTHETIC MOVEMENT CABINET, CIRCA 1874

ebonised wood and gilt-bronze, with inlaid panels 242cm high, 144cm wide, 59cm deep

Literature: Edwards, Clive Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p.132, pl.4.44 where this dresser is illustrated.

£3,000-5,000

This cabinet is one of a number of variants Collcutt designed for Collinson & Lock. Other examples were exhibited at various international exhibitions including the International Exhibition in Vienna in 1873, and the Philadelphia International Exhibition of 1876 (with panels by Charles Fairfax Murray). This version follows the same outline as the other cabinets but is more restrained in the amount of applied decoration, although details such as the painted panels, the mirrors and the distinctive strap hinges follow the other examples.

59

WALTER CRANE (1845-1915)

FOR PILKINGTON’S TILE AND POTTERY COMPANY RARE SET OF SIX ‘FLORA’S TRAIN’ TILES, CIRCA 1900-1902

relief moulded earthenware, painted and glazed, depicting cornflower, blue-bell, columbine, anemone, poppy and daffodil, moulded P verso (6)

each 15.5cm square

Note: See V&A Collection accession no. 309 to E-1903 for a similar set of tiles.

£1,500-2,000

60

CHRISTOPHER DRESSER (1834-1904)

FOR WILLIAM AULT & CO.

VASE, CIRCA 1893

glazed earthenware, impressed facsimile signature CHR. DRESSER, impressed number 248, and ink mark 14/6

31.5cm high

Literature: Whiteway, Michael (edit.) Shock of the Old: Christopher Dresser’s Design Revolution, London 2004, p.213, pl. 284 where a similar vase is illustrated.

£2,000-3,000

61

J.H. CHAMBERLAIN (1831-1883)

GOTHIC REVIVAL LONGCASE CLOCK, CIRCA 1878

carved oak and walnut, inset with marquetry panels, and carved to the roundel with initials TR, the 14” silvered brass dial inscribed HURT & SON, BIRMINGHAM, with seconds dial and strike silent facility, the three-train movement with dead-beat escapement, quarter-chiming on a nest of eight bells and striking the hour on a subsidiary bell 61cm wide, 248.5cm high, 30cm deep £4,000-6,000

This magnificent clock was designed by the architect, John Henry Chamberlain, and the case was probably made in the workshop of Samuel Barfield, a skilled woodcarver who frequently worked for Chamberlain. A related set of wall shelves and an entire room by Chamberlain, currently on display in the British Galleries at the Victoria and Albert Museum, were removed from The Grove, Harborne. The Grove, demolished in 1963, was one of a wide range of projects designed by Chamberlain and his partner William Martin (1828-1900) in and around Birmingham. Frequently designed in the Ruskinian Gothic style they pumping stations, libraries, schools, shops, churches and chapels as well as a number of private houses. His ideals chimed perfectly with Birmingham’s ruling liberals at the time, who sought to transform industrial Birmingham into a cultural centre to rival the great European capitals. One of his finest achievements, the Municipal School of Art of 1885, still stands today in Margaret Street.

Chamberlain was one of the earliest practical exponents of the ideas of architectural theorist, John Ruskin and was increasingly influenced by the early Arts and Crafts movement in his later works. His belief in the value of individual craftsmanship and patterns inspired by nature are evident in the profusely carved and inlaid case of the current lot.

62

GOTHIC REVIVAL LANTERN, CIRCA 1880 two-coloured gilt brass, with hanging rods and ceiling rose 28.5cm diameter, 28.5cm high (excluding hanging rods)

£300-500

63

ATTRIBUTED TO BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO.

AESTHETIC MOVEMENT BUREAU BOOKCASE, CIRCA 1875 mahogany, with brass fittings, the sloping fall opening to reveal a fitted interior, stamped 9551 147cm wide, 198cm high, 61.5cm deep £1,000-1,500

64

MANNER OF WALTER CRANE PRAMED WALLPAPER FRIEZE, CIRCA 1875

block-printed paper, later framed 48cm x 104.4cm (frame 52.4cm x 108.5cm)

£300-500

65

W.A.S. BENSON (1854-1924) ARTS & CRAFTS EXTENDING STANDARD LAMP, CIRCA 1900

brass

151.5cm high, 191.5cm high (extended)

Literature: Hamerton, I. (ed.), W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge 2005, p.259, pl.19 where similar examples are illustrated.

£1,000-1,500

66

ENGLISH AESTHETIC MOVEMENT SETTLE, CIRCA 1890 carved oak, stamped G173 109.5cm wide, 103cm high, 48cm deep

£600-800

EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT, LONDON

AESTHETIC MOVEMENT WARDROBE, CIRCA 1875 stained pine, mirrored glass, with applied brass fittings, bears enamel ‘Heirloom’ maker’s label to the rear and inside door

124cm wide, 175cm high, 55cm deep

Literature: Soros S. The Secular Furniture of E.W. Godwin Yale 1999, p.186, no.307 illus. and p.198, no.318 where similar examples of pine wardrobes made to Godwin’s designs by William Watt are illustrated

£4,000-6,000

68

ATTRIBUTED TO KATE GREENAWAY (1846-1901)

‘MOTHER, MOTHER MAY WE GO OUT TO PLAY...’

pencil, watercolour and bodycolour, inscribed in pencil, with printer’s instructions in ink, on joined paper

48cm x 55.5cm (frame 78cm x 79cm)

£2,000-3,000

69

CLEMENT HEATON (1861-1940)

ARTS & CRAFTS JARDINIÈRE, CIRCA 1890

copper with applied cloisonné decoration

26.5cm high

Note: Clement Heaton, an early member of A.H. Mackmurdo’s Century Guild, set up his company Heatons Cloisonné-Mosaic Ltd at 6 Berners Street, London in 1887, a year after selling his share in his father’s lucrative stained glass business Heaton, Butler & Bayne for £4,800. He patented his enamelling technique in 1886, inspired by medieval techniques that precluded the firing process and instead used coloured cements: a mixture of resin, beeswax, sulphur marble dust and coloured pigments. Hardening over time, these cements could be polished to give the soft matt finish characteristic of Heaton’s work as seen in the present example.

£600-800

CHRISTOPHER DRESSER (1834-1904)

FOR HUKIN & HEATH, LONDON

DECANTER JUG, CIRCA 1881

electroplated metal, glass, ebonised wood, stamped to collar H&H, with registration lozenge for 1881

21.6cm high

Literature: Whiteway, Michael, Christopher Dresser 1834-1904, Skira 2001, pl.86

CHRISTOPHER DRESSER (1834-1904)

FOR HUKIN & HEATH, LONDON

GLASS CARRIER, CIRCA 1880

electroplated metal, glass, stamped H&H/ 2268/ DESIGNED BY DR C. DRESSER, with registration lozenge

21cm across, 15cm high

Literature: Whiteway M. Christopher Dresser 1834-1904 Skira 2001, p.86, pl.60 where a similar example is illustrated.

£600-800

£600-800 72

ALFRED WATERHOUSE (1830-1905)

PAIR OF LIBRARY ARMCHAIRS, CIRCA 1875

oak, with later leather upholstery (2) 66cm wide, 89cm high, 72cm deep

£600-800

73

E. W. GODWIN (1833-1886), PROBABLY

MADE BY WILLIAM WATT, LONDON

AESTHETIC MOVEMENT HANGING

CORNER CABINET, CIRCA 1872

mahogany, mirrored glass with patinated brass fitting

69cm wide, 108cm high, 36cm deep

Literature: Soros, Susan Weber, The Secular Furniture of E.W. Godwin, New York 1999, p.203, pl.324.

£2,000-3,000

Note: The original drawing by Godwin for an identical cabinet, with an additional shelf on top, dated November 1872, is in the collection of the Victoria & Albert Museum, London (PD E.229-1963, fol.75).

74

ATTRIBUTED TO LEWIS F. DAY (1845-1910) FOR MAW & CO., JACKFIELD

BASIN, CIRCA 1890

lustre-glazed earthenware, painted 259/360, inscribed GLAZE 671 to base 40.5cm diameter

£300-500

75 MAW & CO., JACKFIELD

LARGE CHARGER, CIRCA 1890

lustre-glazed earthenware

53.5cm diameter

£400-600

76 CHARLES LOCKE EASTLAKE (1836-1906)

AESTHETIC MOVEMENT

OCCASIONAL TABLE, CIRCA 1870 mahogany

58.5cm square, 67cm high

Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co.1878, p.178 where a similar table is illustrated.

£300-500

CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO.

CLOISONNE WARE CACHE POT, CIRCA 1870 glazed earthenware with gilded and enamel decorations, impressed mark MINTON, 15.3cm high, 19.8cm diameter; together with another MINTON CACHE POT, painted with a frieze of orchids, impressed mark MINTON, 15.2cm high, 19.7cm diameter (2)

£800-1,200

W. A. S. BENSON (1854-1924)

TABLE LAMP, CIRCA 1900

brass, with an opalescent glass shade, stamped maker’s mark W.A.S. BENSON

28cm high

£300-500

JAMES LAMB, MANCHESTER

ÉTAGÈRE, CIRCA 1880

oak, with ebonised decoration, stamped twice to drawer LAMB MANCHESTER/ 34293

56cm wide, 94cm high, 41.5cm deep

£800-1,200

MANNER OF BRUCE TALBERT

PAIR OF AESTHETIC MOVEMENT

GIRANDOLES, CIRCA 1890

brass, oak, mirrored glass (2)

42.5cm x 27cm

£400-600

BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO.

AESTHETIC MOVEMENT BUFFET, CIRCA 1875

oak, inlaid with burr oak banding

121.5cm long, 80.5cm high, 60.5cm deep

£800-1,200

82

MARTIN BROTHERS

VASE, 1875

salt-glazed stoneware, incised RW

MARTIN/ LONDON/ 3/ 11-1875

17cm high

£400-600

83

ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO.

MOON FLASK, CIRCA 1875

glazed earthenware, impressed MINTONS/ 1348/ C871

31.5cm high

£300-500

85

84

CHARLES LOCKE EASTLAKE (1836-1906)

AESTHETIC MOVEMENT LAMP TABLE, CIRCA 1870

oak

60.5cm square, 62cm high

£400-600

85

ENGLISH, MANNER OF E.W. GODWIN

AESTHETIC MOVEMENT LOW TABLE, CIRCA 1880

mahogany, with hinged top enclosing a shallow void, bears ivorine patent label no. 136087

50cm wide, 49cm high, 35.3cm deep

£400-600

ATTRIBUTED TO E.W. GODWIN (1833-1886)

AESTHETIC MOVEMENT CABINET, CIRCA 1875

ebonised wood, painted and gilded wood, mirrored glass 130cm wide, 156.5cm high, 36cm deep

Provenance: Paul Reeves, London

Literature: Watt, William Art Furniture from Designs by E.W. Godwin, F.S.A., London 1877 where sideboards with design similarities are illustrated. £3,000-5,000

CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO.

TEA CUP & SAUCER, CIRCA 1875

glazed porcelain, gilded and enamelled

saucer, 13.5cm diameter, cup 7cm high

Provenance: The John Scott Collection, London

£300-500

CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. PAIR OF ‘CLOISONNE’ PORCELAIN VASES, CIRCA 1870

bone china, glazed, enamelled and gilded decoration, impressed maker’s marks, incised 1592 (2)

28cm high

Literature: Whiteway M. Christopher Dresser 1834-1904, Skira Editore S.p.A., Milan, 2001, p.66, p.31 where a similar vase is illustrated.

£4,000-6,000

89

MINTON & CO., AFTER ALBERT ANKER

MAJOLICA WALL PLATE, 1876 glazed earthenware, stamped verso MINTONS, with date code for 1876

30cm diameter

Literature: Kuthy S. Albert Anker, Orell Fussli 1985, p.61 illus. V&A Collection accession no. C.285-1921

Note: Albert Anker (1831-1910) originally decorated this design for Théodore Deck. An example of this plate entitled ‘The Convalescent’, was exhibited by Deck at the International Exhibition, Paris, 1867. This dish by Deck, now held in the V&A collection in London, is thought to have once belonged to Colin Minton Campbell, a partner in Minton & Co., who made at least one dish with a similar image. The current lot is one such example.

£600-800

90

CANDLESTICK, CIRCA 1890

silver-plated metal, stamped to base W.A.S. BENSON 34cm long

£700-900

91

W.

TAZZA, CIRCA 1900 brass and copper

21cm high, 21cm diameter

£400-600

92

ARTS & CRAFTS SPIRIT KETTLE ON STAND, CIRCA 1900

silver-plated metal, wood, rattan, 89cm high; together with a BENHAM & FROUD SPIRIT KETTLE, designed by Christopher Dresser, copper and brass, wrought iron, ebonised wood, 87cm high (2)

£200-300

W. A. S. BENSON (1854-1924)

W. A. S. BENSON (1854-1924)

A. S. BENSON (1854-1924)

W.A.S. BENSON (1854-1924) FOR MORRIS & CO. DRAWING ROOM CABINET, CIRCA 1900

mahogany, satinwood, with verde antico marble, gilt brass mounts and glazed doors

135cm wide, 111cm high, 56cm deep

Literature: Morris & Co catalogue, Specimens of Furniture, Upholstery and Interior Decoration, circa 1900, p.23, no.140 illus.

Hamerton I. W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, AAC 2005, p.159, pls.140-142A where a similar cabinet is illustrated.

Note: Most of Benson’s furniture designs were made and retailed by Morris & Co. He became a director of Morris & Co. in 1896, following the death of his friend William Morris, and then became chairman in 1905. His furniture designs for Morris & Co. included desks and tables in oak, cabinets with marquetry inlay, and more expensive metal-mounted tables and cabinets. These more flamboyant pieces used rare and expensive timbers and enabled the designer to showcase his skill in decorative metalwork.

£6,000-8,000

94

W.A.S. BENSON (1854-1924)

PAIR OF ARTS & CRAFTS HANGING LIGHTS, CIRCA 1900

copper, with opalescent glass shades (2)

12.5cm diameter, 52.5cm high, including chain and ceiling rose £1,500-2,000

95

GEORGE WASHINGTON JACK (1855-1931)

FOR MORRIS & CO.

ARTS & CRAFTS MIRROR, CIRCA 1890

marquetry inlaid satinwood, with strut and wall fittings verso

38.3cm x 33.2cm

Literature: Morris & Co. catalogue, Embroidery Work, circa 1900, illustrated as one of ‘Three Designs for Frames’.

£1,000-1,500

96

MANNER OF GEORGE WASHINGTON JACK ARTS & CRAFTS RELIEF PANEL, CIRCA 1900

patinated plaster

68.5cm x 126cm £300-500

97 Y

PHILIP WEBB (1831-1915)

FOR MORRIS & CO. ÉTAGÈRE, CIRCA 1890

rosewood

45cm wide, 152cm high, 31.5cm deep

Literature: Crow G. William Morris, Designer, New York 1934, p.75

£3,000-5,000

Note: A similar étagère can be seen in an 1879 photograph of the Morris & Company shop window at 449 Oxford Street.

The contribution to the medium of stained glass by William Morris and his principal collaborator Edward Burne-Johnes marked an epoch in its post-medieval development. By the 1890s, the reputation gained by Morris & Co. for their stained glass was such that a number of their patrons exclusively commissioned windows from the firm, to ensure the visual unity of their buildings. One such commission was from Cheadle Royal Hospital near Manchester, who in 1904 instructed Morris & Co. to glaze all of the windows of their new chapel. The glass was installed over four periods (1906, 1909, 1911, and finally in 1915), and this present example, depicting St Andrew, originally formed the left part of a three-light window, with St Matthew in the centre and St Peter on the right-hand side.

This fine example of stained glass can be traced back to a drawing by Burne-Jones (BJ 514) that was first made for a window in St Mark’s Church, New Ferry, in 1876. It was then re-used at Holy Trinity, Sloane Street in London in 1894-95 and Albion Congregational Church in Ashton-under-Lyne in 1896 before it illuminated the chapel at Cheadle. The guiding principles that governed the manufacture of the Cheadle windows can be found in an article by Morris in 1890 in which he stressed the importance of clarity of design and colour, ‘The qualities needed in the design […] are beauty and character of outline […] Whatever key of colour may be chosen, [it] should always be clear, bright and emphatic.’

98

SIR EDWARD BURNE-JONES (1833-1898)

FOR MORRIS & CO.

‘ST. ANDREW’ STAINED GLASS PANEL, 1909 stained, leaded and painted glass 176cm high, 44cm wide. The frame measures 185cm high, 50cm wide

Provenance: The Chapel of Cheadle Royal Hospital, Cheshire £8,000-12,000

WILLIAM MORRIS INTEREST COLLECTION OF BOOKS

comprising; Vallance, Aymer William Morris George Bell 1897; Marillier H.C. History of the Merton Abbey Tapestry Works, Constable & Co., 1927; Crow G.H. William Morris Designer, The Studio 1934; The Work of Walter Crane and The Work of William Morris, The Art Journal 1899; Atkins W. William Morris, Artist, Printer, and Man of Business, Saint Bride 1917-18; Cobden-Sanderson T.J. Ecce Mundus: Industrial ideals and the book beautiful, Hammersmith Publishing Co., 1902; Cunninghame Graham R.B. William Morris, Herbert Jenkins 1913; Morris W. The Earthly Paradise, Reeves & Turner 1890 (2 copies); Morris W. News from Nowhere, Reeves & Turner 1892; Morris W. Love is Enough, Reeves & Turner 1889; and Morris W. A Dream of John Ball, Reeves & Turner 1888, with bookplate of C.R. Ashbee, inscribed in pencil C.R. ASHBEE/ TOYNBEE HALL/ WHITECHAPEL/ 1888 (13)

Provenance: From the collection of Arthur Halcrow Verstage

£300-500

100 ATTRIBUTED TO MORRIS & CO. CENTRE TABLE, CIRCA 1900 mahogany with marquetry inlay and penwork 75.5cm wide, 72cm high £400-600

101 Y

PHILIP WEBB (1831-1915) FOR MORRIS & CO. DRAWING ROOM

BANQUETTE, CIRCA 1890

rosewood, with buttoned silk upholstery 195cm wide, 107cm high, 63cm deep

Provenance: From the collection of Arthur Halcrow Verstage

£800-1,200

102

AFTER SIR EDWARD BURNE-JONES

‘THE MIRROR OF VENUS’

lithograph print, within oak frame 40cm x 63.5cm (frame 59cm x 82cm)

£300-500

103

SIR EDWARD BURNEJONES (1833-1898)

‘FLAMMA VESTALIS’ AND ‘HOPE’

lithograph prints, inscribed to the mounts, within oak frames (2) each 51cm x 18cm (frames 83cm x 47.5cm)

£300-500

104

FREDERICK HOLLYER (1837-1933) AFTER SIR EDWARD BURNE JONES

ILONA

platinum print, mounted on board, from the original drawing; stamped verso

COPYRIGHT FREDK

HOLLYER, 8 PEMBROKE

SQUARE, KENSINGTON, 32.7cm x 24cm; together with MONNA ROSA, a framed print after D.G Rosetti, 28cm x 20.5cm; and another FRAMED PRINT, after Henry Ryland, 28.5cm x 24.5cm (3)

£500-800

105

ENGLISH

TWO PAIRS OF CURTAINS, CIRCA 1900

printed cotton plush, lined (4) each approx. 294cm x 127cm £300-500

106

W.A.S. BENSON (1854-1924)

PAIR OF ARTS & CRAFTS

CANDLESTICKS, CIRCA 1900

brass and copper (2)

27.5cm high

Literature: Hamerton I. (ed.), W.A.S.

Benson: Arts & Crafts Luminary and Pioneer of Modern Design, ACC 2005, p.253, pl.23, where similar examples are illustrated.

£200-300

107

MANNER OF MORRIS & CO.

OCCASIONAL TABLE, CIRCA 1900

inlaid mahogany, 61cm diameter, 69.5cm high; together with an ARTS & CRAFTS TABLE, in the manner of William Birch, 43cm across, 68cm high (2) £300-500

108

WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.

ORIGINAL ‘BRER RABBIT’ PANEL, CIRCA 1882

printed cotton, framed

55cm x 51cm (frame 63cm x 59.5cm)

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 Morris’s daughters Jenny and May at the time.

£300-500

109

MANNER OF MORRIS & CO.

ARTS & CRAFTS CABINET, CIRCA 1880

painted pine

167.5cm high, 11cm high, 53.5cm deep

£600-800

110

WILLIAM MORRIS (1834-1896)

FOR MORRIS & CO.

‘THE APPLE TREE’ EMBROIDERED PANEL, CIRCA 1890

coloured silk threads, presented in a later frame

61cm x 63cm (frame 74.5cm x 77cm)

Literature: Parry L. William Morris Textiles, 1983, p. 28 where a similar design for embroidery is illustrated.

£1,500-2,000

111

MANNER OF MORRIS & CO.

ARTS & CRAFTS PETIT POINT PANEL, CIRCA 1900

coloured wool threads, original mahogany frame and mount

34.5cm x 45cm (frame 55.5cm x 63.5cm)

£400-600

112

JOHN HENRY DEARLE (1859-1932)

FOR MORRIS & CO.

THREE ARTS & CRAFTS

EMBROIDERED PANELS, CIRCA 1892 coloured silk threads, each mounted in an oak frame to form a three-fold draught screen, bears ivorine plaque inscribed WORKED BY MARGARET H. BENNETT 1891-1893/ PRESENTED BY HER TO ARCHIBALD S. BENNETT 1905 panels 132cm x 53cm, each fold 181cm x 63.5cm

Literature: Parry, Linda William Morris Textiles, V&A 2013, p.34, no.20 where a similar screen is illustrated including two of the panels offered here, ‘Horned Poppy’ and ‘Parrot Tulip’.

Note: Designs for textiles by William Morris and other designers at Morris & Co. were available to the public as finished embroideries or as kits to complete at home. The kits were an inexpensive way of acquiring work from Morris & Co. These examples were worked from such a kit and mounted in an associated oak screen.

£2,000-3,000

113

MAY MORRIS (1862-1938) FOR MORRIS &

CO.

‘POPPY’, ARTS & CRAFTS EMBROIDERED BORDER, CIRCA 1890 coloured silk threads, reserved on a silk ground, framed 52cm x 91cm (frame 78cm x 118cm)

Literature: Hulse L. et al. May Morris: Arts & Crafts Designer, Thames & Hudson 2017, p.86 and 89, no.70 which illustrates a border of the same design made up as a tablecloth.

£400-600

MAY MORRIS (1862-1938) AND WILLIAM MORRIS (1834-1896)

COLLECTION OF LETTERS

comprising a letter to Katie dated 25th August 1928 from Haltwhistle whilst on holiday with ‘MF’ (her companion Mary Lobb), asking for a receipt book from W.H. Smith, descriptions of the countryside around Hadrian’s Wall, a visit with Celia Roberts etc; A letter to Mary Sloane (member and Honorary Secretary of the Women’s Guild of Arts) dated 22nd February 1937 apologising for her inability to attend a committee meeting due to illness, the death of Edward Garnet etc.; and an undated postcard from Kelmscott Manor with travel plans; also a copy of NEWS FROM NOWHERE, by William Morris, published by Reeves & Turner, London, 1891 in an edition of 250 copies, paper covered hardback binding, later covered in Morris & Co fabric, uncut pages, pasted to the inside from cover with the bookplate of William Robinson (1838-1935) and bearing an inscription in ink by May Morris ‘In memory of pleasant days at Kelmscott/ May Morris June 4th 1927’

Provenance: From the collection of Arthur Halcrow Verstage

Note: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London, where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here, he became an architect for London County Council, was involved with many London societies and was a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.

The Irish horticulturist and journalist William Robinson (1838-1935) had a marked effect on the textile arts during the final decades of the nineteenth century. Author of The Wild Garden (1870) and The English Flowered Garden (1883), Robinson rejected the artificiality and formality of High Victorian pattern gardening in favour of naturalised plantings of perennial shrubs and climbers. This approach found favour with Arts & Crafts textiles designers at the time including May Morris.

£600-800

115

WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘OLIVE AND ROSE’ ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1880 coloured silks, within a gilt frame 56.5cm x 51.5cm (frame 73cm x 68cm)

Literature: Mason, A. (et.al), May Morris: Arts and Crafts Designer, Thames & Hudson 2017, p.72-73, pl.57-58 illus.

£500-700

116

WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.

THREE ‘PEACOCK & DRAGON’ PANELS, CIRCA 1880 hand-loom jacquard woven wool 233 x 128cm; 240 x 132cm; and 216 x 157cm

Literature: Parry, Linda William Morris Textiles, V&A 2013, p.224, no.36 £500-800

117

WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.

GROUP OF ORIGINAL TEXTILES, CIRCA 1890 AND LATER ‘Tulip’, designed Morris 1875, printed cotton, 45cm x 96.5cm; ‘Cray’, designed Morris 1884, printed cotton, maker’s marks, 96cm x 96cm; three pieces of ‘Tangley’, after 1915, printed cotton, 61cm x 79cm, 30cm x 92cm and 45cm x 45cm, maker’s marks; and a length of burgundy silk, 67cm x 61cm (6)

Literature: Parry L. William Morris Textiles, V&A 2013, p.207, pl.9; pp.242-3, pl.63; and p.281, pl.143

Note: ‘Tangley’ pattern was an adaptation from an early 19th century textile design.

£200-300

118

WILLIAM DE MORGAN (1839-1917)

VASE, CIRCA 1890

ruby lustre-glazed earthenware

24.5cm high

Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.165, pl.495, where the related design for a frieze of lions is illustrated.

£1,000-1,500

119

CHARLES PASSENGER FOR WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS CHARGER, CIRCA 1890

lustre-glazed earthenware, painted to reverse W.D.M/ C.P/ FULHAM

26cm diameter

Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.41, pl.1255, where the related design is illustrated.

£4,000-6,000

120

CHARLES PASSENGER FOR WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS PLATE, CIRCA 1890 lustre-glazed earthenware, decorated with galleons and seagulls, painted marks verso C.P/ W.DE.M/ FULHAM/ 6/ 3100

24.1cm diameter

Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.220, pl.141, where a dish with a similar design is illustrated.

£800-1,200

121

WILLIAM DE MORGAN (1839-1917)

‘EAGLE & SNAKE’ RUBY LUSTRE TILE, CIRCA 1885 lustre-glazed earthenware, unmarked, 15.2cm square; another WILLIAM DE MORGAN TILE, impressed Sands End mark, 15.3cm square; and TWO FRAMED MAW & CO TILES, each 19.5cm square (4)

Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 2007, p.130, pl.968 where an ‘Eagle & Snake’ tile is illustrated

£400-600

122

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS 6-INCH TILE, CIRCA 1890

glazed ceramic, depicting a galleon, impressed Sands End mark verso

15.4cm x 15.3cm

£600-800

123

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS 6-INCH TILE, CIRCA 1890

glazed ceramic, depicting a galleon, impressed Sands End mark verso

15.6cm x 14.8cm

£600-800

124

DELLA ROBBIA POTTERY, BIRKENHEAD BOTTLE VASE, 1896

glazed terracotta, incised maker’s and artist’s marks, dated ‘96

24cm high

£400-600

125

DELLA ROBBIA POTTERY, BIRKENHEAD

VASE, CIRCA 1900

glazed earthenware, incised pottery marks with initials JF/ GR (for decorators John Foggo and Gertrude Russell), From C (probably based on a design by Charles Collis) / 9, incised maker’s marks

31.5cm high

£500-800

126

DELLA ROBBIA POTTERY, BIRKENHEAD

PLATE, CIRCA 1900

glazed earthenware, incised pottery marks with initials A.E A / C (probably from an original design by Charles Collis) DR/ 559

25.5cm diameter

£300-500

127

ATTRIBUTED TO JOHN PAUL COOPER (1869-1933) FOR THE ARTIFICERS’ GUILD ARTS & CRAFTS PENDANT, CIRCA 1908

enamelled white metal, set opal, amethyst and chrysoprase cabochons, within original silk and velvet lined leather case bearing gilt printed maker’s mark THE ARTIFICERS GUILD/ 4, CONDUIT STREET/ LONDON. W

41cm long including chain, pendant 7cm tall including bale

Literature: Gere C. European & American Jewelry 1830-1914, Crown Publishers 1975, p.167, pl.160 where a similar example, designed by John Paul Cooper, is illustrated.

£3,000-4,000

129

128

ENGLISH

‘MERRILY, MERRILY SHALL I LIVE NOW...’, ARTS & CRAFTS EMBROIDERED PANEL, 1914

coloured silk threads, within carved oak frame, monogram EMS and dated 1914

67cm x 56cm (frame 83cm x 66cm)

£600-800

WILLIAM HEATH ROBINSON (1872-1944)

THE KELPIE OF SNOOZIEPOOL ink and watercolour, signed lower left W. HEATH ROBINSON, with inked in title to mount (1) 35cm x 23.5cm (53.5cm x 39.5cm frame size) £2,000-3,000

SIR ALFRED GILBERT (1854-1934)

‘AN OFFERING TO HYMEN’, 1900

bronze, signed and dated in the bronze A. GILBERT 1900, composition plinth 29cm high

Literature: Dorment R Alfred Gilbert: Sculptor and Goldsmith, Royal Academy of Arts, London, 1986, pls.25 and 32

Note: An Offering to Hymen of circa 1885 was Gilbert’s first female nude and became one of his most popular figures. It depicts the upright figure of a young woman reverently making a presentation to Hymen, the Greek god of marriage and of the marriage song. There as several variations to this figure, the sculptor producing small changes and variations in the gifts which the girl presents to the god. In this example, the figure is holding a leafy frond and a statue of Anteros, the god of requited love and the avenger of the unrequited.

£3,000-4,000

GILBERT BAYES (1872-1953)

‘SEA NYMPH ON CREST OF WAVE’, 1895 patinated plaster, framed 30cm x 20cm (frame 49cm x 30.5cm)

Literature: Irvine, L. & Atterbury, P., Gilbert Bayes Sculptor 18721953, Ilminster, 1998, p.102 (similar plaster version illustrated).

£600-800

132

ENGLISH

ARTS & CRAFTS HANGING

LIGHT, CIRCA 1900

copper, with large opalescent glass shade 40cm diameter, 120cm high

£2,000-3,000

133

ENGLISH ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 coloured silk threads on a fine linen ground, framed 152cm x 44cm (frame 161cm x 53cm)

£300-500

134

ENGLISH ARTS & CRAFTS ARMCHAIR, CIRCA 1900 oak, with rush seat 61.5cm wide, 105cm high, 61cm deep

£300-500

135

JOHN WILLIAMS (1866–1951) FOR FIVEMILETOWN, COUNTY TYRONE

ARTS & CRAFTS MIRROR, CIRCA 1895

repoussé-decorated brass, inset convex mirror, oak frame 70cm square

Literature: The Studio, No.88, July 1900, p.84 where a similar example is illustrated £2,000-3,000

136

ENGLISH, MANNER OF W.A.S. BENSON

ARTS & CRAFTS CEILING LIGHT, CIRCA 1900

brass, copper, with opalescent glass shades, recently re-wired 52.5cm diameter, 86cm high

£600-800

137

JOHN PEARSON (1859-1930)

FIRESCREEN, CIRCA 1890

repoussé-decorated copper, patinated wrought iron, stamped to reverse JP 69cm x 51cm

£600-800

138

ENGLISH

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 coloured silk and metal threads, framed 79cm x 49cm (frame 82cm x 53cm)

£300-500

139

JOHN PEARSON (1859-1930)

TWO-TILE FRAMED PANEL, CIRCA 1900

painted earthenware (2) each tile 10.3cm square

£300-500

140

JOHN PEARSON (1859-1930)

ARTS & CRAFTS CASKET, 1899

repoussé-decorated copper, signed and dated to the rear J.P. 1899

23cm wide, 7.3cm high, 10cm deep £300-500

141

NEWLYN SCHOOL, MANNER OF JOHN PEARSON

ARTS & CRAFTS FLOWER BOWL & COVER, CIRCA 1900 copper, stamped to base NEWLYN 25.5cm diameter

£200-300

142

JOHN PEARSON (1859-1930)

ARTS & CRAFTS WALL MIRROR, CIRCA 1900 repoussé-decorated copper 40cm diameter

£500-800

143

ENGLISH SCHOOL

MEDIEVAL SPORTING PURSUITS

watercolour triptych, each panel signed E. BURNE JONES

72cm x 131.5cm (frame 83cm x 143cm)

£400-600

144

JOHN PEARSON (1859-1930)

DISH, 1904

repoussé-decorated copper, signed and dated to reverse J.P. 1904

27.5cm diameter

£600-800

145

JOHN PEARSON (1859-1930)

JARDINIÈRE, 1897

repoussé-decorated copper, signed and dated to base J. PEARSON/ 1897/ 2332

20cm high

£600-800

ALFRED WICKHAM JARVIS (1865-1945)

ARTS & CRAFTS MIRROR, CIRCA 1898

oak, with mirrored glass plate 74.5cm x 49cm

Literature: The Studio Magazine, Volume 13, 1896, p. 265 where a similar frame by Wickham Jarvis is illustrated.

Note: Alfred Wickham Jarvis exhibited at the Arts and Crafts Exhibitions of 1896 and 1899. He designed furniture, which was then executed by A. Stephens, but he undertook carving and gesso work himself as seen in the present lot. Other items designed by Wickham Jarvis are illustrated in The Studio of 1896, 1898 and 1899. An article on Wickham Jarvis appeared in Country Life on 4 July 1991.

£800-1,200

147

BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS

HANGING LIGHT, CIRCA 1910

brass, with three opalescent glass shades 52cm diameter, 48cm high

Literature: Crawford A. (edit.) By Hammer and Hand: The Arts & Crafts Movement in Birmingham, Birmingham Museums 1984, p.101, pl.80 where a similar fitting is shown on the Birmingham Guild stand at the Midlands Counties Building Trades Exhibition of 1908.

Birmingham Guild of Handicraft Electric Fittings, p.138, no.14

£800-1,200

148

CHARLES SPOONER (1862-1938)

FOUR ARCHITECTURAL DESIGNS, HERTFORDSHIRE, 1900-1911

pen and ink, watercolour and graphite, inscribed, to include TWO DESIGNS ‘FOR SOME ALTERATIONS AND ADDITIONS TO THE WHITE HOUSE AT WESTMILL HERTFORDSHIRE FOR T.T. GREG ESQ’, Nos. 1&2, each further inscribed CHARLES SPOONER ARCHITECT/ EYOT COTTAGE/ CHISWICK MALL/ APRIL 1900; also a DESIGN FOR THREE COTTAGES AT WEST MILL HERTS, dated 1911; and DESIGN FOR THE PRESBYTERY AT LETCHWORTH, HERTS (Presbytery of St Hugh of Lincoln, Letchworth Garden City), No. 3, undated (4) each approx. 34.5cm x 54cm (frame 50.3cm x 53.5cm)

Note: Spooner was responsible for many buildings in the village of Westmill, returning to work on cottages, houses and the church over a period of 40 years. He was a close friend of C.F.A. Voysey, and was considered by C.R. Ashbee to be one of the four great names of the Arts & Crafts Movement, the other three being W.R. Lethaby, Sidney Barnsley and Ernest Gimson.

£800-1,200

149

JESSON, BIRKETT & CO.

ARTS & CRAFTS CEILING LIGHT, CIRCA 1900

copper and brass, set with glazed ceramic roundels, with fringe shade

corona 44cm diameter, 74cm high to above globe spacer and excluding fringe

£400-600

151

JOHN PEARSON (1859-1930)

ARTS & CRAFTS CHARGER, 1893

repousse-decorated copper, signed verso J. PEARSON 1893

51.4cm diameter

£800-1,200

150

ENGLISH

LARGE ARTS & CRAFTS

EMBROIDERED PANEL, CIRCA 1890 coloured silk, wool and metal threads on a linen ground, later-framed 178cm x 105cm (frame 195.5cm x 123cm)

£600-800

152

MANNER OF JOHN PEARSON

ARTS & CRAFTS CHARGER, CIRCA 1900 repoussé-decorated copper

59cm diameter

£300-500

153

SIR EDWIN LUTYENS (1869-1944)

DOOR FOR LITTLE THAKEHAM, 1902

oak, polished steel

91cm wide, 199cm high, 2.5cm deep

Provenance: Little Thakeham, West Sussex Little Thakeham (the sale of the contents), Rupert Toovey, 18th October 2000, lot 17.

Private Collection

Literature: Stamp G. Edwin Lutyens Country Houses, Aurum Press 2001, pp.110-115, and p.114 where similar doors to the current lot are illustrated in situ

Note: Lutyens once described Little Thakeham in Sussex, which was designed for Ernest Murray Brown and completed in 1902, as ‘the best of the bunch’. The exterior of the house is vernacular, as are several features of the interiors including the magnificent doors, found around the house, of which the current lot is one example. However, the house was one of the first in which Lutyens mixed neoclassical architecture into his previously vernacular style, particularly seen in the large hall.

£3,000-5,000

31 December 1913

Little Thakeham, West Sussex, South Front and Pergola. From: Weaver, Lawrence (1913) Houses and Gardens by E.L. Lutyens, London: Country Life OCLC: 1111173438.

154

ENGLISH PAIR OF CURTAINS, CIRCA 1910 machine-embroidered silk and metal threads on a silk ground, lined and interlined (2) each approx. 333cm x 168cm

£400-600

155

ATTRIBUTED TO THE BIRMINGHAM GUILD OF HANDICRAFTS ARTS & CRAFTS ADJUSTABLE TABLE LAMP, CIRCA 1900 copper, with chased decoration, opalescent glass shade

34cm high to fitting

£800-1,200

RICHARD LLEWELLYN RATHBONE (1864-1939)

PAIR OF JARDINIÈRES, CIRCA 1900 repoussé-decorated brass, with applied ring handles, one stamped to base R. RATHBONE (2)

34.5cm diameter, 25cm high

£800-1,200

154

155

156

156

157

ENGLISH ‘FOR SOME RIDE ON THE BLACK LAYDE...’, ARTS & CRAFTS PANEL, CIRCA 1910 painted wood, with gilt highlights

16.5cm x 26.2cm (frame 20.6cm x 30.5cm)

£300-500

158

ENGLISH PAIR OF ARTS & CRAFTS

TABLE LAMPS, CIRCA 1900 brass, each with opalescent glass shades, stamped 6184 (2)

34.5cm high to fitting

£800-1,200

159

JESSON, BIRKETT & CO.

ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900 patinated brass, pewter, and abalone shell, with single train movement

32.5cm high

£2,000-3,000

161

WILLIAM HUTTON & SONS LTD.

CENTREPIECE COMPORT, LONDON 1902

silver, with applied green enamels, stamped manufacturer’s marks and hallmarked

London 1902

26cm high, 17.5cm diameter, weight: 26.8oz

£1,500-2,000

160

EDWARD SPENCER (1873-1938) FOR THE ARTIFICERS’ GUILD CANDLE SCONCE, CIRCA 1910

electroplated metal

38cm tall, 31cm wide, 16cm deep

£1,000-1,500

162

ATTRIBUTED TO C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LTD

ARTS & CRAFTS SALT CELLAR & COVER, CIRCA 1900 repoussé-decorated white metal, unmarked 13.5cm high

£3,000-5,000

163

G.E. USHER AND A.H. JEPHCOTT FOR DRYAD METAL WORKS, LEICESTER

ARTS & CRAFTS FOUR-PIECE TEA SERVICE, BIRMINGHAM 1919 silver, set with turquoise cabochons, comprising a TEAPOT, 14cm high; a HOT WATER JUG, 19.3cm high; a SUGAR BOWL, 10cm diameter; and a MILK JUG, 8.4cm high, each with stamped maker’s marks DMW, and hallmarked Birmingham 1919 (4)

Teapot height: 13cm weight (all in): 35oz

Literature: The Studio Yearbook, 1917, p.94, where a similar tea service is illustrated and captioned as ‘Designed by G.E. Usher, executed by A.H. Jephcott in the Dryad Works.’

£1,500-2,000

Dryad was formed in 1906 by Harry Peach and Benjamin Fletcher, head of Leicester School of Art. Initially producing cane furniture, it soon branched out to produce other Arts & Crafts artefacts. Dryad Metal Works was established in 1912 when William Pick of Collins & Co., Birmingham, and a former pupil at Leicester School of Art, joined Harry Peach in partnership. From 1917 they produced simple but well-made designs predominantly provided by John Sidney Reeve and other instructors at the Leicester School of Art. John Sidney Reeve was a silversmith who had formally worked for Charles Robert Ashbee and the Guild of Handicraft in Chipping Campden. The Collins and Co. mark was used between 1915 and 1919, after which the DMW stamp was used.

166

C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT ARTS & CRAFTS MUFFIN DISH & COVER, CIRCA 1900

silver plate, the finial inset with a green hardstone cabochon, unmarked 13cm high, 24cm diameter

£600-800

164

JAMES POWELL & SONS, WHITEFRIARS

GOBLET, CIRCA 1906

opalescent glass

21.5cm high

£200-300

165

MARTIN BROTHERS

PITCHER, 1896

glazed stoneware, incised MARTIN BROS/ LONDON + SOUTHALL/ 10-1896

167

MARTIN BROTHERS JARDINIÈRE, 1880

stoneware, incised to body R.W. MARTIN/ LONDON & SOUTHALL, incised to base R.W. MARTIN/ LONDON & SOUTHALL/ 28.12.80

23cm high, 38.5cm diameter

£600-800

168

MARTIN BROTHERS GOURD VASE, 1912 glazed stoneware, incised MARTIN BROS./ LONDON & SOUTHALL/ 1-1912

26cm high

£1,000-1,500

169

BIRMINGHAM GUILD OF HANDICRAFT LTD.

ARTS & CRAFTS QUAICH, BIRMINGHAM 1897

silver, stamped maker’s marks, hallmarked Birmingham 1897

19cm wide, weight: 4.4oz

£500-800

170

MARTIN BROTHERS PAIR OF VASES, 1903

glazed stoneware, incised maker’s marks R.W. MARTIN & BROS/ LONDON & SOUTHALL, one dated 4-8-3 (2)

21.2cm high

£2,000-3,000

MANNER OF C.F.A. VOYSEY

ARTS & CRAFTS PIANO STOOL, CIRCA 1910

inlaid mahogany, with later close-nailed leather upholstery, the seat lifting to a void sheet music compartment

46cm wide, 50.5cm high, 35.5cm deep

£300-500

172

C. F. A. VOYSEY (1857-1941) FOR JESSON, BIRKETT & CO.

INKWELL, CIRCA 1898

brass, with later glass liner, stamped 673R

14.5cm square, 8cm high

Literature: Livingstone K., Donnelly M., Parry L. C.F.A. Voysey: Arts & Crafts Designer, London 2016, p.247, pl.312 where similar example illustrated.

£800-1,200

173

C. F. A. VOYSEY (1857-1941) FOR JESSON, BIRKETT & CO. DOUBLE INKWELL, CIRCA 1898

brass, with later glass liners, stamped initials JBC/ 672 25cm wide, 7.5cm high, 14.7cm deep

Literature: Livingstone K., Donnelly M., Parry L. C.F.A. Voysey: Arts & Crafts Designer, London 2016, p.247, pl.313 where similar example illustrated.

£1,500-2,000

174

C.F.A. VOYSEY (1857-1941) FOR THOMAS ELSEY AND CO., PAIR OF ARTS & CRAFTS ANDIRONS, CIRCA 1900

brass, one stamped 8 (2) 23cm wide, 44cm high, 24cm deep

Literature: Livingstone K., Donnelly M., and Parry L C.F.A. Voysey, Arts & Crafts Designer, V&A 2016, p.259, pl.334 where similar examples are illustrated.

£2,000-3,000

C. F. A. VOYSEY (1857-1941)

FOR THOMAS ELSLEY & CO.

COAL SHOVEL, CIRCA 1898

brass

61cm long

Literature: Livingstone K., Donnelly M., and Parry L C.F.A. Voysey, Arts & Crafts Designer, V&A 2016, p.260, pl.338 where a similar example is illustrated.

Rudoe, J. Decorative Arts 1850-1950; A Catalogue of the British Museum Collection, British Museum Press 1991, p. 210

£800-1,200

C.F.A. VOYSEY (1857-1941)

RARE FIRE SURROUND, CIRCA 1905

cast iron

External measurement 122cm high, 168.3cm wide, 19.5cm deep

Literature: Thomas Elsley Ltd., Catalogue of Designs by C. F. A. Voysey, Architect, no.330, where this example is illustrated as a line drawing.

Voysey C.F.A. Reason as a basis of art, 1906 p.24.

Note: Voysey’s fireplace designs exhibit a startlingly modern simplicity, in contrast to the ‘distracting’ ornament which had typified the Victorian hearth. If simplicity pervaded Voysey’s approach, it was enlivened with familiar motifs which he used elsewhere, in this instance the heart and the perched bird. Writing in 1906 he asked his readers to “consider the average fireplace in the average home and count the number of different materials and colours of which it is composed. Is it conducive to restfulness and quiet reflection? Or is this whirl-wind of countless sensations needed to drown out our sober thought? Are bustle and discord necessary to our home life?”

£4,000-6,000

177

ENGLISH SCHOOL

SERIES OF DESIGNS FOR NATIONAL COMPETITIONS, CIRCA 1900

pen and ink, pencil, watercolour on paper, stuck down on board, comprising DESIGN FOR FUMED OAK BEDROOM SUITE, five sheets, inscribed OWEN JONES COMPETITION; DESIGN FOR DINING ROOM FURNITURE FOR COUNTRY HOUSE, one sheet; DESIGN FOR GLAZED TILES; DESIGN FOR PRINTED CRETONNE, inscribed FOR NATIONAL COMPETITION; DESIGN FOR A SILK DAMASK HANGING and DESIGN FOR WALL PAPER, inscribed FOR NATIONAL COMPETITION, each with ESK stamp (Examined South Kensington) (10)

each board approx. 56cm x 82cm

£500-800

178

ENGLISH

PAIR OF ART NOUVEAU WALL LIGHTS, CIRCA 1900

brass, copper, ceramic and oak, with etched glass shades, converted from gas to electricity, stamped to fitting VERITAS GAS BURNER/ RD

NO 495632 (2)

37cm tall, 28cm deep

£400-600

179

ENGLISH

SECRETAIRE CABINET, CIRCA 1900

mahogany, marquetry inlay of specimen woods, copper, pewter and mother of pearl, glazed doors and silvered brass fittings

99.5cm wide, 161cm high, 44.5cm deep

£600-800

181

180

181

ENGLISH

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900

coloured wool threads on a linen ground, with embroidered inscription 1661, later-framed

125cm x 41cm (frame 144.5cm x 62cm)

Note: Presumably made to commemorate the coronation of Charles II in 1661

£400-600

183

ENGLISH

182

ENGLISH ARTS & CRAFTS STAINED GLASS PANEL, EARLY 20TH CENTURY stained leaded and painted glass

55cm x 44cm

£300-500

ART NOUVEAU OCCASIONAL TABLE, CIRCA 1900

repoussé-decorated copper, oak

86.5cm long, 71.5cm high, 56cm deep

£300-500

180

ENGLISH PAIR OF ARTS & CRAFTS WALL LIGHTS, CIRCA 1900

patinated copper, oak, with opalescent glass shades by James Powell & Sons, Whitefriars (2)

42.5cm high, 31cm wide, 22cm deep

£600-800

182 183

184

ATTRIBUTED TO PILKINGTON’S TILE & POTTERY CO.

SIX-TILE PANEL, CIRCA 1900

tube-lined and glazed earthenware each tile 15.3cm square (frame 36cm x 51.5cm)

Note: For a similar panel attributed to Pilkington’s see V&A collection accession no. C.187-1976

£500-800

186

SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS FIRESIDE BOX, CIRCA 1900

oak, patinated metal fittings and embossed roundels, stamped R1988/ 136

53cm wide, 48cm high, 37.5cm deep

£400-600

185

DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD ‘GHOSTLY WOOD’ FLAME FAIRYLAND LUSTRE COVERED VASE, CIRCA 1925

lustre-glazed earthenware, printed and painted in gilt and coloured enamels, printed factory stamp, painted Z5360 29cm high

£600-800

187

SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS FIRESIDE CABINET, CIRCA 1910

mahogany, applied brass and copper fittings and inset with embossed copper panel, bears retailer’s ivorine label CHARLES JENNER & CO/ PRINCES STREET/ EDINBURGH, stamped 95 (twice) 42.2cm wide, 98.5cm high, 37.5cm deep

£400-600

ATTRIBUTED TO SILVER STUDIO PAIR OF CURTAINS, CIRCA 1900

silk rayon, one curtain with original lining (2)

each approx. 229cm x 230cm

Provenance: Sotheby’s, Castle Howard, York, 11th-13th November 1991

£400-600

ELIAB G. EARTHROWL (1878–1965)

ART NOUVEAU MAIDEN, CIRCA 1900

patinated plaster, signed and indistinctly dated lower right E. G. EARTHROWL/ 190*

57cm high

£400-600

190

SHAPLAND & PETTER, BARNSTAPLE REVOLVING BOOKCASE, CIRCA 1900

mahogany and plum-pudding mahogany with marquetry inlay, stamped 131

55cm across, 83cm high

Literature: Bennett D. Shapland & Petter of Barnstaple, Museum of Barnstaple & North Devon, 2005, p.108, pl.6.19 illus.

£500-700

192

191

ENGLISH ARTS & CRAFTS HALL

LANTERN, CIRCA 1910

stained and leaded glass

30.5cm diameter, 30cm high

£400-600

192

GOODYER’S, LONDON

ARTS & CRAFTS ARMCHAIR, CIRCA 1905

oak, needlework upholstery with drop-in seat

58cm wide, 85cm high, 61cm deep

Note: Goodyer’s was established in Bond Street in 1889 by F.B. Goodyer, a former partner at Liberty & Co. Originally established as The Aesthetic Gallery the business later moved to Regent Street.

£500-700

193

ENGLISH ARTS AND CRAFTS

SECRETAIRE, CIRCA 1900 inlaid oak, the fall enclosing a fitted interior

91cm wide, 128cm high, 36cm deep

£300-500

SHAPLAND & PETTER, BARNSTAPLE

ARTS & CRAFTS WALL SHELF, CIRCA 1900

oak, with a stencilled panel, stamped to reverse 115 77.5cm wide, 52cm high, 20cm deep £300-500

ENGLISH STAINED GLASS PANEL, CIRCA 1950

stained leaded and painted glass, framed panel 89.5cm x 37.5cm (frame 96.5cm x 44cm) £300-500

196

ENGLISH, MANNER OF HEAL & SON, LONDON

ARTS & CRAFTS CHEST OF DRAWERS, CIRCA 1910

inlaid oak, copper plates to each drawer, with domed hinged lid enclosing a void compartment 95cm wide, 85cm high, 49cm deep

£600-800

197

HAROLD STABLER (1872-1945) FOR KESWICK SCHOOL OF INDUSTRIAL ARTS

ARTS & CRAFTS FLAGON, CIRCA 1900

repoussé-decorated copper, stamped maker’s mark KSIA 29cm high

£400-600

198

SHAPLAND & PETTER, BARNSTAPLE

ARTS & CRAFTS WALL CABINET, CIRCA 1900

mahogany, with patinated copper panels and decorative hinges, impressed serial number R921A 51cm wide, 51.8cm high, 19cm deep

Literature: Bennett D. Shapland & Petter Ltd of Barnstaple: Arts and Crafts Furniture, 2005, p.74, pl.5.12 where an example of this cabinet is illustrated

£300-500

ENGLISH

PAIR OF ARTS & CRAFTS HALL

LANTERNS, CIRCA 1900

copper, stained and leaded glass (2)

31.5cm high, 21cm diameter

£800-1,200

200

GOODYER’S, LONDON

PAIR OF ARTS & CRAFTS ARMCHAIRS, CIRCA 1905

oak, later leather upholstery with loose cushions and solid seats, applied embossed copper plates to the top rails (2)

52cm wide, 86cm high, 57cm deep

£800-1,200

201

ATTRIBUTED TO SILVER STUDIO FOR LIBERTY & CO., LONDON

PAIR OF ARTS & CRAFTS FABRIC PANELS, CIRCA 1910

printed linen, probably made by G.P.&J. Baker, later framed, with printed inscription THE PIED PIPER OF HAMELIN and LITTLE BO PEEP (2)

80cm x 48cm (frame 88cm x 55.5cm)

£500-700

202

ENGLISH

LARGE ARTS & CRAFTS

FIREPLACE CANOPY, CIRCA 1900

copper, set with Ruskin glazed earthenware roundels

38.5cm x 112cm

£400-600

203

ATTRIBUTED TO SILVER STUDIO FOR LIBERTY & CO.,

LONDON

PAIR OF ARTS & CRAFTS

FABRIC PANELS, CIRCA 1910

printed lined, probably made by G.P.&J. Baker, later framed (2)

80cm x 48cm (frame 88cm x 55.5cm)

£500-700

204

CHARLES CUNDALL (1890-1971) FOR PILKINGTON’S TILE & POTTERY CO.

LANCASTRIAN VASE, 1908

lustre-glazed earthenware, lustre painted monogram and date cypher to body

14cm high

£500-800

205

GORDON FORSYTH (1879-1952) FOR PILKINGTON’S TILE & POTTERY CO.

LANCASTRIAN VASE, 1910

lustre-glazed earthenware, impressed factory mark, lustre-painted monogram and date cypher for 1910

28cm high

£800-1,200

206

WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.

LANCASTRIAN LUSTRE VASE, 1912

lustre-glazed earthenware, painted artist’s marks, impressed maker’s mark

19.8cm high

£800-1,200

208

GORDON FORSYTH (1879-1952) FOR PILKINGTON’S TILE & POTTERY CO.

LANCASTRIAN VASE, 1908

lustre-glazed earthenware, impressed factory mark and number (indistinct), lustre-painted monogram and date cypher for 1908

24cm high

£800-1,200

207

WALTER CRANE (1845-1915, DESIGNER) AND RICHARD JOYCE (1873-1931, DECORATOR) FOR PILKINGTON’S TILE & POTTERY CO.

LANCASTRIAN LUSTRE VASE, 1913

lustre-glazed earthenware, painted artist’s marks, impressed marks 2671/ XIII/ ENGLAND

26cm high

£1,500-2,000

209

WALTER CRANE (1845-1915, DESIGNER) AND RICHARD JOYCE (1873-1931 ARTIST) FOR PILKINGTON’S TILE & POTTERY CO.

LANCASTRIAN LUSTRE VASE, 1910

glazed and painted ceramic, painted artist’s and designer’s marks, impressed maker’s marks 2671/ ROYAL LANCASTRIAN/ ENGLAND

28.1cm high

£1,500-2,000

210

RICHARD JOYCE (1873-1931)

FOR PILKINGTON’S TILE AND POTTERY CO. ROYAL LANCASTRIAN LUSTRE VASE, CIRCA 1912

lustre-glazed earthenware, painted artist’s monogram, impressed factory mark, impressed no.2962

32.1cm high

£1,500-2,000

211

WALTER CRANE (1845-1915) AND WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO. ROYAL LANCASTRIAN LUSTRE ‘LION’ BOWL, 1914

lustre-glazed earthenware, painted artist’s and designer’s cyphers to the base, impressed factory marks 2469/ ROYAL LANCASTRIAN/ ENGLAND

21.5cm diameter

£800-1,200

212

GLADYS ROGERS FOR PILKINGTON’S TILE & POTTERY CO.

ROYAL LANCASTRIAN VASE, CIRCA 1920

lustre-glazed earthenware, impressed factory mark and number 2920, lustrepainted monogram

17.3cm high

£300-500

215

RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE AND POTTERY CO.

ROYAL LANCASTRIAN BOTTLE VASE, 1913

lustre-glazed earthenware, lustre-painted monogram and date cypher for 1913, 24cm high; together with a SMALL ROYAL LANCASTRIAN BOTTLE VASE, lustre-glazed earthenware, impressed factory mark and number 2905 (crack), 16.5cm high (2)

£400-600

213

WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.

ROYAL LANCASTRIAN BOX & COVER, 1910 lustre-glazed earthenware, impressed factory mark and number 2927, lustre painted artist monogram and date cypher for 1910

11cm high

£300-500

216

WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.

LANCASTRIAN TAZZA, 1912

lustre-glazed earthenware, painted lustre monogram and date cypher for 1912

21cm diameter

£300-500

214

WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.

LANCASTRIAN VASE, 1913

lustre-glazed earthenware, impressed factory mark, lustre painted monogram and date cypher for 1913

25.5cm high

£500-800

217

WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.

ROYAL LANCASTRIAN VASE, 1926

lustre-glazed earthenware, impressed factory mark, lustre-painted monogram and date

21.5cm high

£300-500

218

RICHARD JOYCE (18731931) FOR PILKINGTON’S TILE AND POTTERY CO.

ROYAL LANCASTRIAN VASE, CIRCA 1920

lustre-glazed earthenware, impressed factory mark and number 2586, lustre-painted monogram

16.5cm high

£600-800

219

MURRLE, BENNETT & CO. LTD., LONDON

PENDANT NECKLACE, CIRCA

1905-10

silver, set with cut amethyst stones, stamped MBCo and 950, 46.5cm long, including chain, pendant 5.1cm long; together with a PAIR OF EARRINGS, white metal, set with cut amethyst stones, made to match (modern), 4.5cm long (3)

£600-800

220

MURRLE, BENNETT & CO. LTD., LONDON

RARE BROOCH, CIRCA

1905-10

9-carat gold, set with cut peridot and seed pearls, worked as a spider’s web, with fly and spider pendant drop, stamped to pendant MBCo and 9CT

4cm long

£400-600

221

ATTRIBUTED TO MURRLE, BENNETT & CO. LTD., LONDON

NECKLACE, CIRCA 1905-10

9-carat gold, set with opals, and small seed pearl drops, stamped 9CT 42cm long including chain, largest pendant 3cm tall £800-1,200

222

MURRLE, BENNETT & CO. LTD., LONDON

THREE BROOCHES, CIRCA

1905-10

comprising 9-carat gold set with opal, stamped MB&Co and 9CT, 3.8cm wide; 9-carat gold, stamped MBCo/ DESIGN REGD. and 9CT, 3.6cm wide; and 9-carat gold set with opals, stamped MB&Co/ PAT ** and 9CT, 3.8cm long (3)

£300-500

223

MURRLE, BENNETT & CO. LTD., LONDON

TWO BROOCHES, CIRCA 1905-10

comprising a BROOCH, 15-carat gold, set with a green cabochon, stamped MBCo and 15CT, 2.5cm across; and another BROOCH, 15-carat gold, stamped MBCo/ PATENT and 15CT, 2.5cm wide (2)

£400-600

224

MURRLE, BENNETT & CO. LTD., LONDON

PENDANT NECKLACE, CIRCA 1905-10

silver, set with enamels, stamped MBCo and 950 42cm long including chain, pendant 5.5cm long

£400-600

225

MURRLE, BENNETT & CO. LTD., LONDON

TWO BROOCHES, CIRCA

1905-10

9-carat gold, set with cut amethyst stones, stamped MBCo and 9CT, 3.2cm long; the other 9-carat gold set with turquoise cabochons, stamped 9CT, 6.5cm long, including bale (2)

£300-500

226

MURRLE, BENNETT & CO. LTD., LONDON

BRACELET, CIRCA

1910

9-carat gold, set with blister pearls and oval cut peridot, stamped MBCo and 9CT 18.2cm long

£500-700

227

MURRLE, BENNETT & CO. LTD., LONDON

PENDANT, AND TWO BROOCHES, CIRCA 1905-10 comprising a PENDANT, silver, set with green hardstone cabochon and baroque pearl drop, 4.3cm tall; each stamped MBCo and 950; a BROOCH, silver, set with a green hardstone cabochon, 3cm wide; and another BROOCH, silver, set with oval cut almandine garnets, 2.6cm wide, each stamped MBCo and 950 (3)

£600-800

228

KATE HARRIS (1878-1949)

FOR G. L. CONNELL LTD., LONDON

RARE CUP & COVER, LONDON 1902

silver, inscribed under base CONNELL/ 83 CHEAPSIDE

LONDON, stamped maker’s mark, hallmarked London 1902

27.5cm high, weight: 15oz

£6,000-8,000

Kate, or Katie, Harris, is broadly considered one of the most important designers for the London-based firm, William Hutton & Sons. From 1899 to around 1905, she produced exquisite designs for artistic silver. We are pleased to offer this wonderful selection of pieces, which demonstrate the exquisite breadth of work she produced for the firm, and which is still very much sought-after by collectors.

Sinuous botanical motifs and enchanting organic forms dominate her work, serving both a decorative and structural purpose for the piece itself. Perhaps Harris’ best-known designs, however, are those featuring a classically stylised figural form, typically austere in feeling and with fewer erotic overtones than Continental Art Nouveau counterparts. The skilled craftsmanship needed to bring these designs to life showcases the sheer elegance and simple beauty that is now synonymous with Harris’ work.

The period between 1880 and 1914 offered fresh opportunities to women artists in training and employment, and there was a growing number of women artistdesigners’ names published in popular art magazines at the time. Harris gained critical acclaim after regularly featuring in The Studio Magazine; soon several companies began to retail her popular silverwares, including Goldsmiths and G. L. Connell. While Harris may have been one of Hutton & Sons brightest talents, it was commercial standard practice for designs to be attributed to the firm itself, and not the individual designer. As a consequence, even successful artists would remain largely anonymous and it became challenging, particularly for women, to forge a prosperous artistic career. Though her biography remains vague, her accomplishments in silverware design are continually recognised and reflected in the high prices her work commands in the art market today.

KATE HARRIS (1878-1949) FOR WILLIAM HUTTON & SONS LTD. RARE INKWELL, LONDON 1903

silver, set with enamels and baroque pearl, clear glass liner, stamped maker’s mark, hallmarked London 1903

14cm diameter

Literature: Pudney S. A Marriage of Art and Commerce: Katie Harris and the Arts and Crafts silverware of William Hutton and Sons, Decorative Arts Society, Journal 22, 1998,

230

KATE

HARRIS (1878-1949)

FOR WILLIAM HUTTON & SONS LTD.

PILL BOX, LONDON 1903

silver and enamel, with silver gilt interior, stamped maker’s mark, hallmarked London 1903

4cm across, 2.5cm high

£1,000-1,500

232 KATE HARRIS (1878-1949)

FOR WILLIAM HUTTON & SONS LTD.

LARGE TWIN-HANDLED CENTREPIECE, LONDON 1901

silver, with blue/green glass liner, stamped maker’s mark, hallmarked London 1901

50.8cm across handles, weight: 30.8oz

£4,000-6,000

234

KATE HARRIS (1878-1949) FOR G. L. CONNELL LTD., LONDON

TWIN-HANDLED CENTREPIECE AND COVER, LONDON 1901

silver, stamped manufacturer’s marks and hallmarked London 1901

19.5cm high, 25cm wide across handles, weight: 18.9oz

£3,000-5,000

235

KATE HARRIS (1878-1949) FOR GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON

THREE TEA GLASSES AND HOLDERS, LONDON 1900

silver, with green glass liners by James Powell & Son, Whitefriars, hallmarked London 1902, stamped GOLDSMITHS & SILVERSMITHS COMPANY LTD/ 112 REGENT ST LONDON (3)

10.25cm high, 6.25cm maximum diameter to glass

£1,000-1,500

236

KATE HARRIS (1878-1949) FOR WILLIAM

HUTTON & SONS LTD.

TWIN-HANDLED DISH, LONDON 1903

silver, with green glass liner, stamped maker’s mark, hallmarked London 1903

20.5cm wide across handles, weighable silver: 10.2oz

£1,000-1,500

233

KATE HARRIS (1878-1949) FOR GOLDSMITHS & SILVERSMITHS CO.

LTD., LONDON

BOX, LONDON 1901

silver, inscribed under base GOLDSMITHS & SILVERSMITHS

COMPANY LTD/ 112 REGENT ST LONDON

W, stamped maker’s mark, hallmarked London 1901

14cm square, 9.5cm high

£1,200-1,800

237

KATE HARRIS (1878-1949) FOR GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON

LINED BOX, LONDON 1900

silver, with copper rivets, the interior lined with wood, inscribed under base GOLDSMITHS & SILVERSMITHS COMPANY LTD/ 112 REGENT ST LONDON W, stamped maker’s mark, hallmarked London 1900

16.3cm wide, 7cm high

£1,200-1,800

238

KATE HARRIS (1878-1949), PROBABLY FOR WILLIAM HUTTON & SONS LTD.

CASKET, CIRCA 1905

copper, with white metal mounts set with an oval cabochon green chrysoprase, unmarked 22cm wide, 7.5cm high, 14cm deep

£600-800

239

KATE HARRIS (18781949) FOR WILLIAM HUTTON & SONS LTD.

TABLE BELL, CHESTER 1911

silver and silver plated metal, stamped maker’s mark, hallmarked Chester 1911

14.3cm high

£800-1,200

240

NO LOT

241

KATE HARRIS (1878-1949) FOR G.L. CONNELL LTD. SERVING DISH, BIRMINGHAM 1911

silver, hallmarked Birmingham 1911, 35.5cm; together with a FLOWER VASE, LONDON 1901, silver, for William Hutton & Sons Ltd., hallmarked London 1901, 19cm high (2)

£800-1,200

9-carat gold, set with turquoise cabochons, marked verso 9ct, later chain, with maker’s mark, and contained within Liberty & Co. box

39cm long including chain, pendant 5.7cm tall

£400-600

ARTS

silver, set with cut crystal, marked twice verso SD, with indistinct hallmarks, within the original box with maker’s mark SIBYL DUNLOP LTD, 69 KENSINGTON

CHURCH ST., LONDON W8

3.9cm diameter

£400-600

9-carat gold, set with turquoise cabochons, with Liberty & Co. box

42cm long including chain, largest drop 2.4cm tall £1,500-2,000

ARTS

silver, set with amethysts, green chrysoprase and central moonstone cabochon, bears maker’s marks verso S.DUNLOP/ SILVER, within the original box with maker’s mark SIBYL DUNLOP LTD, 69 KENSINGTON CHURCH ST., LONDON W8

3cm diameter

£500-800

242 LIBERTY & CO., LONDON

PENDANT, CIRCA 1900

244 LIBERTY & CO., LONDON

NECKLACE, CIRCA 1900

245 SIBYL DUNLOP (1889-1968)

& CRAFTS BROOCH, CIRCA 1960

243 SIBYL DUNLOP (1889-1968)

& CRAFTS BROOCH, CIRCA 1960

248

LIBERTY & CO., LONDON

FOUR TALL CHAIRS, CIRCA 1910

oak, with upholstered drop-in seats (4)

46cm wide, 118cm high, 44cm deep £400-600

249

LIBERTY & CO., LONDON

ARTS & CRAFTS CORNER CUPBOARD

stained oak, leaded glass panel, brass and base metal fittings

78cm wide, 212cm high, 52cm deep £300-500

246

MANNER OF LIBERTY & CO., LONDON

PAIR OF SECRETAIRE

CABINETS, CIRCA 1900

mahogany, stained and lead glass, with brass fittings and baize writing surface (2) 68cm wide, 142cm high, 40cm deep £1,000-1,500

247

LIBERTY & CO.

LONDON

ARTS & CRAFTS WALL

MIRROR, CIRCA 1910 oak, with inset Ruskin glazed earthenware roundel and copper mount, bears inscription LOOK BUT/ LINGER NOT 54cm x 58.8cm £400-600

250

WARING & GILLOW FOR LIBERTY & CO., LONDON

ARTS & CRAFTS SIDEBOARD, CIRCA 1900

oak, copper fittings with glazed and leaded panels, carved inscription

LET GOOD DIGESTION WAIT ON APPETITE & HEALTH ON BOTH

180.3cm wide, 205cm high, 69cm deep

£600-800

251

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

RARE CRUCIFORM ‘TUDRIC’ CLOCK, CIRCA 1902 model 098, pewter, inlaid with abalone shell, stamped TUDRIC 098

37.5cm high

Literature: Martin, S., Archibald Knox, London 2001, pp.70-75, illus. pp.70 and 235. £25,000-35,000

Knox’s work draws on the rich cultural heritage of his native Isle of Man. As with many of the larger clocks that are known to exist, their monumental forms are reminiscent of the standing Celtic stones which populate the island’s countryside, which Knox spent a lifetime exploring. The decoration in this example is stripped of superfluous ornament and is sparingly embellished with inlays of iridescent abalone shell. The soft sheen of its flat pewter surface is punctuated by the exuberant chapters, and the whole creates a stark and striking visual effect that signals a modernist and highly original approach to the design. This is a rare clock, one of the great clocks of Knox’s ‘Liberty Period’ and one of only a handful known. It fulfils his desire to bring together two worlds which he valued deeply: the ancient Celtic tradition and the new, modern world of design, which was undergoing the development of a new and innovative aesthetic.

252

MANNER OF JESSIE MARION KING, POSSIBLY LIBERTY & CO., LONDON

PENDANT, CIRCA 1900

white metal, enamel, with baroque pearl centre and drop 42cm long including chain, pendant 4.6cm long

£400-600

‘CYMRIC’ TWIN-HANDLED

SUGAR DISH, BIRMINGHAM 1905

silver, stamped maker’s marks

CYMRIC/ L&Co./ 5208, hallmarked

Birmingham 1905

15.5cm wide across handles

£400-600

LIBERTY & CO., LONDON

CASKET, CIRCA 1900

pewter, set with enamel panel, the interior lined in wood, stamped to base 078 20.7cm wide, 7cm high, 13.5cm deep

£400-600

253

254

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

WORKS FROM THE GLASGOW ART CLUB COLLECTION

Lyon & Turnbull are delighted to present this eclectic series of sketchbook drawings by Charles Rennie Mackintosh for sale. The collection offers an insight into different aspects of his oeuvre, illustrative of both his methodology as a designer and the role the natural world played in his process.

The sketches belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works shown here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

Mackintosh blazed a difficult trail. He felt profoundly that in order to innovate, the practises of art and architectural design must be synonymous, stating that ‘The Architect must become an art worker… But to do this requires conviction’. This holistic, fundamentally artistic viewpoint was met with little enthusiasm by his architectural peers in Glasgow at this time. Fortunately for us, Mackintosh held true to this conviction at great personal cost, producing groundbreaking and timeless artworks, buildings, interiors and objects. Sadly, famously, he died long before wide recognition of his genius.

His eye for detail and distinctive, encompassing aesthetic is apparent in lot 259 ‘Scale Drawing for Proposed Memorial Stone to Lt. Col. Oswald Arthur Gerald Fitzgerald CMG’. Though the memorial did not ultimately entirely follow Mackintosh’s design specifications, it remains an interesting example of the way in which Mackintosh could turn his hand to an extraordinary diversity of projects.

Lot 260 is a delicate design for a wall frieze. Referenced on p.66 of Roger Billcliffe’s, this sketch is a study for 14 Kingsborough Gardens in Glasgow, the property of Fra Newbery’s mother-in-law Mrs Rowat. Dating to c.1902, Billcliffe states that the design of Kingsborough Gardens was notably feminine, with detailed stencilled motifs of stylized flowers decorating the walls.

Offered here are a fascinatingly diverse group of floral studies in which we see the artist employ different approaches. Mackintosh began creating flower sketches as far back as his student days in the 1880s. ‘Anemones’ is one such early example. He notes in the cartouche that the plant was found at Lamlash on Arran in 1893, presumably pressed, and then sketched three years later in 1896. These trips and the company he kept (recorded by the inclusion of his friend’s initials in many cases) were clearly important to him. The sketches represent a journal of sorts, and it perhaps speaks to a sensitivity (as well as his great precision) that he chose to depict a re-discovered flower from a past excursion.

Colour began making a subtle, delicate appearance after a visit to Lindisfarne, Holy Island in 1901. Lot 257 ‘Harebells’ is a decorative and stylised piece, unusually created entirely in watercolour with no traces of the assured and technical pencil lines that one associates with his botanic studies. Nonetheless, each brushstroke is considered and placed with intent above spontaneity.

At the other end of the spectrum is lot 258 ‘Plant Studies’, which offers a tantalising insight into his design process. Here Mackintosh considers a cluster of appealingly shaped leaves. In the bottom right we see he has constructed a grid, sketching within it a floral form: pinned for dissection by his designer’s eye which seeks to discover his subject’s recurring natural shapes to extrapolate into pattern.

During a ten-month period in 19141915, Charles Rennie Mackintosh created his celebrated series of botanical watercolour studies at Walberswick on the Suffolk coast. Believed to number around 30-40 in total, these works are loved for their meditative, skilful delicacy, and the way they encapsulate the extraordinary marriage of technical and creative vision that Mackintosh possessed. Few beyond Mackintosh are capable of perceiving, much less conveying, both the random beauty and extraordinary symmetry and inherent structural design of the natural world.

255

CHARLES RENNIE MACKINTOSH (1868-1928)

‘LAVANDER, WALBERSWICK’, 1915

pencil and watercolour, inscribed, dated and signed with initials LAVANDER/ WALBERSWICK/ 1915/ CRM/ MMM, later framed sheet size 28.8cm x 22.5cm (frame 46.3cm x 38.7cm)

Provenance: Aquired by William Meldrum after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 £7,000-9,000

By 1915 he had married Margaret Mackintosh, and her initials ’MMM’ begin to appear on his drawings, denoting, like a diary entry, that she was present with him when these sketches were created. ‘Lavander, Walberswick’, the most detailed of the sketches offered here for sale, beautifully illustrates his technical prowess and ever-elegant hand. Creating a sense of texture by highlighting just a few upper leaves with the most delicate of washes, our eye then focuses on the accomplished pencil mark tangle of unfurling leaves towards the base of the stem.

One contemporary source, an article by author Desmond ChapmanHuston, suggests that Mackintosh produced this proliferation of flower studies for a book commissioned by a German publisher, the outbreak of war preventing its publication. It could also have been a deliberate move towards more commercial subject matter as Mackintosh had just quit his architectural practice in Glasgow. He left the recession-bound city under a cloud; his reputation tarnished by rumours of alcoholism. From what we can infer from this beautiful series of drawings, the tranquillity of the coastal village provided him with an opportunity to re-sharpen the clarity of his artistic vision, with many followers holding the Walberswick sketches among his finest work.

“Art is the flower – Life is the green leaf. Let every artist strive to make his flower a beautiful living thing –something that will convince the world that there may be – there are – things more precious – more beautiful –more lasting than life”

Charles Rennie Mackintosh, taken from a lecture titled ‘Seemliness’ from circa 1901-05

CHARLES RENNIE MACKINTOSH (1868-1928) ‘ANEMONIE’, 1896

pencil on paper, inscribed ANEMONIE/ FOUND AT LAMLASH ARRAN MAY 1893/ DRAWN MAY 1896, later framed

sheet size 25.9cm x 20.2cm (frame 44.8cm x 38cm)

Provenance: Aquired by William Meldrum after the Memorial Exhibition 1933 and by descent to his son, James Meldrum

Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984

Exhibited: Edinburgh, Royal Scottish Museum Charles Rennie Mackintosh (1868-1928): Architecture, Design and Painting, 17th August - 8th September 1968, no. 285, titled ‘Anemone and Daisy’.

£4,000-6,000

257

HAREBELLS watercolour, later framed

CHARLES RENNIE MACKINTOSH (1868-1928)

HAREBELLS

sheet size 27.3cm x 23.4cm (frame 47cm x 37cm)

watercolour, later framed

sheet size 27.3cm x 23.4cm

Provenance: Aquired by William Meldrum after the Memorial Exhibition 1933 and by descent to his son, James Meldrum

Provenance: James Meldrum, Glasgow

The Glasgow Art Club

£4,000-6,000

Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 £4,000-6,000

257 JN211-010

256

CHARLES RENNIE MACKINTOSH (1868-1928)

258

CHARLES RENNIE MACKINTOSH (1868-1928)

PLANT STUDIES

pencil and watercolour, later framed sheet size 39cm x 35cm (57cm x 50.3cm)

Provenance: Aquired by William Meldrum after the Memorial Exhibition 1933 and by descent to his son, James Meldrum

Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984

£2,000-3,000

Lt Col. Oswald Arthur Gerald Fitzgerald (1875–1916) was personal military secretary to Lord Kitchener (1850–1916). Both men died in the sinking of HMS Hampshire off Marwick Head, Orkney, on 5 June 1916. Fitzgerald’s body was not buried at Lyness on the island of Hoy, with others recovered from the sea, but was taken instead to Ocklynge Cemetery, Eastbourne, Sussex, where his father was buried. The design shows an upright stone slab 7 feet (2.13 m) high and just over 3 feet (0.91 m) wide at the base, framed at the top and sides by mouldings of a stepped profile. The angular mouldings have similarities with some of the stone carving at Scotland Street School and with later decorative work by Mackintosh, especially the hall fireplace at 78 Derngate, Northampton. The classical victor’s laurel wreath and the military badges above and below the inscription speak the familiar language of soldiers’ memorials. It is not known how Mackintosh came to make the design, or who commissioned it. Fitzgerald had served for some years with Kitchener in India, and it may have been through Mackintosh’s association with Patrick Geddes’s Indian town planning work in 1915–16 that the job came his way. The monument ultimately erected over Fitzgerald’s grave is very much simpler and in no sense a realisation of Mackintosh’s design, although it contains faint echoes of the original drawing offered here and suggests that whoever carved it may have had access to Mackintosh’s design.

259

CHARLES RENNIE MACKINTOSH (1868-1928)

‘SCALE DRAWING OF PROPOSED MEMORIAL STONE TO LT. COL. OSWALD ARTHUR GERALD FITZGERALD CMG’, 1916 pencil and wash on squared paper, showing the front and side elevation of the memorial stone, later framed sheet size 27.5cm x 23.1cm (frame 46.5cm x 41.2cm)

Provenance: Aquired by William Meldrum after the Memorial Exhibition 1933

and by descent to his son, James Meldrum

Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984

Literature: www.mackintosh-architecture.gla.ac.uk

£3,000-5,000

260

CHARLES RENNIE MACKINTOSH (1868-1928)

DESIGN FOR STENCIL DECORATION FOR 14 KINGSBOROUGH GARDENS, 1901

pencil and watercolour on paper, pencil annotations, later framed sheet size 21.9cm x 29.8cm (frame 40.3cm x 47.5cm)

Provenance: Aquired by William Meldrum after the Memorial Exhibition 1933

and by descent to his son, James Meldrum

The Glasgow Art Club, Bath Street, Glasgow

Literature: Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.132-133,1901.67 illus.

£1,500-2,500

261

CHARLES RENNIE MACKINTOSH (1868-1928)

PATTERN DESIGN

pencil on tracing paper, later framed sheet size 15.1cm x 14.4cm (frame 34.2cm x 32cm)

Provenance: Aquired by William Meldrum after the Memorial Exhibition 1933 and by descent to his son, James Meldrum

Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984

£800-1,200

262

ALEXANDER PROUDFOOT (1878-1957)

BUST OF A MAIDEN, 1927

marble, signed and dated A. PROUDFOOT 1927

48cm high

Provenance: The Glasgow Art Club

Note: Born in Liverpool to Scottish parents, Alexander Proudfoot studied at the Glasgow School of Art under Johan Keller. He was to become head of sculpture at the School from 1912–28 and was a prominent member of the Glasgow Art Club. His work is held at The Scottish National Portrait Gallery, Edinburgh, and Kelvingrove Art Gallery, Glasgow.

£2,000-3,000

263

ANNA MUTHESIUS (1870-1961)

DAS EIGENKLEID DER FRAU, 1903

84 pp., with 14 plates, cover illustration and remains of original green silk ties. Krefeld, Kramer & Baum, 1903.

16cm x 12.8cm

Note: This book bears an Art Nouveau binding designed by Frances Macdonald McNair, who with her husband J. Herbert McNair, Charles Rennie Mackintosh and Margaret Macdonald Mackintosh made up a group of radical artists and designers known as ‘The Four’. The author Anna Muthesius and her husband Hermann, the architectural writer, became close friends with the ‘The Four’ after several trips to Glasgow and the Willow Tearooms. The book is considered a seminal text in the development of early twentieth-century women’s fashion. Muthesius believed women should have the freedom to choose their own clothes, styling and fabrics. Emphasis was placed on the rejection of the heavy, restrictive Victorian fashions of the day. The movement was also political in its aims, and part of wider societal moves to liberate women in both the public and private spheres. The book and the form of dressing that it championed represented an outlet for radical expression for women and aligned itself well with McNair’s artistic representation of the female form. The dresses were usually made by their designers and the book includes plates showing the Macdonald sisters wearing such dresses along with similar examples designed by Jessie Newbery and worn by her daughters, Mary and Elsie. The original pencil drawing for the cover image was sold in these rooms on 3rd November 2020, lot 361

£1,000-1,500

264 §

ANNIE FRENCH (1872-1965)

THE BUTTERFLIES

pen and ink, signed bottom right ANNIE FRENCH

13.5cm x 9.8cm

Provenance: James Meldrum Esq., Glasgow

The Piccadilly Gallery, London

The Fine Art Society

Cyril Gerber Fine Art

£800-1,200

265

JESSIE MARION KING (1875-1949)

‘THE WEE PEOPLE’

pen, ink and watercolour, signed and inscribed lower right ‘THE WEE PEOPLE’/ VZZV KING 31cm x 41.5cm

Provenance: Barclay Lennie Fine Art, Glasgow £4,000-6,000

266

SCOTTISH. MANNER OF GEORGE WALTON

ART NOUVEAU ARMCHAIR, CIRCA 1900

stained beech, with polychrome painted panel

64.2cm wide, 136cm high, 48cm deep

£700-1,000

267

MARGARET GILMOUR (1860-1942)

GLASGOW SCHOOL JARDINIÈRE, CIRCA 1910

repoussé-decorated brass, signed with monogram MG

32cm square, 25cm high

£500-800

AFTER JESSIE MARION KING

‘SEVEN HAPPY DAYS’, FOUR STUDIES, 1914 pen and ink, watercolour, with silver paint, comprising BUTTERFLIES ALL BLUE, 22.3cm x 15.3cm (frame 45cm x 37.5cm); THE GARDEN, 22cm x 15.3cm (frame 45cm x 37.5cm); THE WOODLANDS, 17cm x 22.3cm (frame 40cm x 45cm); and THE SEA VOICES, 16.4cm x 23cm (frame 40cm x 44.7cm), each signed MARJORIE C. KINGSNORTH, two dated 1914; together with The Studio Magazine supplement of 1914 featuring a series of prints by Jessie M. King ‘SEVEN HAPPY DAYS’, printed with silver highlights (5)

£600-800

269

PATH THROUGH WOODLAND COTTAGES

pencil and watercolour on buff paper

36.5cm x 26cm

Provenance: Sotheby’s, Jessie M. King and E.A. Taylor, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977

£400-600

270

GIRL WITH A MANDOLIN ink on vellum, signed lower right JESSIE M. KING, 14cm x 13cm (frame 43cm x 39cm); together with a signed print by the same hand, 14cm x 8.5cm (41cm x 33cm) (2)

£600-1,000

JESSIE MARION KING (1875-1949)

JESSIE MARION KING (1875-1949)

ANNIE FRENCH (1872 – 1965)

IN THE GARDEN

pen & ink, later framed, 11cm x 6.5cm (frame 34cm x 24.7cm); and DESIGN FOR A CHRISTMAS CARD, signed, inscribed and dated ANNIE FRENCH/ 1937, 16cm x 12.5cm (frame 24.3cm x 19cm) (2)

£400-600

ANNIE

FRENCH (1872-1965)

FAERIE QUEEN

pen & ink, later framed 8cm x 13cm (frame 28.3cm x 31cm); together with THE BIRDCAGE, pen & ink, watercolour, later framed, 6.5cm x 12cm (frame 28.5cm x 31cm) (2) Note: These drawings come from an album of drawings by Annie French entitled ‘Small Drawings Done Mostly When Listening to The Radio’

£400-600

273

SCOTTISH

GLASGOW SCHOOL VASE, CIRCA 1900

embossed and chased copper, wrought and cast steel, marked to base 2140 38.5cm high

£2,000-3,000

271 §

272 §

274

JESSIE MARION KING (1875-1949)

‘AND PISCES GIVES THE MYSTIC CALL’ pen and ink, watercolour on vellum, signed lower right JESSIE M. KING

29.6cm x 22.8cm (frame 48cm x 42cm)

£3,000-5,000

275

SCOTTISH

GLASGOW SCHOOL CHARGER, CIRCA 1900

repoussé-decorated brass, set with enamel roundel

54cm diameter

£300-500

276

AGNES BANKIER HARVEY (1873-1947)

GLASGOW SCHOOL WALL SCONCE, CIRCA 1900

repoussé-decorated brass

16cm wide, 38cm high, 9cm deep

£400-600

277

JESSIE MARION KING (1875-1949)

GROUP OF THREE TRIOS, CIRCA 1940

painted and glazed earthenware, comprising three cups, saucers and plates, each with painted rabbit and gate and initialled JMK plate 18cm diameter, saucer, 14cm diameter, cup, 6.5cm high

£800-1,200

278

ANN MACBETH (1875-1948)

INTO THE WOODS, 1912

pen, ink watercolour and bodycolour, signed and dated lower left ANN MACBETH 1912, and inscribed lower right TO JEAN 27.5cm x 19cm (frame 43cm x 57cm)

£1,500-2,000

279 §

MARGARET DE COURCY

LEWTHWAITE DEWAR (1878 - 1959)

PONT OUEN

pen and ink on vellum, signed lower left 22cm x 18cm (frame 43cm x 28cm)

£400-600

280

£300-500

JESSIE MARION KING (1875-1949)

TEAPOT & COVER, CIRCA 1900 painted and glazed earthenware, marked to base with rabbit, green gate and initials JMK 13cm high

ATTRIBUTED TO MARGARET THOMSON WILSON (1864–1912)

GLASGOW SCHOOL STANDING CLOCK, CIRCA 1900 repoussé-decorated brass dial, stained beech case Dial 50.5cm x 47cm, case 78cm wide, 211cm high, 41cm deep £2,000-3,000

Margaret Thomson Wilson attended Glasgow School of Art where she met fellow art student James Hamilton Mackenzie (1875-1826); the pair married in 1907 and set up a home and studio at 24 Sandyford Place. They travelled to Italy to paint and exhibited at the RSA, RGIFA and RSW. Margaret also designed jewellery, embroidery, and metalwork. One of her best-known works is a standing clock, similar to the present lot, and held by Glasgow Museums (Collection, ID Number E.2003.2)

282

SCOTTISH

THREE GLASGOW SCHOOL EMBROIDERED APPLIQUÉ HANGINGS, CIRCA 1900 AND LATER coloured wool and silk threads reserved on a hessian ground, later applied to hessian hangings (3) panels 22cm x 95.5cm, hessian 96cm x 114cm

£300-500

283

ATTRIBUTED TO MARGARET GILMOUR (1860-1942)

GLASGOW SCHOOL CANDLE SCONCE, CIRCA 1900

repousse-decorated brass

77cm high, 31.5cm wide

£300-500

284

ATTRIBUTED TO WYLIE & LOCHHEAD, GLASGOW TALL CHAIR, CIRCA 1900

inlaid mahogany, upholstery

45.5cm wide, 118cm high, 44cm deep £300-500

285

ATTRIBUTED TO TALWIN MORRIS (1865-1911)

GLASGOW SCHOOL PLANTER, CIRCA 1900

repoussé-decorated brass, 29cm square, 26cm high; together with a GLASGOW SCHOOL PLANTER, in the manner of Margaret Gilmour, repoussé-decorated tin, inset with opposed coloured enamel hearts, 35cm wide, 12.5cm high (2)

Note: For panels of a similar design see Lyon & Turnbull, Design since 1860, 20 Apr 2022, lot 322

£500-800

286

SCOTTISH

ART NOUVEAU WALL

MIRROR, CIRCA 1900

carved oak, mirrored glass plate 104.5cm x 103cm

£400-600

287

ATTRIBUTED TO ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW PAIR OF GLASGOW SCHOOL SIDE CHAIRS, CIRCA 1900

stained beech, with marquetry panels, and later upholstery, 45.5cm wide, 97cm high; together with an OCCASIONAL TABLE, mahogany, with marquetry panels, 28.5cm square, 58.5cm high (3)

£400-600

288 JESSIE MARION KING (1875-1949)

BROOCH, CIRCA 1900 enamelled copper

2.6cm x 3cm

Provenance: Mary Newbury Sturrock and then by descent to the present owner

£600-800

289

ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE

& LOCHHEAD, GLASGOW

RARE OAK BUREAU CHEST, CIRCA 1900

oak, stained, mirrored and leaded glass, with silvered metal fittings and leather writing surface

72cm wide, 134cm high, 50cm deep

Note: Initially apprenticed in the Glasgow shipbuilding industry, E.A. Taylor trained as an artist at the Glasgow School of Art, where he met Jessie M. King around 1898. He worked for Wylie & Lochhead from around this time where his furniture designs brought him great acclaim with exhibitions at the 1901 Glasgow International Exhibition and, with his fiancée Jessie King a series of stained glass panels for the Turin International Exhibition of Modern Decorative Art in 1902. This rare cabinet by Taylor combines his skills as a furniture maker and stained glass designer.

£6,000-8,000

290

KATHERINE MARION HOPE (B. 1878)

BOOK OF SAMPLERS AND EMBROIDERIES, 1936-38

coloured wool, silk and metal threads reserved on linen, examples of lacework, applique blackwork, flame stitch etc, each panel with silk backings and borders, each panel sewn together to form a book with a padded cover entitled SAMPLERS, 26 pages; together with a group of books on embroidery and embroidery techniques 40cm x 30cm

£400-600

Katharine Marion Hope was born on 1st July 1878 at St Mary’s Isle, Kirkcudbrightshire. Her father Captain John Hope was the son of The Hon Charles Hope, 3rd son of the 4th Earl of Hopetoun. St Mary’s Isle burnt down in 1941, and the Hope’s moved to Cowdenknowes, Earlston in the Scottish borders. When Captain Hope died he left the house to his nephew, Charles Burns

In 1947 her nephew Charles Burns went to South Africa and there gave Cowdenknowes and all his possessions to Moral Re-armament (also known as The Oxford Group) thus leaving his aunt Katie and sister Jean Burns homeless. Between them, Katie (as she was known) and Jean pooled resources and bought the house and estate off Moral Re-armanent. Katie made and embroidered all the huge curtains for Cowdenknowes, and the embroideries and samplers offered here.

291

KATHERINE MARION HOPE (B. 1878)

GROUP OF EMBROIDERED WORKS, CIRCA 1920-40 comprising a PAIR OF BEDSPREADS, green silk threads on linen ground, each 207cm x 164cm; another BEDSPREAD, coloured silk threads on a linen ground with lace trim, embroidered inscription VMH/ 1925, 263cm x 170; another BEDSPREAD, coloured silk threads on a blue silk ground, 234cm x 135cm; FOUR PANELS, each embroidered in blue silk threads on a linen ground, each approx. 110cm x 63cm; and TWO BORDER TRIMS, each embroidered in blue silk threads on a linen ground, 27cm x 159cm (10)

£300-500

292

SCOTTISH

SET OF ELEVEN ARTS & CRAFTS APPLIQUÉ PLACE

MATS, CIRCA 1920

coloured silk threads on a damask ground, with felt backing (11)

18cm x 19cm approx.

£400-600

DOROTHY CARLETON SMYTH (1880-1933)

GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912

pen & ink and watercolour, titled TYPE OF BOYARD/ BORIS; PRINCE SHOUISKY/ BORIS; ANDREJ SCHTSHELKALOW (sic)/ BORIS; and THE HOSTESS/ BORIS, each signed and three dated 1912 (4)

each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)

£600-800

Dorothy Carleton Smyth attended the Glasgow School of Art from 1895 to 1905 and, while principally excelling in theatre and costume design, was also skilled in the design of stained glass, sculpture, painting and metalwork. She became Principal of Commercial Art at the school in 1914. She was named, in 1933, as Glasgow School of Art’s first female director, before her untimely death the same year.

294

DOROTHY CARLETON SMYTH (1880-1933)

GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912

pen & ink and watercolour, titled BOYAR KHROUSTCHOR/ BORIS; MISSAIL/ BORIS; SOLDIERS/ BORIS; and VARLAAM/ BORIS, each signed and dated 1912

each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)

£600-800

295

DOROTHY CARLETON SMYTH (1880-1933)

GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912

pen & ink and watercolour, titled TYPES OF POLISH LORDS & LADIES/ BORIS; THE PRETENDER DMITRI/ BORIS; THE NURSE/ BORIS; and THE TSAREWITCH(sic) FEODOR/ BORIS, three signed and dated 1912, one unsigned (4)

each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)

£600-800

297

J.&J.G.

PAIR OF ARTS & CRAFTS

STOOLS, CIRCA 1930

oak, with leather upholstery, printed maker’s marks (2)

51cm long, 38cm high, 28cm deep

£400-600

PAIR OF AMERICAN ARTS & CRAFTS

ARMCHAIRS, CIRCA 1900

oak, with leather upholstered drop in seats (2)

69.5cm wide, 92cm high, 54cm deep

£400-600

296

GLASGOW AND CHARLES

RENNIE MACKINTOSH

COLLECTION OF TEXT BOOKS, PAMPHLETS AND CATALOGUES for a full list of works included in this lot, please see the catalogue entry online at www.lyonandturnbull.com

Sold as seen, not subject to return

Provenance: The Estate of the late Dr James Macaulay

£300-500

WARWICK REYNOLDS (1880-1926) ‘PROSPERITY’

crayon on paper, signed lower right 38cm x 26.5cm

Provenance: The Fine Art Society, 148 New Bond Street, London, 1992

Formerly the collection of Andrew McIntosh Patrick.

Literature: Bradshaw P.V. The Art of the Illustrator, The Press Art School, Forest Hill, London 1918

£1,000-1,500

297 298

299

298

L. G. & J. STICKLEY

STICKLEY

In 1918 Percy Bradshaw contacted 20 of the leading illustrators of the day and commissioned each of them for a special illustration. Each artist was given an entirely free hand as to the subject, the only stipulation being that the painting or drawing should be representative of his/her technique and that each stage in its composition should be shown. Bradshaw then reproduced in 6 plates each step in the artistic process and published the 6 lithographs in a portfolio with a 12-page introduction and description of the process within a card folder. The current lot represents the final drawing by Warwick Reynolds.

Other artists were Lawson Wood, F.H. Townsend, Fortunino Matania, Harry Rountree, Claude A. Shepperson, Bert Thomas, William Heath Robinson,

Frank Reynolds, Cyrus Cuneo, William Russell Flint, Charles Brock, Spenser Pryse, Edmund Sullivan, Balliol Salmon, H.M. Bateman, Louise Wright, W Hatherell, Dudley Hardy and Bernard Partridge.

Born in Islington, Warwick Reynolds was the son of a cartoonist and illustrator of the same name. He studied in London at the Grosvenor Studio and the St. John’s Wood Art School, and in 1895 began working as a magazine illustrator, eventually contributing to such publications as The Idler, Pearson’s Magazine, The Quiver and The Strand Magazine, among others. In 1906 he settled in Glasgow where he was employed as a staff artist at the Daily Record, he also exhibited at the Royal Academy, the Royal Glasgow Institute of Fine Arts and the Royal Scottish Academy.

301 TIFFANY STUDIOS, NEW YORK

PAIR OF ‘QUEEN ANNE’S LACE’ PATTERN

TALL CANDLESTICKS, CIRCA 1900

patinated bronze, blown glass, stamped marks to base TIFFANY STUDIOS/ NEW YORK (2)

46cm high

Literature: Duncan A. Tiffany: Lamps & Metalware, ACC 2007, pp.386 and 387, pls.1577 and 1579 where similar variants are illustrated.

£2,000-3,000

300

MANNER OF TIFFANY & CO.

STAINED GLASS PANEL, 20TH CENTURY stained, leaded and moulded glass

63.5cm x 48.2cm (includes lead border)

£300-500

302 AFFORTUNATO GORY (FL. 1895-1925)

‘LA CURIEUSE’, CIRCA 1905

bronze, with later gilt patination, marble, raised on a moulded marble base 43cm high (figure), 52cm high (including base)

£5,000-7,000

303 BRUNO ZACH (1891-1935)

‘SAYTR AND NYMPH’, CIRCA 1925

bronze and patinated bronze, on a marble base, signed to the base BRUNO ZACH (1) 29cm high x 21cm wide

£2,500-3,000

GIRL READING

bronze, ivory, raised on an alabaster plinth, signed in the bronze D. ALONZO

25cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference N6CUUR4P

£800-1,200

FIGURAL LAMP, CIRCA 1900

gilt metal, bisque porcelain, cut and frosted glass, raised on a marble plinth, signed MEDNAT

80cm high

£1,500-2,000

304 Y

DOMINIQUE ALONZO (FL. 1910-1930)

305 MEDNAT

306

AGATHON LÉONARD (1841-1923) FOR SUSSE FRÈRES, PARIS

‘DANSEUSE À L’ÉCHARPE, GENOU LEVÉ’ (DANCER WITH A SHAWL, RAISED KNEE), CIRCA 1901

bronze, with later gilt patina, signed in the bronze A LÉONARD / SCLP, with the Susse Frères EDITEURS PARIS pastille, and stamped: M/ GENOU LEV*(É)/ ELECTRICEE

60cm high, 39.5cm wide, 19cm deep

Literature: Alastair Duncan A. Art Nouveau and Art Deco Lighting, London, 1978, p.58, pl.20

Arwas V. Art Nouveau, The French Aesthetic, London, 2002, p.136

Duncan A. Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, p.643

£8,000-12,000

This elegant figure in an elaborately draped dress belongs to a series of dancers conceived by Agathon Léonard, the Jeu de l’Écharpe, which was first exhibited at the Société Nationale des Beaux Art in 1897 as a project for a theatre foyer. The dancers in elegant poses are characterised by their delicate gestures, loose dresses and wide sleeves. They rapidly became Léonard’s most popular works and were produced in gilt bronze by the Susse foundry. The present bronze is a large-size Susse Frères cast of the ‘Danseuse à L’Écharpe, Genou Levé’, model no. 12, created between 1897 and 1899, the Susse edition produced from 1901. The carefully chased surface of the bronze produces a shimmer effect of light on the gilded surface.

307

GEORGES CHARLES COUDRAY (1862-1932)

LES NENUPHARS (WATERLILIES)

marble, signed on the base GEORGES COUDRAY

64cm high

£2,000-3,000

308

ARGENTOR, AUSTRIA

JUGENDSTIL TABLE MIRROR, CIRCA 1900

silver plated metal, bevelled mirror plate

47cm high x 27cm wide

£500-600

309

BOULENGER & CIE, PARIS

SET OF THREE CLARET JUGS, CIRCA 1900

sterling silver, with etched glass bodies, probably by Baccarat (3)

£2,000-3,000

310

F. SAUL (FRENCH, LATE 19TH/EARLY 20TH CENTURY)

ART NOUVEAU BUST OF A LADY, CIRCA 1900

Carrara marble, signed verso in the marble F. SAUL

59cm high

£2,000-3,000

311

DAUM FRÈRES, NANCY

‘SNOWDROP’ VASE, CIRCA 1900

wheel-carved, cameo and martelé glass, etched to base DAUM/ NANCY with Cross of Lorraine

30.7cm high

£3,000-5,000

312

EMILE GALLÉ (1846-1904)

MINIATURE FIREPOLISHED ‘IRIS’ VASE, CIRCA 1900

cameo glass, acid-etched and overlaid, cameo signature GALLÉ

10cm high

£300-500

313

MULLER FRÈRES, LUNÉVILLE, FRANCE

JAR & COVER, CIRCA 1920

cameo glass, gilt-metal mount and cover, cameo signature

MULLER FRÈRES/ LUNÉVILLE

25.5cm high

£600-800

316

ERNST WAHLISS, VIENNA

BOWL & COVER, CIRCA 1910

lustre-glazed earthenware, with moulded plated silver-gilt cover, printed factory stamp, impressed 3167 20cm diameter

£300-500

318

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

JUGENDSTIL VIDE POCHE

CARD TRAY, CIRCA 1900

plated metal, stamped maker’s marks, moulded no. 246

29cm wide, 21cm high

£300-500

320

314

CARL SIGMUND LUBER (1896-1934)

JUGENDSTIL SERVING

TRAY, CIRCA 1900 glazed earthenware, with patinated metal mount, painted VII, impressed number 5094, 40cm across (including handles); together with a

JUGENDSTIL FRAMED

TILE, CIRCA 1900, by the same hand, glazed earthenware, framed, 15cm x 26cm (frame 35cm x 46cm) (2)

£400-600

315

LOETZ, AUSTRIA TWO ‘PHANOMEN’

VASES, CIRCA 1900 iridescent glass (2)

12cm and 13cm high

£400-600

317

CONTINENTAL SCHOOL

ART NOUVEAU PENDANT

BROOCH, CIRCA 1900

9-carat gold, enamel, seed and baroque pearls and small single cut ruby, stamped twice 9CT

3.7cm wide, 6cm tall

£400-600

319

LOETZ, AUSTRIA SHOULDERED

VASE, CIRCA 1900

‘Rubin Phänomen

Genre 6893’ pattern

iridescent glass

20cm high

£800-1,200

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

ART NOUVEAU TRAY, CIRCA 1900

silver-plated metal stamped WMF/ 243 58.5cm across

£200-300

316

315

323

JEANNE JOZON (1868-1946)

SISTERS

bronze, signed in the bronze J. JOZON 15.5cm high

£400-600

324

AIMÉ-JULES

DALOU (1838-1902)

‘LA BOULONNAISE’

bronze

44cm high £1,000-1,500

321

CONSTANTIN MEUNIER (1831-1905)

‘LE MINEUR’

bronze relief plaque, signed in the bronze

C. MEUNIER, framed plaque 18.4cm x 24cm (frame 23.4cm x 29cm)

£400-600

322 ‡

CHARLES KORSCHANN (1872-1943)

ART NOUVEAU FIGURAL CLOCK, 1897 patinated bronze, the single train movement with painted enamel dial, signed in the bronze KORSCHANN/ PARIS/ 97 31cm high £1,500-2,000

321

322

323

324

The Zsolnay factory rose to prominence after the 1867 formation of the Austro-Hungarian Empire ended political unrest in Hungary. Austrian design had a strong impact on the factory and its ‘eosin’ lustre glaze, developed in the 1870s, provides the curving outlines of its wares with a sensual metallic sheen.

325

ZSOLNAY, PÉCS

VASE, CIRCA 1900

‘eosin’ lustre-glazed ceramic, printed and impressed ZSOLNAY, PÉCS, impressed no.

5096/ 246/ 27

21.3cm high

£4,000-5,000

326

ZSOLNAY, PÉCS

VASE, CIRCA 1905

‘eosin’ lustre-glazed ceramic, applied maker’s seal mark, indistinct impressed number

14cm high

£800-1,200

327

ZSOLNAY, PÉCS

DRAGON PITCHER, CIRCA 1900

‘eosin’ lustre-glazed ceramic, with moulded dragon handle and spout, indistinct maker’s mark ZSOLNAY, PÉCS, impressed no. 5867

25cm high

£3,000-4,000

328

ZSOLNAY, PÉCS

TALL VASE, CIRCA 1900

‘eosin’ lustre-glazed ceramic, with three applied handles, applied maker’s seal mark ZSOLNAY, PÉCS 6084/ 25/ 23

33.5cm high

Literature: Csenkey E. Hungarian Ceramics From the Zsolnay Manufactory 1853–2001 – From Historicism to Postmodernism, Yale University Press 2002, p.124, pl.93a-c where similar examples are illustrated.

£4,000-4,500

330

ZSOLNAY, PÉCS

CYLINDER VASE, CIRCA 1900

‘eosin’ lustre-glazed ceramic, relief-moulded, applied maker’s seal mark ZSOLNAY, PÉCS

23cm high

£3,500-4,500

329

ZSOLNAY, PÉCS

PERSIAN STYLE PITCHER VASE, CIRCA 1895

‘eosin’ lustre-glazed ceramic, pierced and relief-moulded, impressed ZSOLNAY/ 7657/ 36/ 22

33cm high

£3,500-4,000

331

CHARLES REPELIN (1860-1934)

ART NOUVEAU PORTRAIT OF A GIRL, 1897 oil on canvas, signed and dated lower right

CH. REPELIN 1897

79cm x 72cm (frame 99cm x 90cm)

£600-800

332

THONET, AUSTRIA

CHAIR, CIRCA 1900

ebonised and stained plywood, bears paper maker’s label

40.5cm wide, 92cm high, 42cm deep

£400-600

333

MATHIEU GALLEREY, PARIS

ART NOUVEAU WALL PLAQUE, CIRCA 1910 cast pewter, signed GM to rim

34cm diameter

Literature: Waddell R. The Art Nouveau Style, Dover Publications 1977, p.31, pl.100 where a similar example is illustrated

£400-600

334

ALFRED DAGUET (1875-1942)

CIRCULAR WALL PLAQUE, CIRCA 1900 repoussé-decorated metal with applied patination, monogram mark AD, numbered 16

50.1cm diameter

£2,000-3,000

335

ALFRED DAGUET (1875-1942)

PAGE TURNER, CIRCA 1900

chased brass, with inset cabochon stones, wood, signed with initials AD 51.7cm long

£400-600

336

JAN MARTEL (1896-1966) AND JOËL MARTEL (1896-1966)

FRAMED PANEL, CIRCA 1925 cut-out metal, on later framed board mounted to an ebonised wooden frame panel 100cm x 67cm (frame 111.5cm x 78.3cm) £2,000-3,000

337 Y

DEMÉTRE CHIPARUS (1886-1947)

‘SOLO’ DANCER

gilt-bronze and ivory on alabaster base, signed to the base DH. CHIPARUS

37cm high excluding base, 51.5cm high including base

Literature: Shayo A. Chiparus: Master of Art Deco, Abbeville Press 1993, p.163, no.94

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference M1JTTK9M

£12,000-18,000

338

DEMÉTRE CHIPARUS (1886-1947)

‘BACCHANAL’, CIRCA 1925

silvered bronze on marble base, stamped BRONZE to the foot, engraved CHIPARUS/ ETLING PARIS’ to the marble base

36cm high excluding base

Literature: : Shayo A. Chiparus: Master of Art Deco, Abbeville Press 1993, p.63 illus.

£4,000-5,000

339 ‡

MARCEL-ANDRÉ BOURAINE (1886-1948)

‘THE FAN DANCER’, CIRCA 1925

silvered and cold-painted bronze, marble base, engraved BOURRAINE/ ETLING/ PARIS

39cm high

£2,500-3,000

337

340

GEORG JENSEN (1866-1935)

NECKLACE, DESIGNED 1905

silver and opals, model no. 6, stamped GJ/ 925S/ DENMARK/ 6 43cm long

£800-1,200

ETLING, PARIS

‘NUE AU BRAS TENDU’, CIRCA 1925

opalescent glass, moulded ETLING FRANCE 50 20.5cm high

£1,200-1,800

342

LOUIS-ALBERT CARVIN (1875-1951)

ART DECO LAMP, CIRCA 1930

patinated metal, glass, marble, cast as a sea lion lamp, signed CARVIN 31cm high

£300-500

341

342

341 ‡

343

DEMÉTRE CHIPARUS (1886-1947)

BOOK LADY, CIRCA 1925

bronze, with a marble plinth, signed in the bronze D.H. CHIPARUS

37cm high, including plinth 46.5cm high

Literature: Shayo A. Chiparus: Master of Art Deco, Abbeville Press 1993, p.82, no.14

£2,000-3,000

344 Y

LUCE

DANCER, CIRCA 1925

bronze and ivory, raised on a stepped marble plinth, signed to plinth LUCE

44cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference W7V8H5X1

£2,000-3,000

DAUM FRÈRES, NANCY

CAMEO BOWL, CIRCA 1930

cameo and overlaid glass, decorated with parrots, etched to foot rim DAUM/ NANCY/ FRANCE with Cross of Lorraine

28.5cm diameter, 23cm high £2,000-3,000

CAMILLE FAURÉ (1872-1944)

FOR LIMOGES

THREE VESSELS, CIRCA 1930

enamelled metal, comprising a large shallow bowl, miniature vase and small bowl, the former two signed C. FAURE LIMOGES, latter signed C. FAURE LIMOGES FRANCE (3)

27.5cm diameter, 7cm high, and 15.2cm diameter respectively

£300-500

347 LALIQUE LUXEMBOURG CENTREPIECES, NOS 11619 AND 11620, DESIGNED 1945

clear and frosted glass, engraved LALIQUE FRANCE, applied label CRISTAL LALIQUE PARIS; together with LUXEMBOURG CENTREPIECE, NO. 11620, clear, frosted and sepia stained glass, stencilled LALIQUE FRANCE (3) each 20cm high

Note: The model was designed in 1945 so it could be a René or a Marc Lalique design.

£1,000-1,500

345

347

346

345 ‡

346 ‡

MANNER OF GEORGE BARBIER

THREE STUDIES FOR FANS, 1920S

‘East meets West’, ink and watercolour on silk, 24.5cm x 49cm (43cm x 67.5cm including frame); ‘The Serpent Killed’, ink and watercolour on paper, 24cm x 49.5cm (34.5cm x 59cm including frame); and ‘Chinese Motifs’, ink and watercolour on paper, 21cm x 42cm (40cm x 61cm including frame), each signed with monogram JR (3)

£800-1,200

PANTHER FIGURE, CIRCA 1925

patinated bronze, raised on original polished slate plinth, signed in the bronze G. LAVROFF/ 8551, marked FRANCE under plinth

61.5cm wide, 22cm high, 14.8cm deep

£4,000-6,000

348

349 ‡

GEORGES LAVROFF (1895-1991)

350

MARCEL-ANDRÉ BOURAINE (1886-1948)

‘ATHENA’, CIRCA 1930

patinated bronze, on a stepped circular marble base, signed in the bronze BOURAINE

47cm high

£800-1,200

351

MARCEL-ANDRÉ BOURAINE (1886-1948)

‘DIANA WITH STAG & HIND’, CIRCA 1925

silvered bronze, raised on a moulded marble plinth, signed in the bronze BOURAINE

bronze 35.5cm wide, 53cm high, base 39.5cm wide, 18.5cm deep

£1,200-1,500

352

JEAN DUNAND (1877–1942)

TRAY, CIRCA 1925 patinated metal, signed to the rear JEAN DUNAND 47.5cm long, 33.3cm deep £2,000-3,000

353

JACQUES ADNET (1900-1984)

ART DECO TANTALUS, CIRCA 1930 chromium-plated metal frame, mirrored base, and Baccarat glass decanters, each with etched Baccarat factory marks, with original key 35.3cm wide, 18.5cm high, 21.6cm deep £1,500-2,000

354 ‡

EDGAR BRANDT (1880-1960)

‘L’ELEGANCE’ FLOOR LAMP, DESIGNED 1925

wrought iron, with alabaster shade, signed to base

E.BRANDT/ MADE IN FRANCE

180cm high, 49.7cm high

Literature: Kahr J. Edgar Brandt, Master of Art Deco Ironwork, Henry N. Abrams 1999, p.81, no.74

Note: A version of this lamp was exhibited on Brandt’s stand at the 1925 Exposition in Paris.

£12,000-18,000

355

ALBERT CHEURET (1884-1966)

HANGING LAMP, CIRCA 1925

patinated bronze, alabaster, signed in the bronze ALBERT CHEURET

41cm diameter, 64cm high £10,000-15,000

356

ALBERT CHEURET (1884-1966)

TABLE LAMP, CIRCA 1925

patinated bronze, alabaster, signed in the bronze ALBERT CHEURET

56.5cm high £5,000-7,000

Albert Cheuret was born in 1884 in Paris. He studied sculpture with Jacques Perrin, a professor at the École des Beaux-Arts in Paris (fine arts school), and with Georges Lemaire. The artist began his career in 1907 and set up his studio at 11 Avenue Franco-Russe, near the Champ de Mars. Thereafter he exhibited at the Salon des Artistes Français, part of a milieu that included Auguste Rodin, Antoine Bourdelle, and Jean-Baptiste Carpeaux.

After the First World War, Cheuret resumed his practice and secured several high-level commissions. His work is imbued with the clean lines of the Art Deco period and also bears the influence of images which began to appear after the discovery of Tutankhamun’s tomb in 1922, and the new language which it introduced into Western arts and crafts.

At the Universal Exhibition in Paris in 1925, Albert Cheuret rented a stall along the Alexandre III bridge and presented his famous light fixtures in bronze and alabaster, his favourite materials.

RICHARD LANGE (1879-1944) FOR ROSENTHAL UND MAEDER

BUTTERFLY GIRL, CIRCA 1925

patinated bronze, set with cut blue stones, ivory, raised on a marble plinth, signed in the bronze LANGE/ R&M

14.2cm high, with plinth 21.5cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference V7DS74FN

£500-600

360

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

JUGENDSTIL TABLE MIRROR, CIRCA 1900

silver plated metal, with manufacturer’s marks to the base 30cm wide, 39.6cm high

£800-1,200

357

CLAIRE WEISS (1906-1997) FOR GOLDSCHEIDER, AUSTRIA

ART DECO LADY WITH PARASOL, CIRCA 1925

glazed earthenware, impressed facsimile signature and factory marks/ 7390/ 245/ 7 36cm high

£400-600

358

EDUARD STELLMACHER (1868-1929) FOR RIESSNER STELLMACHER & KESSEL

‘AMPHORA’ OWL VASE, CIRCA 1910

glazed porcelain with gilded highlights, moulded artist monogram, impressed AMPHORA/ 4109

34.5cm high

£300-500

361

JEAN PUIFORCAT (1897-1945)

FOUR-PIECE ‘ETCHÉA’ ART DECO TEA SERVICE, CIRCA 1928

silver plate, ebonised wood, comprising a TEAPOT & COVER, 14cm high; a HOT WATER POT & COVER, 11cm high; a SUGAR BOWL & COVER, 8.7cm high; and a MILK JUG & COVER, 8.5cm high, each stamped PUIFORCAT PARIS (4)

Literature: de Bonneville F. Jean Puiforcat, Editions du Regard, 1986, p.135

£1,000-1,500

359 Y

362

VIENNA SECESSION STYLE STAINED GLASS PANEL

stained and painted leaded glass, incorporating textured and iridescent glass panes 78cm x 41cm

£3,000-5,000

363

ALEXEY BRODOVITCH (1898-1971)

‘SOLDES’, STUDY FOR A POSTER, CIRCA 1925

watercolour and collage, stamped initials A.B and dated in pen (lower left)

31.5cm x 49cm

Provenance: Lords Gallery, London John Jesse, London Andrew McIntosh Patrick, 2005, thence by descent to the present owner.

Exhibited: Lords Gallery, London, 1966

Minneapolis Institute of Art, Art Deco Exhibition, 1971, no.1002.

Literature: Hillier, Bevis, Art Deco, 1968, London: Studio Vista Limited, p.143, illustrated Hillier, Bevis, The World of Art Deco, catalogue of an exhibition held at Minneapolis Institute of Art, 1971, no.1002.

£1,200-1,800

364

EL LISSITZKY (1890–1941) PLATE, CIRCA 1925

painted ceramic, impressed 2864 19cm diameter

Literature: El Lissitzky 1890-1941, Retrospektive, Hannover, 1988, cat. no.197

£400-600

365

MARIANNE BRANDT (1893-1983) FOR RUPPELWERK

METALLWARENFABRIK, GOTHA

NAPKIN HOLDER, CIRCA 1930 enamelled metal, printed maker’s marks

19.6cm wide, 11cm high

£300-500

366

MANNER OF KOLOMAN MOSER

SECESSIONIST TUB CHAIR, CIRCA 1910

pine

62.5cm wide, 87cm high, 45.5cm deep

£400-600

367

ATTRIBUTED TO GUSTAV SIEGEL (1880-1970) FOR J. & J. KOHN

SECESSIONIST HALL STAND, CIRCA 1900 stained mahogany, mirrored glass, patinated metal

80cm wide, 201cm high, 25.3cm deep

£400-600

369

BERTOLD LÖFFLER (1874-1960) FOR WIENER WERKSTÄTTE

LOCKET PENDANT, CIRCA 1910 white metal, with later chain, stamped artist’s and maker’s marks

3.5cm tall including bale

£300-500

372

MICHAEL POWOLNY (1871-1954) FOR LOETZ

THREE VASES, CIRCA 1915 glass, comprising a SMALL LOBED VASE, 6cm high; a VASE, with black applied knops and ribbing, 11.5cm high; and a SMALL TRUMPET VASE, 11cm high (3)

£300-500

370

MICHAEL POWOLNY (1871-1954) FOR LOETZ

BOX & COVER, CIRCA 1920

cased orange and black glass

21cm high

£200-300

368

ATTRIBUTED TO HANS VOLLMER (1879-1946), POSSIBLY FOR PRAGRUDNIKER, AUSTRIA

SECESSIONIST ARMCHAIR, CIRCA 1910 white and gold painted wood, woven rattan

43cm wide, 76.5cm high, 53cm deep

£1,200-1,800

371

ATTRIBUTED TO HAGENAUER, AUSTRIA

‘GOLF BOWL’, CIRCA 1930

brass

11cm high, 20cm diameter

£300-400

373

KOLOMAN MOSER (1868-1918) FOR JOHANN MEYR’S NEFFE (MAKER) E. BAKALOWITS’ SÖHNE (RETAILER)

SET OF SIX ‘METEOR’ WINE GLASSES, CIRCA 1900

clear and green glass (6)

20cm high

£400-600

374

MANNER OF VALLY WIESELTHIER/ WIENER WERKSTÄTTE

VASE, CIRCA 1925

glazed terracotta, unmarked

23cm high

£400-600

SHAKESPEARE HEAD PRESS

ERNEST GIMSON: HIS LIFE AND WORK

Stratford-upon-Avon: Shakespeare Head Press, 1924. 125 of 500 copies (corrected to 550 copies in enclosed errata slip), folio, original buckrambacked blue paper boards, original printed paper dustcover, 60 photographic collotype plates, woodcuts in the text, errata slip, additional spine-label mounted to rear pastedown

£300-500

JOHN PEARSON (1859-1930)

LARGE PLATE, CIRCA 1900

painted earthenware, decorated verso with a fish and artist’s monogram

36cm diameter

£800-1,200

MANNER OF ERNEST GIMSON

ARTS & CRAFTS FENDER, CIRCA 1910

brass, with pierced and chased decoration, copper hinges

124cm wide, 16.2cm high, 39cm deep

£1,000-1,500

ATTRIBUTED TO ERNEST GIMSON (1864-1919)

ARTS & CRAFTS SIDE TABLE, CIRCA 1900

chestnut

122cm long, 75cm high, 54.5cm deep

Note: This model similar to a table supplied by Gimson to Rodmarton Manor, Gloucestershire

£3,000-5,000

378

376

375

377

379

ATTRIBUTED TO SIR WILLIAM REID DICK (1878-1961)

TEA PLANTERS, 1930

plaster relief, mounted in a white frame, incised lower right RD 1930 40cm x 107cm (frame 114cm wide x 47cm high)

£500-800

380

REGINALD ERNEST ARNOLD (1853–1938)

‘ARIEL’ 1911

pen & ink, watercolour, inscribed, signed and dated lower right REG E. ARNOLD/ 1911, 18cm x 13cm (frame 28cm x 22.5cm); together with CHRIS G. TEMPLE ‘WILL-O’-THE-WISP’ pen & ink, watercolour, signed lower right CHRIS G. TEMPLE, 15cm diameter (frame 31.5 x 26cm) (2)

Note: Chris G. Temple was a prolific illustrator of children’s books in the 1930s and collaborated with, amongst others, Louis Wain.

£500-700

381

ENGLISH

ARTS AND CRAFTS

CASKET, CIRCA 1910 steel, set with cloisonné enamel depicting Saint George and the Dragon 24cm wide, 12cm high, 18.5cm deep

£600-800

382

GORDON RUSSELL (1892-1980)

ARTS & CRAFTS

INKSTAND, CIRCA 1925

gilding metal, with glazed ceramic well

26.2cm wide, 15cm deep

£300-500

383

HUGH BIRKETT (1919-2002)

BOX & COVER, 1979 yew wood, signed and dated 1979

20cm high, 28cm diameter

£700-900

384

HUGH BIRKETT (1919-2002)

JEWELLERY BOX, 2001

Honduras rosewood, signed and dated 2001

11.5cm high, 26cm wide, 12.5cm deep

£500-700

385

STANLEY WEBB DAVIES (1894–1978)

BOX, CIRCA 1930 oak

38.4cm wide, 11.2cm high, 24cm deep

£200-300

386

GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY PAIR OF OAK ARMCHAIRS, CIRCA 1920

one stamped with maker S. Belsham and the other with copper label; G. Russell (2)

103cm high, 49cm wide, 47cm deep, seat height 49cm £1,500-2,000

387

ENGLISH

TWO COTSWOLD SCHOOL STOOLS, CIRCA 1925

oak, each with later-upholstered drop-in seats (2)

43cm wide, 42cm high, 28cm deep and 45cm wide, 42cm high, 32cm deep

£300-500

388

GORDON RUSSELL (1892-1980)

ARTS & CRAFTS STOOL, CIRCA 1930 inlaid and ebonised walnut, with drop-in seat

60.5cm wide, 36cm high, 43cm deep

£300-500

386

387 388

391

As a painter and theatrical designer, Sheringham will have been aware of the work of Leon Bakst (1866-1924) and in particular the work he carried out for the influential Ballets Russes and their staging of Scheherazade in 1910, which so clearly influenced the designs in the current and two following lots.

389

GEORGE SHERINGHAM (18841937) FOR SEFTON FABRICS

‘SCHEHERAZADE’, FOUR FRAMED HANDKERCHIEFS, CIRCA 1918

silk, later framed and mounted each handkerchief 29cm square (frame 69cm square)

£600-800

390

GEORGE SHERINGHAM (18841937) FOR SEFTON FABRICS

‘SCHEHERAZADE’, FOUR FRAMED HANDKERCHIEFS, CIRCA 1918

silk, later framed and mounted each handkerchief 29cm square (frame 69cm square)

£600-800

391

GEORGE SHERINGHAM (1884-1937)

FOR SEFTON FABRICS

‘SCHEHERAZADE’, FOUR FRAMED HANDKERCHIEFS, CIRCA 1918

silk, later framed and mounted, each handkerchief 29cm square (frame 69cm square); together with the printed publicity card, later framed and mounted, 20.5cm x 26.5cm (frame 45.5cm square) (2)

£600-800

392

SCOTTISH, MANNER OF THOMAS HADDEN

TWO ARTS & CRAFTS GATE LAMP POSTS, CIRCA 1930

painted wrought iron, with later glass shades (2)

193cm high and 221cm high

£500-800

393

ENGLISH, MANNER OF SIR EDWIN LUTYENS

PAIR OF ARTS & CRAFTS TABLE LAMPS, CIRCA

1920

oak, with silvered ball feet (2)

47cm high to drip tray

£1,000-1,500

394

ENGLISH PAIR OF ARTS & CRAFTS ALTAR

CANDLESTICKS, CIRCA 1910

oak, with polychrome relief decoration to the base, bear inscriptions PHOEBE and IN (2)

125cm high

£300-500

393

394

396

ARTHUR W. SIMPSON (1857-1922), KENDAL PAIR OF ARTS & CRAFTS ARMCHAIRS, CIRCA 1920

oak, with later vinyl upholstery, bears applied maker’s label (2)

70cm wide, 108cm high, 77cm deep

£600-800

397

KESWICK SCHOOL OF INDUSTRIAL ARTS

ARTS & CRAFTS TRAY ON STAND, CIRCA 1900

copper, with folding oak stand, stamped to the rim KSIA 58cm diameter, 51cm high

£300-500

395

ARTHUR W. SIMPSON (1857-1922), KENDAL SET OF ARTS & CRAFTS WALL SHELVES, CIRCA 1910 oak

96cm wide, 47cm high, 22.5cm deep

£500-800

398

ARTHUR W. SIMPSON (1857-1922), KENDAL TWO STOOLS, CIRCA 1920 comprising an OAK STOOL, with woven leather top, applied maker’s label, stamped 7327/ REGD. NO. 695391, 40cm wide, 31cm high, 30cm deep; and a MAHOGANY STOOL, with woven leather top, applied maker’s label, stamped 8611, 43.3cm wide, 51cm high, 30.5cm deep (2)

£300-500

399

ENGLISH COTSWOLD SCHOOL

ARMCHAIR, CIRCA 1960

walnut, with later vinylupholstered cushion

66cm wide, 88cm high, 63cm deep

£400-600

400

ENGLISH COTSWOLD SCHOOL BOOKCASE, CIRCA 1950

oak, with two adjustable shelves 91cm wide, 126.5cm high, 28cm deep £800-1,200

ENGLISH COTSWOLD SCHOOL VINYL/ DOCUMENT CABINET, CIRCA 1950

teak

89cm wide, 91cm high, 45.5cm deep £700-900

ENGLISH COTSWOLD SCHOOL CHEST OF DRAWERS, CIRCA 1930

walnut

82cm wide, 73cm high, 40cm deep £1,000-1,500

CHRIST

139cm

£4,000-6,000

403

EDWARD REGINALD FRAMPTON (1870-1923)

IN MAJESTY oil on canvas

x 76.5cm (frame 167.5cm x 101cm)

Charlotte Rhead began working for Burgess & Leigh in 1926, following her employment with Wood & Sons. The company announced her arrival in a full-page advert in 1927 in The Pottery Gazette. Burgess & Leigh had not made tube-lined pieces before Rhead joined the firm, but by March 1927 she had produced around fourteen new designs. Rhead’s patterns were all numbered and a list of these designs remains in print.

404

CHARLOTTE RHEAD (1885-1947) FOR BURGESS & LEIGH

‘BURLEIGH WARE’ TUBE-LINED CHARGER, CIRCA 1926

glazed and painted earthenware, signed to reverse RHEAD, painted and printed maker’s marks 4012 36cm diameter

£1,200-1,800

405

ERIC FRASER (1902-1983)

HIKERS, CIRCA 1922

gouache, signed to upper edge FRASER

9.5cm diameter

£300-500

406

WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.

LARGE ROYAL LANCASTRIAN CHARGER, CIRCA 1930

glazed earthenware, impressed factory mark and painted monogram

48cm diameter

£300-500

407

SIR FRANK BRANGWYN (1867-1956) FOR E. POLLARD AND CO. LTD., LONDON

SIDE CHAIR, CIRCA 1930

oak, with rush seat

50.5cm wide, 99cm high, 39cm deep £600-800

408

SIR FRANK BRANGWYN (1867-1956) FOR E. POLLARD AND CO LTD., LONDON

ARMCHAIR, CIRCA 1930

oak, with rush seat

65cm wide, 106.7cm high, 44cm deep

Provenance: Frank Brangwyn, The Jointure, Ditchling, and by descent until September 2000

Private Collection

Literature: Marechal, Dominique Frank Brangwyn, Bruges 1987, p. 66, pl.55 where a variant of this chair is shown in a contemporary photograph of the Exhibition of Furniture made by E. Pollard & Co., London, 1930. £1,500-2,000

Frank Brangwyn created an exhibition of three furnished rooms at Pollard & Co’s Oxford Street showrooms. The furniture was made by Pollard’s, and other exhibits included ceramics by Doulton, Leach Potteries and Ashstead Potters, glass by James Powell, and carpets by James Templeton. A chair of this pattern was included in the 1930 exhibition and illustrated in the catalogue Exhibition of Furniture made by E. Pollard & Co. Ltd from Designs by Frank Brangwyn RA (Autumn 1930).

409

STANLEY WEBB DAVIES (1894–1978)

ARTS & CRAFTS CORNER CABINET, 1933

oak, with carved maker’s mark, cabinet maker’s mark and dated 1933

61cm wide, 76.3cm high, 38cm deep £1,000-1,500

ASHLEY HAVINDEN (1903–1973)

ART DECO CARPET, CIRCA 1930

hand-knotted wool, bears applied label verso 245cm x 152cm

Note: Ashley Havinden was a painter, typographer, graphic and textile designer. In 1922, when he joined W.S. Crawford – one of London’s largest advertising agencies – he had not received any formal art training. He subsequently took evening classes in design and drawing at Central School of Arts & Crafts (1922-23) and received private drawing lessons from Henry Moore in 1933. The London Gallery held Havinden’s first solo exhibition in 1937. Two years later he was one of the nine British artists to feature in an exhibition of abstract paintings held at the Lefevre Gallery. He remained with W.S. Crawford for forty-five years becoming art director in 1929 and vice-chairman in 1960. During this time, Havinden was given full freedom to develop his distinctive style, working on campaigns for Martini, Liberty’s and Chrysler, amongst others. Meanwhile, he produced rug and textile designs for Duncan Miller Ltd and Edinburgh Weavers. For the V&A’s 1946 exhibition Britain Can Make It, he designed the Men’s Wear displays, as well as the exhibition catalogue cover. Havinden received an OBE for his services to British Design in 1951.

£2,000-3,000

411

HEAL & SON, LONDON

CHEST OF DRAWERS, CIRCA 1930

oak, ivorine maker’s label to drawer edge

91.5cm wide, 76cm high, 48cm deep

£1,200-1,800

412

HEAL & SON, LONDON

‘OWL’ COMPACTUM, CIRCA 1930

oak, ivorine maker’s label to drawer edge

114.3cm wide, 152.3cm high, 46.2cm deep

£2,500-3,500

413

HEAL & SON, LONDON

LOW CHEST OF DRAWERS, CIRCA 1930

limed oak, ivorine maker’s label to drawer edge

106.5cm wide, 45.5cm high, 50cm deep

£800-1,200

414

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY

‘POMEGRANATE’ FOOTED BOWL, CIRCA 1915

glazed earthenware, green painted signature W MOORCROFT, impressed MOORCROFT/ BURSLEM, 21cm diameter; together with a ‘POMEGRANATE’ TAZZA, glazed earthenware, similarly marked, 20cm diameter (2)

£400-600

415

HEAL & SON, LONDON

ARTS & CRAFTS

BOOKCASE, CIRCA 1920

oak, with three fixed shelves, ivorine maker’s label to drawer edge

53.5cm wide, 122cm high, 18cm deep

£300-500

416

HEAL & SON, LONDON

TALLBOY CHEST OF DRAWERS, CIRCA 1930

walnut, ivorine maker’s label to drawer edge

76.3cm wide, 113cm high, 47.5cm deep

£1,000-1,500

417

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY

‘ORCHID & SPRING FLOWERS’ BOWL, CIRCA 1925

glazed earthenware, blue painted signature and impressed facsimile signature/ MADE IN ENGLAND/ POTTER TO H.M. THE QUEEN, 24cm diameter; together with an ‘AFRICAN LILY’ VASE, glazed earthenware, painted initials, impressed factory marks and applied paper label, 31.5cm high (2)

£250-350

418

WILLIAM MOORCROFT (18721945) FOR MOORCROFT POTTERY

‘POMEGRANATE’ PATTERN BOTTLE VASE, CIRCA 1930

glazed earthenware, painted signature in green W. MOORCROFT, impressed MOORCROFT/ BURSLEM

31.5cm high

£800-1,200

419

WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON

‘PANSY’ FOOTED BOWL, CIRCA 1920

pewter-mounted glazed earthenware, stamped TUDRIC/ MOORCROFT/ MADE IN ENGLAND/ H/ 01311, 25cm diameter; together with a ‘POMEGRANATE’ FOOTED BOWL, glazed earthenware, green painted signature, impressed MOORCROFT/ BURSLEM, 28.5cm diameter (2)

£200-300

420

HEAL & SON, LONDON

MATCHED PAIR OF BOOKCASES, CIRCA 1930

oak, each with three adjustable shelves, one stamped 837/28 (2)

87.3cm wide, 118cm high, 24.5cm deep

£1,000-1,500

421

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘EVENTIDE’ PATTERN

TWIN-HANDLED JAR & COVER, CIRCA 1930

glazed earthenware, painted initials in green WM, impressed MOORCROFT/ MADE IN ENGLAND

18cm high

£1,400-1,600

HEAL & SON, LONDON

ARTS & CRAFTS ‘930’ BEDROOM SUITE, CIRCA 1930

limed oak, comprising a WARDROBE, 88cm wide, 185cm high, 49.5cm deep; a BEDSIDE CABINET, 35.5cm wide, 71cm high, 34.3cm deep; and a SINGLE BED, 91.5cm wide, 113cm high, 197cm deep (3)

Literature: Heal O. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.242 where this suite is illustrated

£1,000-1,500

423

HEAL & SON, LONDON

CHEST OF DRAWERS, CIRCA 1930

oak, ivorine maker’s label to drawer edge

91cm wide, 81cm high, 47.5cm deep

£1,500-2,000

424

MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN

BOWL, CIRCA 1930

glazed earthenware, signed on the base W. MOORCROFT

16cm diameter, 12.5cm high

£300-500

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ LIDDED BOX, CIRCA 1915

glazed earthenware with plated mounts, green painted initials WM, impressed MADE IN ENGLAND/ MOORCROFT 1252

15.5cm diameter

£400-600

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN BISCUIT BARREL & COVER, CIRCA 1920

glazed earthenware with plated mounts, green painted initials WM, impressed MOORCROFT/ MADE IN ENGLAND

19cm high (handle down)

£200-300

HEAL & SON, LONDON DRESSING CHEST, CIRCA 1930 limed oak, mirrored glass plate, bears maker’s ivorine label to drawer edge

91.5cm wide, 139cm high, 48cm deep

£400-600

HEAL & SON, LONDON TALLBOY CHEST OF DRAWERS, CIRCA 1930 oak, ivorine maker’s label to drawer edge

83.7cm wide, 107cm high, 47.8cm deep £2,000-3,000

425

426

427

428

426

425

427

428

inlaid specimen

woods, later framed

29cm x 42cm (frame

43cm x 57cm)

£300-500

‘GIRL WITH PARROT’, 1933 bronze, signed and dated in the bronze RICHARD GARBE ARA/ 1933 40cm high £4,000-6,000

A prolific sculptor of the late nineteenth and early twentieth century, Richard Garbe initially learned his craft under the apprenticeship of his father, a carver of luxury ivory and tortoiseshell goods. Garbe’s emotive and often dramatic compositions take inspiration from the New Sculpture movement which aimed to convey a renewed sense of dynamism and physical realism, somewhat removed from the more stylised representations of neo-classical sculpture. Recognised for his versatility in working with ivory, bronze, clay and plaster, Garbe gained much praise for his work and was elected into the Royal Academy in 1929 after several nominations from contemporaries such as Frampton, Thornycroft and John Goscombe.

429 ATTRIBUTED TO ROWLEY GALLERY, LONDON MARQUETRY PANEL, CIRCA 1930

430 § RICHARD GARBE (1876-1957)

431

ATTRIBUTED TO SIBYL DUNLOP (1889-1968)

ARTS & CRAFTS PENDANT, CIRCA 1960

white metal set with green chrysoprase

8cm long including bale

£400-600

434

BERNARD INSTONE (1891-1987)

ARTS & CRAFTS RING, CIRCA 1920

silver, set with garnets and seed pearls, stamped B.I./ SILVER ring size L

£300-500

432

MANNER OF RHODA WAGER

PENDANT, CIRCA 1910

9-carat gold, white metal, set with oval black opal, stamped 9CT 47cm long including chain, pendant 3.2cm high £300-500

435

433

ATTRIBUTED TO KATE EADIE ARTS & CRAFTS RING, CIRCA 1910 mixed metals set with opal, ring size N; and a PAIR OF EARRINGS, MANNER OF RHODA WAGER, white metal, set with opal, each 2cm across (3)

£300-500

ATTRIBUTED TO DORRIE NOSSITER (1893-1977)

BROOCH AND RING, CIRCA 1930

the BROOCH, mixed metals, set with amethysts, seed pearls, tourmalines etc., 4.3cm tall; the RING, yellow metal, set with similar stones, ring size M (2)

£600-800

A PRIVATE COLLECTION OF WORKS BY

ROBERT ‘MOUSEMAN’ THOMPSON

436

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

SET OF EIGHT DINING CHAIRS, 1950’S

oak, with carved mouse signature, close-nailed leather upholstery (8)

41.5cm wide, 72.5cm high, 41cm deep

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£2,500-3,500

437

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

OCTAGONAL DINING TABLE, 1950’S

oak, with carved mouse signature 135cm across, 74cm high

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£3,000-4,000

438

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

LOW BOOKCASE, 1950’S

oak, with carved mouse signature

49.5cm wide, 69cm high, 27cm deep

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£600-800

439

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

CORNER CABINET, 1950’S

oak, with carved mouse signature

69.2cm wide, 98cm high, 47cm deep

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£500-700

440

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

TWO-DRAWER SIDE TABLE, 1950’S

oak, with carved mouse signature

106cm wide, 83.5cm high, 50cm deep

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£1,500-2,500

438

439

440

441

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

COFFEE TABLE/ STOOL, 1950’S

oak, with carved mouse signature

91.2cm long, 41.5cm high, 35cm deep

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£800-1,200

442

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

OCCASIONAL TABLE, 1950’S

oak, with carved mouse signature

53.3cm diameter, 48cm high

£2,000-3,000

443

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

SIDEBOARD, 1950’S

oak, with carved mouse signature

152cm wide, 93.3cm high, 46cm deep

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£2,500-3,500

441

442

443

446

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

THERMOMETER/ BAROMETER/ HYGROMETER, 1970’S

oak, mounted with three brass-cased dials, carved mouse signature

43cm x 18.8cm

£600-800

444

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

PAIR OF BOOKENDS, 1950’S

oak, with carved mouse signature (2) each 9.1cm wide, 15cm high, 9.2cm deep

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£300-500

445

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

LARGE TABLE LAMP, 1950’S

oak, with carved mouse signature, associated fabric shade

44cm high to fitting

Provenance: Purchased by the vendor’s uncle and aunt from the maker, circa 1950

£800-1,200

447

447

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BOWL, 1950’S

oak, with carved mouse signature

15cm diameter

£300-500

448

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

EARLY CABINET, CIRCA 1918

oak and burr oak, with adjustable shelves

92cm wide, 144cm high, 32cm deep

Provenance: Andrew Hartley, Ilkley September Fine Sale, lot 628, 2019, where the provenance was stated as having been given as a wedding present in 1918 and thence by family descent to the vendor.

£6,000-8,000

449

SCOTTISH SCHOOL

‘NOAH, A MASQUE’, EMBROIDERED TRIPTYCH PANEL, DATED 1910 worked by M.A. Muir, with three panels depicting animals and figures in a landscape and bearing inscriptions DEFIANCE/ DOWNFALL/ REVIVAL and to the base NOAH, A MASQUE/ SE NON E VERO E BEN TROVATO/ M A MUIR (Marion Muir) HER WORK 1910, framed and glazed 41.5cm x 83cm

£600-800

450

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

PAIR OF SINGLE BEDS, CIRCA 1930

oak, with carved mouse signature, each with original side boards and later plywood base boards (2)

96cm wide, 77.5cm high, 198cm long £500-700

451

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

FENDER, CIRCA 1930

oak, with carved mouse signature 120.4cm wide, 40.4cm deep (internal 101.5cm wide, 30.5cm deep)

£300-500

452

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BLANKET CHEST, CIRCA 1970

oak, with carved mouse signature

105cm long, 46.3cm high, 40.5cm deep £1,500-2,000

453

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

STANDARD LAMP, CIRCA 1960

oak, with carved mouse signature

139cm high to fitting £500-800

454

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

COFFEE TABLE, 1970’S adzed oak, carved mouse signature 91.2cm long, 44.8cm high, 36cm deep £400-600

452

453

454

455

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BREADBOARD AND CHEESEBOARD, 1970’S-80’S

oak, each with carved oak signature (2)

breadboard 30.2cm wide, cheeseboard 39.5cm long including handle

£250-350

458

456

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

STANDARD LAMP, 1960S oak, with carved mouse signature

139cm high to fitting £500-800

457

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

SET OF FOUR EGG CUPS, CIRCA 1960’S-70’S oak, each with carved mouse signature (4) each 5cm high

£500-800

459

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

SET OF SIX DINING CHAIRS, CIRCA 1970

oak, with close nailed leather upholstery, carved mouse signature to each chair, comprising four side chairs and two carver chairs (6)

Carver 51cm wide, 90cm high £3,000-4,000

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

REFECTORY TABLE, CIRCA 1970 oak

152cm long, 73.5cm high, 84cm deep £2,500-3,000

456

460

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

NEST OF THREE TABLES, 1970’S

adzed oak, each with carved mouse signature (3)

largest 61cm wide, 29.5cm high, 37.3cm deep

£700-1,000

461

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BOOK TROUGH, 1970’S

oak, with carved mouse signature

45.6cm wide, 20.4cm high, 20.6cm deep

£250-350

462

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

STOOL, CIRCA 1970’S-80’S

oak, with carved mouse signature

40.5cm wide, 38.5cm high, 26cm deep

£400-600

463

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BEDSIDE CABINET, 1960’S adzed oak, with carved mouse signature

48.4cm wide, 67.5cm high, 37.5cm deep

£1,000-1,500

463

464

CATHERINE PARGETER

‘BIRD’ 1962 fabric collage, bears label to frame BIRD/ CATHERINE PARGETER/ ORIGINAL EMBROIDERY 1962, artist’s marks verso

37cm x 38.5cm

£300-500

465

NINA MILLER-DAVIDSON (1895-1972)

‘A LITTLE MERMAID’, EMBROIDERED APPLIQUÉ PANEL, CIRCA 1930 wool threads and applied fabrics, artist’s label verso 33cm x 32cm

£500-800

466

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

KIDNEY-SHAPED TRAY, 1950’S-60’S

oak, with two carved mice signatures 46cm wide

£300-500

467

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

STOOL, CIRCA 1930

oak, with dense burr oak seat 40cm wide, 36cm high, 27.5cm deep

£1,200-1,800

468

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BOOK TROUGH, 1950’S-60’S

oak, with carved mouse signature 45.5cm wide, 20.5cm high, 21.2cm deep

£300-500

469

ATTRIBUTED TO SID POLLARD BLANKET CHEST, 1970’S oak 107.7cm wide, 56.2cm high, 38.5cm deep

£600-800

467

468

469

470

GEORGE BAIN (1881-1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER

CELTIC ‘HUNTING’ CARPET, CIRCA 1948

machine-woven wool, bears maker’s label

270cm x 360cm

Exhibited: Rosemarkie, Black Isle Groam House Museum The Celtic Art of Geoge Bain, 2003, no.11

£2,000-3,000

George Bain was born in Scrabster in northern Scotland, and was an art teacher who almost single-handedly revived interest in Celtic and Insular art.

His book ‘Celtic Art: The Methods of Construction’ was published in 1951. Although it had little impact at the time, its re-issue in 1971 introduced a generation to Celtic knotwork, the Pictish stones, the Book of Kells and the Book of Durrow. As well as describing and illustrating over 200 historical examples, his book was notable for giving detailed instructions on creating similar interlace, spiral, and trumpet designs, and encouraging their use in craftwork.

471

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

ADZED BOWL, 1997

oak, with carved mouse signature, with paper label verso inscribed PRESENTED TO MARGRET BELL/ ON HER RETIREMENT

FROM/ ASKIND LTD/ MADE

ESPECIALLY FOR HER BY/ TERRY HARRINGTON/ AUGUST 1997

15.3cm diameter

£250-350

472

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BAROMETER, 1970’S

oak, with carved mouse signature, brass cased barometer

21.5cm diameter

£300-500

473

JOHN MONCRIEFF LTD., PERTH

‘MONART’ TABLE LAMP AND SHADE, CIRCA 1930 mottled pink and blue glass with aventurine inclusions, bears paper maker’s label inscribed VII.P/23.455A

39cm high

£600-800

474

JOHN MONCRIEFF LTD., PERTH

‘MONART’ CLOISONNÉ PATTERN VASE, CIRCA 1930 orange glass overlaid with white craquelure

21.2cm high

£400-600

475

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BOOK TROUGH, CIRCA 1940’S-50’S

oak, with carved mouse signature

45.3cm wide, 21cm high, 21cm deep

£250-350

471

473

474

478

THOMAS ‘GNOMEMAN’ WHITTAKER (1912-1991)

DINING SET, CIRCA 1960

oak, close-nailed upholstery, each bears carved gnome signatures, comprising a DINING TABLE, 137cm long, 76cm high, 75cm deep; and a SET OF FOUR CHAIRS, each 39cm wide, 83cm high, 39cm deep (5)

£800-1,200

476

GEORGE BAIN (1881-1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER

CELTIC ‘HUNTING’ WOOL RUG, CIRCA 1948 machine-woven wool

189.5cm x 120cm

Literature: Bain G. Celtic Art, The Methods of Construction, William Maclellan (Embryo) Ltd; New edition (30 Nov. 1972), p.161, pl.38 where a similar rug is illustrated

£800-1,200

477

STAN ‘WOODPECKER’ DODDS (1928-2012)

LOW TABLE, CIRCA 1980

oak, with carved woodpecker signature

119cm long, 48cm high, 77cm deep

£300-500

479

VIVIANNA TORUN BÜLOW-HÜBE (1927-2004)

PENDANT AND COLLAR

model nos. 132 and 160, silver and smoky quartz, each stamped manufacturer’s mark, TORUN/ 925S/ DENMARK/ 132 and 160

20.5cm long, 15.5cm wide £1,000-1,500

481

VIVIANNA TORUN BÜLOW-HÜBE (1927-2004)

BRACELET

model no. 207, sterling silver, set with rutilated quartz, stamped manufacturer’s mark TORUN/ 925S/ DENMARK/ 207

6.2cm diameter, 7cm high £600-800

480 §

ROGER CAPRON (1922-2006) PLATE

painted CAPRON/ VALLAURIS (to reverse), painted and glazed earthenware

32cm diameter £400-600

482 §

DAVID MEREDITH (BORN 1973)

KESTREL bronze, raised on a black granite plinth, signed with initials in the bronze DM (1) bronze, 9cm high, including plinth 19cm high £600-800

The artist’s note on this sculpture reads “The Messenger is a sketch for the uppermost figure on the Axis Mundi group [cat. number 550]. The pose is based on that of Mercury by the Renaissance sculptor Giambologna, who in turn based his famous image on others, now lost, from Greek antiquity. This pose has been used by many artists through the ages, particularly in sculpture, and appears most recently on the cap badge of the Royal Corps of Signals. My figure is, unusually for this pose, female, and in the fullscale version, winged, as befits a Wise Virgin in her Apotheosis.”

GERALD LAING (1936-2011)

THE MESSENGER, 1991

bronze, edition of 10, raised on a Corian plinth Figure 140m high, including plinth, 221cm high

Literature: Gerald Laing: Catalogue Raisonne, geraldlaing.org

£5,000-8,000

MARCUS BRUTUS

carved and painted wood, signed indistinctly with initials lower right JMCK, 39.8cm x 18.3cm; and another by the same hand, carved and painted wood, signed with initials lower right JMCK, 35.5cm x 26.5cm (2)

£500-800

485

DECORATED DOOR

EARLY 20TH CENTURY

hardwood, with applied coloured bone, resin and wood

Excluding hinges 113cm x 59cm

Provenance:

Purchased at Liberty & Co., London £400-600

AFTER LUDWIG MIES VAN DER ROHE

‘BARCELONA’ CHAIR, MODERN chromed metal frame with leather upholstery 76cm wide, 80cm high, 76cm deep £400-600

486

484 § JOHN MCKENZIE (FL.1924-1971)

484 485 486

487

JOHN PIPER (1903-1992) FOR DAVID WHITEHEAD LTD.

‘COTSWOLD’ FRAMED FABRIC PANEL, CIRCA 1962

screen-printed cotton, printed to selvedge DESIGNED BY JOHN PIPER / FOR DAVID WHITEHEAD, later-framed

57.3cm x 117cm (frame 62cm x 121cm)

Literature: Rayner G., Chamberlain R. and Stapleton A., Textile Design: Artists’ Textiles

1940-1976, ACC 2012, p.188, no.8

£200-300

489

MARCEL BREUER (1902–1981)

CHAISE LONGUE, CIRCA 1970

birch plywood, with wool upholstery

134cm long, 82cm high, 66cm wide

£800-1,200

488

ARCHIE BRENNAN (1931-2019)

TAPESTRY, CIRCA 1970 wool

90cm x 76.5cm (excluding loops and fringe)

£500-700

490 Y

KRISTIAN SOLMER VEDEL (1923-2003)

FOR SØREN WILLADSEN, DENMARK

LOUNGE SUITE, DESIGNED 1963 comprising a PAIR OF TALL ARMCHAIRS, 73cm wide, 77cm high, 65cm deep, a PAIR OF LOW ARMCHAIRS, 71cm wide, 66cm high, 66cm deep, PAIR OF FOOTSTOOLS, 55cm square, 33cm high, and a COFFEE TABLE, 55cm square, 33cm high, leather and rosewood, applied label SW FURNITURE VEJEN DENMARK (7) Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 23GBA100XX25W.

£600-900

491 §

SCOTTIE WILSON (1891-1972)

UNTITLED (BIRDS)

watercolour, signed lower right SCOTTIE

12cm x 15cm (frame 46cm x 56cm)

£300-500

492 §

SCOTTIE WILSON (1888-1972)

UNTITLED - BIRDS & FISH

watercolour, signed lower right SCOTTIE

47cm x 59cm (frame 68cm x 78cm)

£800-1,200

493

KURT ØSTERVIG (1912-1986)

SIDEBOARD

oak, bears label K. P. MOBLER MADE IN DENMARK

179cm wide, 85cm high, 50.5cm deep

£600-800

492

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. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

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. OUR 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 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.

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

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 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.

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 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.

ARTIST’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. SELLER’S WARRANTIES

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. 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 NONPAYMENT

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://

We accept no liability for any Lots 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.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement).

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

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING IN THE SALEROOM

At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

BIDDING OUTSIDE THE SALEROOM BY

PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will 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 - ABSENTEE BIDDING

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

PAYMENT

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH

No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS

Please refer to page 2 of this catalogue.

Inside Back Cover: Lot 165 [detail]