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VIEWING
Sunday 13 April, 12pm-4pm
Monday 14 April, 10am-4.30pm
Tuesday 15 April, 10am-4.30pm Days of Sale from 9am Lyon & Turnbull 33 Broughton Place
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 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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale.
More information on Droit de Suite is available at www.dacs.org.uk.
This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought at auction before we will be delighted to help you.
REGISTRATION
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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. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).
BIDDING & PAYMENT
For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.
REMOVAL OF PURCHASES
Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. 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/importsexports/cites
COLLECTION OF PURCHASED LOTS
All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com.
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Please note we are unable to take payments over the phone.
MEET THE SPECIALISTS
At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.
John Mackie Head of Sale john.mackie@lyonandturnbull.com
Philip Smith Senior Specialist philip.smith@lyonandturnbull.com
Joy McCall Senior Specialist joy.mccall@lyonandturnbull.com
PAIR OF GOTHIC REVIVAL OFFERTORY PLATES, CIRCA 1880
repoussé-decorated and incised brass, each plate bearing inscription ‘ALL THINGS COME OF THEE AND OF THINE
OWN HAVE WE GIVEN THEE’, in original mahogany case (3) each plate 38.5cm diameter, case 43cm wide, 42cm high, 14cm deep
£300-500
1
A.W.N. PUGIN (1812-1852)
FOR MINTONS
TWO 6-INCH GOTHIC REVIVAL TILES, CIRCA 1860 glazed earthenware, impressed maker’s marks (2) each 15cm square
£250-350
CHARLES BEVAN (1815-1891) FOR GILLOW & CO.
PAIR OF REFORMED GOTHIC SIDE CHAIRS, CIRCA 1880
inlaid walnut, with later close-nailed upholstery, brass caps and casters, each stamped GILLOW (2)
48cm wide, 93.5cm high, 38cm deep
£1,500-2,000
4
A.W.N. PUGIN (1812-1852) FOR MINTON, HOLLINS & CO.,
STOKE-ON-TRENT
GROUP OF NINE GOTHIC REVIVAL TILES, CIRCA 1860
glazed earthenware, moulded maker’s marks (9)
15.4cm square
Encaustic tiles of this pattern were designed by Pugin and made for St. Mary’s convent in Handsworth, Birmingham, which opened in 1841.
£400-600
5
ENGLISH
PAIR OF GOTHIC REVIVAL ALTAR PRICKET CANDLESTICKS, CIRCA 1880 brass (2)
49cm high
£600-800
6
ATTRIBUTED TO GEORGE C. GOLDIE (1828-1887), PROBABLY FOR COX & SON, LONDON
PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1864
brass, with painted decoration, incised to the base
BALLYMOTE CATHOLIC CHURCH (2)
51.5cm high
Ballymote Catholic Church in County Sligo was designed by George Goldie of the London firm Hadfield and Goldie and dedicated in September 1864. Goldie also designed ecclesiastical metalware for Cox & Son in London.
From an early date, much of the Cox & Son’s success derived from its catalogues for what Thomas Cox called an Ecclesiastical Warehouse; the earliest known catalogue dates from 1866. As well as from Goldie Cox & Son commissioned furniture, metalwork, stained glass and ceramic designs from a number of leading designers including Bruce Talbert, John Moyr Smith and E. W. Godwin.
£500-800
7
MANNER OF A.W.N. PUGIN, PROBABLY FOR JOHN HARDMAN & CO. GOTHIC REVIVAL BROOCH, CIRCA 1850
white metal, set with turquoise, garnet and inlaid with enamel
4.8cm diameter
£250-350
8
MANNER OF A.W.N. PUGIN
GOTHIC REVIVAL COPE CLASP, CIRCA 1850 enamelled brass, set with a faceted citrine and pearls
5.8cm square
£300-500
E.W. PUGIN (1834-1875) FOR JOHN G. CRACE & SON, LONDON ORIGINAL FABRIC PANEL, CIRCA 1870
10
JOHN HARDMAN & SON, BIRMINGHAM PAIR OF GOTHIC REVIVAL STANDING JARDINIÈRES, CIRCA 1890
brass, with lift out liners (2) 88cm high
£1,000-1,500
NEEDLEWORK WOOL PANEL, CIRCA 1850
wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpet
222cm x 111.5cm
Provenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.
£1,500-2,000
Between 1863 and 1866, Edward Welby Pugin converted the remains of a medieval palace, once owned by the Archbishops of Canterbury, into Mayfield School of the Holy Child. One significant work from this time is a needlework carpet or runner that covered the entire Chapel floor. Due to its large size,
the rug was made in small sections and then stitched together. It was hand-sewn by the sisters of Mayfield Chapel for Mother Cornelia Connelly, the founder of the Society of the Holy Child Jesus. Pugin likely used decorative designs created by his father, as he did in other projects.
12
ENGLISH
PAIR OF AESTHETIC MOVEMENT APPLIQUÉ PANELS, CIRCA 1890
wool, with applied silk and velvet appliqué borders, 193cm x 82.5cm; together with a third MATCHING PANEL, 193cm x 82.5cm (3)
£400-600
13
BRUCE TALBERT (1838-1881) FOR GILLOW & CO.
PAIR OF DINING CHAIRS, CIRCA 1865
oak, inlaid with ebonised wood, close-nailed leather upholstery, decorative brass caps and casters (2) 47cm wide, 89cm high, 53cm deep
Literature: Cooper J. Victorian & Edwardian Furniture & Interiors
London 1998, p. 85, pl. 188
£4,000-6,000
This chair closely resembles a design for a Dining Room Chair, in Talbert’s seminal pattern book of Reformed Gothic furniture Gothic Forms Applied to Furniture, Metal Work and Decoration for Domestic Purposes, first published in 1867, plate XVIII. Further examples of these chairs can be found in the collections of the Carnegie Museum of Art, Pittsburgh (Accession No. 1999.48); and the Victoria & Albert Museum, London (Accession No. W.8-1984).
14
MANNER OF HENRY STACEY MARKS
‘SOLO’ AND ‘DUET’, A PAIR OF TILE PANELS, CIRCA 1890 painted and glazed earthenware, inscribed SOLO and DUET (2) each 44cm x 19cm (frame size 48.5cm x 23cm)
£400-600
15
BRUCE TALBERT (1838-1881)
LOW TABLE, CIRCA 1880 oak, indistinctly stamped 1888 111.5cm diameter, 52cm high Literature: Cooper J. Victorian & Edwardian
ATTRIBUTED TO COX & SON
GOTHIC REVIVAL CABINET, CIRCA 1880 pitch pine, with polychrome and gilt painted panels, painted and stencilled decoration, brass fittings set with coloured glass cabochons, roundels inscribed S. JOHN BAPTIST and S. ELIZABETH
99.5cm wide, 218cm high, 42.5cm deep
£5,000-7,000
WILLIAM GAULBERT SAUNDERS (1837-1923)
‘A TOKEN OF KIND REMEMBRANCE’, 1854
watercolour, pen and ink, inscribed JULIE HOWELLS/ A TOKEN OF KIND REMEMBRANCE FROM HER TRULY SINCERE AND EVER AFFECTIONATE W. H. GAULBERT SAUNDERS, 1854, unframed
23.5cm x 19cm
CHARLES EASTLAKE (1836-1906)
AESTHETIC MOVEMENT SECRETAIRE CHEST OF DRAWERS, CIRCA 1880
19
ATTRIBUTED TO BRUCE TALBERT (1838-1881)
SIDEBOARD, CIRCA 1880
oak, with brass fittings
142cm wide, 118cm high, 52cm deep
£600-800
JOHN POLLARD SEDDON (1827-1906) FOR C. SEDDON & CO. REFORMED GOTHIC ‘GEOMETRIC’ SIDEBOARD, 1865
inlaid oak, with brass fittings and mirrored plate the sideboard 229cm wide, 95cm high, 74cm deep; the mirror 216cm wide, 151cm high
Provenance: Joseph Dobson, of Barker and Dobson confectionary (a wedding gift) by descent to his granddaughter Ethel Dobson from whom purchased by the parents of the current owner
Literature: Cooper J. Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, p. 88-89, pl. 191 where a related example is illustrated
£1,500-2,500
John Pollard Seddon (1827–1906) was a British architect and designer known for his contributions to the Gothic Revival movement. His work often blended medieval influences with modern functionality, reflecting his commitment to both historical stylistic elements and contemporary practical requirements.
An example of Seddon’s inventive design approach appeared in the Building News on 2 June 1865, which featured an illustration of an elaborate sideboard. The editors noted that a second, even more detailed sideboard would soon be completed. This subsequent piece, executed in a style inspired by Early Geometrical Gothic, exemplified Seddon’s ability to integrate historical forms with practical considerations. Like the designs of A.W.N. Pugin and J.K. Colling, his work abstracted natural forms, as seen in the ornamental elements of the sideboard. Architectural features included an arcade of miniature columns at the base for storing dishes, a mirror supported by pilasters, and a protective roof. Decorative details, such as enamelled hinges in red and green and painted leather panels with stylized floral motifs, further demonstrated his artistic ingenuity.
His occasional collaborator, J. Coates Carter, remarked that Seddon was “always a modern rather than a medievalist,” distinguishing his work from other Gothic Revivalists.
GAVIN MORTON (1867-1954) AND G. K. ROBERTSON FOR ALEXANDER MORTON & CO.
ARTS & CRAFTS DONEGAL CARPET, CIRCA 1900 wool, the salmon pink field with green medallion, within green border
351cm x 301cm
£5,000-7,000
Alexander Morton & Co., opened their first factory in Scotland in 1881. Alexander Morton (1844-1923) visited County Donegal in Ireland in 1896 and restored the hand-knotted carpet industry in Killybegs utilising the local people’s knowledge of working with wool. Motivated by the philosophy of the Arts and Crafts movement, Morton’s aim was to provide work for the destitute while preserving wool weaving skills in the area.
23
WILLIAM DE MORGAN (1839-1917)
‘HOWLING WOLF’ TRIPLE LUSTRE TILE, 1898
lustre-glazed earthenware, impressed verso DM98
15.3cm square
Provenance: Purchased from William De Morgan by Arthur James Balfour, Earl of Balfour (1848-1930), Prime Minister of the United Kingdom from 1902 to 1905 and by descent.
Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 1989, p.123, pl.1008, where the design for this tile is illustrated.
£3,000-4,000
22
WILLIAM DE MORGAN (1839-1917)
‘ANTELOPE’ TRIPLE LUSTRE TILE, 1898
lustre-glazed earthenware, stamped verso DM98
15.3cm square
Provenance: Purchased from William De Morgan by Arthur James Balfour, Earl of Balfour (1848-1930), Prime Minister of the United Kingdom from 1902 to 1905 and by descent.
Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 1989, p. 122, pl. 977, where the design for this tile is illustrated.
£3,000-4,000
24
WILLIAM DE MORGAN (1839-1917)
‘PENGUINS WITH HATCHING CHICK’ TRIPLE LUSTRE TILE, 1898
lustre-glazed earthenware, impressed verso DM98
15.3cm square
Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 1989, p.129, pl.996, where the design for this tile is illustrated.
£3,000-4,000
PHILIP WEBB (1831-1915) FOR MORRIS & CO.
ARTS & CRAFTS SECRETAIRE BOOKCASE CABINET, CIRCA 1890 green stained oak, with glazed doors and brass fittings
194cm wide, 248cm high, 50cm deep
Provenance: Paul Reeves, London
£4,000-6,000
27
JOHN HENRY DEARLE (1859-1932)
FOR MORRIS & CO.
PAIR OF ‘ELMCOTE’ PATTERN CURTAINS, CIRCA 1900
hand-loom jacquard woven woollen fabric, lined (2) each 231cm x 119cm
Literature: Parry L. William Morris Textiles, V&A. 2013, p.262, pl. 104
£2,000-3,000
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
GROUP OF THREE ‘TULIP & ROSE’ PATTERN TEXTILE PANELS, CIRCA 1880
woven woollen 3-ply cloth, to include a large SINGLE PANEL, 237cm x 149cm; and a PAIR OF PANELS, each 224cm x 73cm (3)
Literature: Parry L. William Morris Textiles, V&A 2013, p. 210, fig. 18 illus.
£2,000-3,000
28
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘DOVE AND ROSE’ PATTERN HANGING, CIRCA 1879
woven silk, blue colourway, with later silk lining and border with applied hanging rings panel 176cm x 84cm (with border 199.5cm x 103cm)
Literature: Parry L. William Morris Textiles, V&A 1983, p.153, pl. 34
This cloth was woven by Morris & Co. at Merton Abbey.
£800-1,200
29
ENGLISH
ARTS & CRAFTS FRAMED PLAQUE, 1908
repoussé-decorated bronzed metal, with mother of pearl inlay, within original oak frame, signed lower left W.C. MILLER
54cm x 28.5cm (frame size 81cm x 52cm)
£300-500
30
ENGLISH
PAIR OF ARTS & CRAFTS
CURTAINS, CIRCA 1900 woven cotton, lined and with applied tassels (2)
311cm x 118cm
£600-800
31
WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO. ROYAL LANCASTRIAN LUSTRE BOTTLE VASE, 1923
lustre-glazed earthenware, painted artist’s monogram and date to the base, impressed makers mark stamped 2874
21cm high
Literature: Cross, A. J., Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, 1980, pl. 50A, where a similar vase is illustrated
£300-500
32
ENGLISH
ARTS AND CRAFTS STYLE
CARPET, 20TH CENTURY wool and cotton flatweave, embroidered
291cm x 226cm
£500-700
33
MAY MORRIS (1862-1938) FOR MORRIS & CO.
‘MAIDS OF HONOUR’ EMBROIDERED PANEL, CIRCA 1890
coloured silks on a cotton ground, framed 55cm x 56cm (frame size 71cm x 71.5cm)
The outer border of the roundel is inscribed with the opening lines of Robert Herrick’s (1591-1674) poem ‘Welcome, maids of honour, you do bring in the Spring and wait upon her’.
£1,000-1,500
34
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
‘OLIVE AND ROSE’ EMBROIDERED PANEL, CIRCA 1880
coloured silks, framed
54cm x 52cm (frame size 63cm x 61cm)
Literature: Mason, A. (et.al), May Morris: Arts and Crafts Designer, Thames & Hudson, 2017, p.72-73, pl. 57-58 illus.
£600-800
35
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
‘BRER RABBIT’ PERIOD TEXTILE PANEL, CIRCA 1890
printed cotton, later framed and mounted 33cm x 43cm (frame size 50.5cm x 70cm)
Literature: Parry L. William Morris Textiles, V&A 2013, p. 229, pl. 45
This pattern was named after a character in ‘Uncle Remus, His Songs and His Sayings’, published in 1882, by J. C. Harris, which was being read to Jenny and May Morris at the time.
£300-500
In his 1893 essay Textiles, William Morris called tapestry “the noblest of the weaving arts,” highlighting the importance of “elegance of the silhouette” and “crispness and abundance of beautiful detail” in a successful design—qualities that St Cecilia certainly embodies.
The final design for St Cecilia was a collaboration between Edward Burne-Jones and Henry Dearle, a former pupil of William Morris who later became the chief designer for Morris & Co. in 1890. BurneJones created the figure, while Dearle designed the fruit trees and balustrade. The design for this version of St Cecilia was first used in a stainedglass window for Morris & Co. in 1866, which now features in the East Window of Christ Church Cathedral, Oxford. The figure is nearly identical to the St Cecilia in the tapestry offered here in terms of pose, drapery, and expression. A slightly different version of St Cecilia was woven a year earlier, in 1887, as part of a series of seven single-figure panel tapestries, also adapted from existing Burne-Jones stained-glass designs. Like those works, this lunette
includes Burne-Jones’ figure set within Dearle’s intricate millefleur flower and foliage patterns, with the curved balustrade helping to delineate the figure.
St Cecilia was woven in 1888 by William Sleath at Morris & Co.’s Merton Abbey Works. The company had moved there in 1881 to accommodate larger dye vats and weaving looms, each operated by up to three workers. Sleath, one of the first apprentices taken on at Merton Abbey, was an experienced weaver by the time he created this tapestry. According to records kept by Morris & Co.’s last managing director, H. C. Marillier, the 1888 St Cecilia was commissioned by Mrs. Playfair.
In the early part of the 20th century, Morris & Co. bought back the tapestry, a not-uncommon practice for pieces they had manufactured. St Cecilia was then purchased by the prolific patron of the firm, the New Zealand-born Mrs. Lucius Gubbins, who furnished her Eastbourne home with Morris pieces. It is from her descendants that this tapestry now comes to sale.
SIR EDWARD BURNE-JONES (1833-1898) AND JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO.
‘ST CECILIA’ TAPESTRY, 1888
lunette, wool and silk, within carved giltwood frame 99cm x 117cm (frame size 116.5cm x 135cm)
Provenance: Commissioned by Mrs. Playfair, circa 1888 Morris & Company
Mrs. Lucius Gubbins and by descent
Literature: The Revival of Tapestry-Weaving, An Interview with Mr William Morris, The Studio, no. 16 (July 1894), p. 100, Vallance A. William Morris His Art His Writings and His Public Life, London 1898, pp. 119-121
Marillier H.C. History of the Merton Abbey Tapestry Works, London, 1927, pp. 18-20, illustrated pl. 12
Wilhide E. William Morris: Decor and Design, Harry N. Abrams 1991, p.107, where this tapestry is illustrated
The original drawing for this figure is held in the collections of the Huntington Library, San Marino, California (2000.5.1525E William Morris Collection)
£30,000-50,000
W. A. S. BENSON (1854-1924)
WALL SCONCE, CIRCA 1900
brass and copper, with two opalescent glass shades, stamped BENSON to backplate, 45cm wide, 42cm high, 23cm deep; together with A MANNER OF W.A.S. BENSON ARTS & CRAFTS CEILING LIGHT, CIRCA 1900, copper and brass, 32cm wide, 16cm high (2)
Literature: Benson Electric Light Fittings, 1902, p. 76, no. 1347/ 1157 (Wall Sconce)
£600-800
39
PHILIP WEBB (1831-1915) FOR MORRIS & CO.
ADJUSTABLE-BACK ARMCHAIR, CIRCA 1870 mahogany, brass, upholstery in modern Morris & Co. ‘Sunflower’ pattern velvet, brass caps and casters 65cm wide, 101cm high, 83cm deep
Literature: Parry L. William Morris, V&A 1996, p.178, J.29
In 1866, Warington Taylor described a chair design in a letter to Philip Webb after observing it in Ephraim Colman’s workshop in Herstmonceux, Sussex. Webb modified the original reclining chair by incorporating bobbin turning and retaining seat bars. This traditional technique and ebonised finish were also used in other Morris & Co. furniture, such as a daybed from Kelmscott House’s dining room, now at Kelmscott Manor. The chair, used in Kelmscott House’s drawing room and by Burne-Jones, became popular and was available in mahogany. It was widely copied by British and American firms, including Liberty and Gustav Stickley’s workshops. Originally supplied with Utrecht velvet covers priced at £10s. 10d., chintz covers were also offered at £8. Utrecht velvet, an embossed mohair plush recommended by Christopher Dresser in Principles of Decorative Design and likely supplied by Heaton and Co. of Manchester, was sold by Morris & Co. in various colours for upholstery and wall coverings.
£3,000-5,000
38
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
PAIR OF ‘BIRD AND VINE’ PATTERN CURTAINS, CIRCA 1880 hand-loom jacquard woven woollen fabric, with later lining (2) each 258cm x 152cm
Literature: Parry L. William Morris Textiles, V&A 2013, p.225, no.39
A large quantity of this fabric was ordered by Edward Burne-Jones in 1880 and 1881 for his own use.
£2,000-3,000
40
HAROLD RATHBONE (1858-1929) MONNA ROSA (AFTER ROSSETTI) pastel, watercolour and bodycolour, gold paint, inscribed upper right MONNA ROSA 40cm x 50cm
Provenance: with The Fine Art Society, 1980 Private Collection, London. £4,000-6,000
41
JOHN PEARSON (1859-1930)
ARTS & CRAFTS CHARGER, CIRCA 1900
repoussé-decorated copper
38.5cm diameter
£300-500
42
JOHN PEARSON (1859-1930)
ARTS & CRAFTS CHARGER, 1889
repoussé-decorated copper, signed and dated verso J PEARSON/ 1889/ 283, 51.5cm diameter; together with a CHARGER, IN THE MANNER OF C.R. ASHBEE (1863-1942), CIRCA 1900, gilded and repoussé-decorated copper, 43cm diameter (2)
Provenance: Haslam & Whiteway, London
£600-800
43
ENGLISH
ARTS & CRAFTS CABINET ON STAND, CIRCA 1900 oak, with copper alloy fittings
81cm wide, 167.5cm high, 43cm deep
£400-600
44
WILLIAM DE MORGAN (1839-1917)
‘DOE’, AN ARTS & CRAFTS 6-INCH TILE, CIRCA 1890
glazed earthenware, mounted in later frame
15.5cm square (frame size 24cm square)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p122, pl.932
£800-1,200
45
WILLAM DE MORGAN (1836-1917)
‘HIPPOPOTAMUS AND TICK BIRDS’, AN ARTS & CRAFTS 6-INCH TILE, CIRCA 1890
glazed earthenware, mounted in later frame
15.5cm square (frame size 24cm square)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p.123, pl.1062
£800-1,200
46
WILLIAM DE MORGAN (1839-1917)
‘FOX STEALING GOOSE’ 6-INCH TILE, CIRCA 1880
glazed earthenware, impressed mark DE MORGAN, framed
tile 15cm square (frame size 27cm square)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, pl 124, pl. 1066
£1,000-1,500
47
JOHN PEARSON (1859-1930)
ARTS & CRAFTS CHARGER, 1893
repoussé-decorated and incised copper, signed verso
JOHN PEARSON 1893
52cm diameter
£1,500-2,000
48
J. & F. POOL, HAYLE
LARGE ARTS & CRAFTS WALL SHIELD, CIRCA 1900
repoussé-decorated copper
75cm diameter
£400-600
49
LEONARD KING FOR BURMANTOFTS POTTERY, LEEDS, ANGLO-PERSIAN FAIENCE BALUSTER VASE, CIRCA 1895
repoussé-decorated copper, signed and dated J PEARSON/ 1897/ 2332
20cm high
£500-700
WILLIAM DE MORGAN (1839-1917)
‘MANNED GALLEY IN A CLASSICAL HARBOUR’ TWO-TILE PANEL, CIRCA 1890
glazed earthenware, each with impressed Sands End, Fulham mark verso (2) each 15.2cm square
Literature: Greenwood M.
The Designs of William de Morgan, Richard Dennis 1989, p.176, pl.470, where the design for this tile panel is illustrated.
£2,000-3,000
52
ENGLISH, MANNER OF JOHN PEARSON ARTS & CRAFTS GALLEON PANEL, CIRCA 1910
copper, later framed 57cm x 46cm (frame size 64cm x 53cm)
53
ATTRIBUTED TO RICHARD NORMAN SHAW (1831-1912) FOR MORRIS & CO.
TABARD SETTLE, CIRCA 1890
mahogany, with later drop-in upholstered seat, in original Morris & Company ‘Trent’ pattern, printed linen fabric (designed 1888) 109cm long, 94cm high, 45cm deep
The original Morris & Company ‘Trent’ fabric on the seat is from Madresfield Court, Worcestershire. The library at Madresfield Court was designed for the 7th Earl Beauchamp by C.R. Ashbee in 1902.
£700-900
57
WILLIAM DE MORGAN (1839-1917)
THREE ‘BEDFORD PARK’ TILES, CIRCA 1900
glazed earthenware, comprising; TWO ‘DAISY’ tiles and an ‘ANEMONE’ tile, set into a copper tray each tile 15.5cm square, tray 52cm wide, 21cm deep
£400-600
54
WILLIAM DE MORGAN (1839-1917)
TWO ARTS & CRAFTS 6-INCH TILES, 1880S/1890S glazed earthenware, comprising; a ‘PERSIAN FLOWER’ TILE, impressed Merton Abbey mark; and a ‘FLYING LEAF’ TILE, impressed Sands End Mark (2) each 15.5cm square
£600-800
55
W.A.S. BENSON (1854-1924)
ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass, with associated opalescent shade, stamped BENSON 26cm high to fitting
£300-500
56
W.A.S. BENSON (1854-1924)
ARTS & CRAFTS OIL LAMP, CIRCA 1890 copper and brass, later converted for electricity, cast mark W.A.S. BENSON
41cm high to base of fitting
£600-800
59
58
ATTRIBUTED TO BIRMINGHAM GUILD OF HANDICRAFT
WALL LIGHT, CIRCA 1900
brass, with associated period opalescent glass shade
42cm high including shade, 33cm deep (fitting only), back plate 17.5cm x 13.2cm
£300-500
AFTER SIR EDWARD BURNE-JONES
‘SYBILIA DELPHICA’, AN EMBROIDERED PANEL, CIRCA 1890
coloured silks, framed 15cm x 6cm (frame size 26.5cm x 16.5cm)
A larger, similar example is held in the V&A, accession number T.73-2019.
£300-500
61
JAMES SMITHIES, WILMSLOW
ARTS & CRAFTS TABLE LAMP, CIRCA 1900
60
W. A. S. BENSON (1854-1924)
ARTS & CRAFTS TABLE LAMP, CIRCA 1900
brass, stamped BENSON, with associated glass shade
37cm high to fitting
£300-500
repoussé-decorated copper, brass, with adjustable shade with later beaded fringe, stamped to base JAMES SMITHIES/ WILMSLOW
64cm high
£400-600
63
W. A. S. BENSON (1854-1924)
ARTS & CRAFTS TABLE LAMP, CIRCA 1900
brass, later pleated silk shade 41cm high to base of fitting
Literature: Hamerton I. W.A.S Benson Arts and Crafts Luminary, Antique Collector’s Club 2005, p. 248, pl. 3 for a lamp with comparable base (69)
£400-600
64
W. A. S. BENSON (1854-1924)
C.F.A. VOYSEY (1857-1941) FOR GEORGE WRIGHT & CO, ROTHERHAM, SHEFFIELD FIREPLACE, CIRCA 1900
cast iron, complete with rare shaped upstand
99.2cm wide, 150cm high, 12.6cm deep
Literature: The Studio Yearbook, 1908, p.156, B 132, where this model is illustrated Livingston K., et al C.F.A. Voysey: Arts & Crafts Designer, V&A Publishing, 2016, pp.255-6, pl.327
£4,000-6,000
Voysey’s fireplaces were starkly plain compared to the more standard productions of the period of which he generally took a dim view. He thought that fireplaces should offer restfulness through quiet design and railed against the “multitudinous mixture of materials, colours and textures…attracting the most attention, and disturbing the peaceful reflections of the house-holder”.
68
67
ENGLISH
PAIR OF ARTS & CRAFTS CURTAINS, CIRCA 1900
woven cotton, lined (2)
266cm x 117cm
£400-600
ATTRIBUTED TO HARRY NAPPER (1860-1930) FOR SILVER STUDIOS
WALL HANGING, CIRCA 1900
woven cotton, with later linen lining and border
204cm x 116.5cm (with border 252cm x 160cm)
£600-800
69
ATTRIBUTED TO C.R. ASHBEE (1863-1942) FOR JOHN BROADWOOD & SONS
ARTS & CRAFTS DUET STOOL, CIRCA 1904
walnut and ebonised wood, with cast steel strap hinges and later close-nailed leather upholstered seat, made by Guild of Handicrafts
109.5cm wide, 49cm high, 45.5cm deep
£600-800
Ashbee’s deliberately unconventional style particularly focussed on his designs for pianos around 1904. Both his wife and his mother were talented pianists and besides, ‘artists and architects of advanced tastes had been interested in reforming the design of piano cases for some time’. Burne-Jones with W.A.S. Benson had produced a design in 1879 which replaced the deep curves and massive legs of the high Victorian era with a treatment closer to late 18th century harpsichords and these ‘Reformed’ or ‘Artistic’ forms provoked ‘steady interest’ from then onwards. Ashbee’s first design was for his wife Janet in 1900 and was ‘shocking’ in its subversion of convention. The cabinet work was carried out by Broadwood & Co. and the heavy cast hinges were made by the Guild of Handicrafts. The form was square and reflected the piano forms of the late 18th century but with hinged doors to the front. This stool reflects these new cases, with its broad pierced handles and fine cabinet work.
Examples of Broadwood pianos designed by Ashbee are in the collections of the Huntingdon Library, Pasadena, Cheltenham Art Gallery and Museum and Standen House, Surrey.
71
ATTRIBUTED TO C.R. ASHBEE (1863-1942)
ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900
carved oak case, with white enamel dial
33cm wide, 32.5cm high, 14cm deep
For period photographs of a related clock, carved in oak and with flying birds decoration see the Ashbee Archive in the National Art Library, reference numbers RC LL 40-43.
£2,000-3,000
72
C.R. ASHBEE (1863-1942)
PAIR OF ARTS & CRAFTS LADDERBACK
SIDE CHAIRS, CIRCA 1905
oak, with rush seats (2)
48cm wide, 98cm high, 46cm deep
£400-600
70
ATTRIBUTED TO MACKAY HUGH BAILLIE SCOTT (1865-1945) FOR ALEXANDER MORTON & CO. PANEL, CIRCA 1900
woven wool, within associated period frame
70cm x 52.5cm (frame size
80cm x 63cm)
Provenance: Lyon & Turnbull, Edinburgh, Paul Reeves: Textiles as Art, 23 February 2017, lot 60
M.H. Baillie Scott was a prolific Scottish architect and artist involved in the Arts and Crafts movement throughout Britain. This panel parallels other works by Scott such as stained glass windows at Blackwell Arts and Crafts House in the Lake District depicting simplified and sinuous birds and tulips.
£500-700
73
ENGLISH
PAIR OF ARTS & CRAFTS CUSHIONS, CIRCA 1900 AND LATER
jacquard woven cotton (2)
42cm square
£300-500
HERTER BROTHERS, NEW YORK
FINE AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880
ebonised wood, with marquetry inlay and gilt embellishments, bevelled mirror plates
154cm x 128.8cm
Literature: Howe K.S. et al Herter Brothers: Furniture and interiors for a gilded age, Harry N. Abrams in association with the Museum of Fine Arts, Houston, 1994, pp. 234-5.
£8,000-12,000
A mirror of similar design was probably made for the John Sloane residence in New York City circa 1882 where the firm were employed to decorate and furnish the library and parlour of the new home of John Sloane (1834-1905) at 997 Fifth Avenue.
Some of the woodwork, furniture and decorative objects from this scheme are held at the Brooklyn Museum. See Stair, New York Americana at Stair, Thursday August 5th 2021, lot 289 where the mirror is marked ‘Mr Sloan’ verso.
The Herter Brothers, established by German immigrants Gustave and Christian Herter, were among the most distinguished cabinetmakers and interior designers in New York City during the last quarter of the 19th century. Renowned for their exceptional craftsmanship and sophisticated aesthetic, the firm catered to an elite clientele, including figures such as William H. Vanderbilt and J. Pierpont Morgan. This mirror, dating to approximately 1880, exemplifies the Herter Brothers’ mastery of high Aesthetic Movement
design. The striking golden marquetry set against a polished black surface reflects the strong influence of Eastern lacquerware, which was a defining characteristic of the Anglo-Japanese style that gained popularity during this period. Additionally, the mirror’s structure pays homage to the eclecticism of late 19th-century design by incorporating the traditional 17th-century cushionframed mirror form. Constructed in a refined reform style, the piece is further embellished with symmetrical, stylized floral and animal motifs that draw inspiration from Near Eastern decorative arts. This synthesis of historical references, global influences, and meticulous craftsmanship aligns with the core principles of the Aesthetic Movement, which emphasized beauty and artistic expression over purely functional design.
78
HARRY BATES (1850-1899)
‘CUPID’ AND ‘PSYCHE’, A PAIR OF FRAMED PANELS, CIRCA 1890
plaster relief, later patinated and framed (2)
35cm x 25cm (frame size 40cm x 30.5cm)
£400-600
OCTAVIUS OAKLEY (1800-1867)
PORTRAIT OF A LADY
watercolour with bodycolour, framed 41.5cm x 28.5cm (frame size 61.5cm x 48.5cm)
Provenance: The Maas Gallery, London
£600-800
76
ALFRED STEVENS (1817-1875)
DRAPERY STUDIES
red chalk, framed
24.5cm x 26.5cm (frame size 47cm x 49cm)
£400-600
77
ENGLISH
ARTS & CRAFTS CORNER
CABINET, CIRCA 1880
oak, with patinated copper fittings
50cm wide, 60.5cm high, 29cm deep
£300-500
Bates’s triptych of The Story of Psyche (in three silvered bronze bas-reliefs) was first exhibited at the Royal Academy in 1887 [nos. 1854-56]. This sculptural relief was based on one of the last poems by Elizabeth Barrett Browning, “Psyche Wafted by Zepharus,” and seems to have been influenced by the works of the Burne-Jones and G.F. Watts. The current lot are the two side panels of the tryptic depicting Cupid and Psyche.
80
ENGLISH
ARTS & CRAFTS STANDARD LAMP, CIRCA 1920
ENGLISH, MANNER OF SELWYN IMAGE
THREE AESTHETIC MOVEMENT FRAMED EMBROIDERIES, CIRCA 1890
coloured threads on a cotton ground, with embroidered inscriptions PROSERPINE; HYGEIA; and CERES, each later framed and mounted (3)
£300-500
patinated wrought iron and polished brass, later pleated silk shade 155cm high to fitting
£300-500
81
ATTRIBUTED TO JOHN MOYR SMITH (1839-1912) FOR COLLINSON & LOCK
AESTHETIC MOVEMENT CENTRE TABLE, CIRCA 1880
ebonised beech, coromandel wood, inlaid with satinwood and boxwood, incised and gilded decoration 106cm diameter, 74.5cm high
£1,000-1,500
JOHN MOYR SMITH (1839-1912) FOR MINTON, HOLLINS & CO.
GROUP OF FIFTEEN AESOP’S FABLES TILES, CIRCA 1878
printed earthenware, comprising; two examples of ‘King Log & King Stork’, ‘The Wolf and the Lamb at the Spring’, ‘The Fox and the Crow’, ‘The Dog and his shadow’, and an example each of ‘The Tortoise which wished to learn to fly’, ‘The Wolf and the Crane’, ‘The Hare and the Tortoise run a race’, ‘The Goat, Calf and Sheep in partnership with the Lion’, ‘The Fox and the Goat in the well’, ‘The Fox dines with the Stork’, ‘The Ape the Cat and the roast chestnuts’ (15)
each 15.3cm square
Literature: Jones J. Minton; the First Two Hundred Years of Design and Production, Swan Hill Press 1993, pp. 340-1, where tile designs are listed
£300-500
84
PLUCKNETT & STEEVENS
83
ATTRIBUTED TO LEWIS FOREMAN DAY (1845-1910) FOR HOWELL & JAMES, LONDON
AESTHETIC MOVEMENT MANTEL CLOCK, CIRCA 1880
painted porcelain and brass enclosed dial, within carved, pierced and gilt-painted mahogany case
28.2cm wide, 62cm high, 16cm deep
£600-800
AESTHETIC MOVEMENT PLANTER, CIRCA 1880
Mahogany, set with ceramic tiles, zinc liner, bears brass maker’s label PLUCKNETT & STEEVENS, WARWICK & LAVINGTON
73cm wide, 74cm high, 27cm deep
£300-500
MANNER OF E.W. GODWIN
AESTHETIC MOVEMENT CENTRE TABLE, CIRCA 1890
91.5cm diameter, 72cm high
86
MANNER OF THOMAS JEKYLL
PAIR OF AESTHETIC MOVEMENT
OCCASIONAL TABLES, CIRCA 1890
oak (2)
85.5cm diameter, 72cm high
£1,000-2,000
87
ATTRIBUTED TO THOMAS JECKYLL (1827-1881)
AESTHETIC MOVEMENT FENDER, CIRCA 1880
brass and cast iron
150cm wide, 37cm deep, 19cm high
£600-800
89
MANNER OF THOMAS JECKYLL PAIR OF AESTHETIC MOVEMENT ANDIRONS, CIRCA 1880
wrought iron and brass (2) 70cm high
£400-600
88
ENGLISH
PAIR OF AESTHETIC MOVEMENT CURTAINS WITH PELMET, CIRCA 1890 wool, lined, with velvet and applique decoration, with embroidered highlights, to include a PAIR OF CURTAINS, each 314cm x 245cm; together with a matching PELMET, 46cm x 329cm (3)
£400-600
MANNER OF E. W. GODWIN
AESTHETIC MOVEMENT
OCCASIONAL TABLE, CIRCA 1880
ebonised wood
65cm wide, 74cm high, 66cm deep
£300-500
ANGLO-JAPANESE, MANNER OF CHRISTOPHER DRESSER
AESTHETIC MOVEMENT
CORNER CABINET, CIRCA 1880
walnut, with central lacquer panel, the cut out decoration with giltwood backing
53cm wide, 68cm high, 26cm deep
£300-500
92
ENGLISH SCHOOL
PRE-RAPHAELITE BUST OF A YOUNG WOMAN, LATE 19TH CENTURY moulded terracotta, signed with monogram HT 24cm high
£250-350
93
MAW & CO.
THREE-TILE PANEL, CIRCA 1900
glazed earthenware, later framed, each tile 15.2cm square (frame size 49cm x 18.5cm); together with a WILLIAM DE MORGAN FRAMED TILE, glazed earthenware, 15cm square (frame size 18cm x 19cm); and an 8-INCH FRAMED TILE, tube-lined and glazed earthenware, 19.5cm square (frame size 24.3cm square) (3)
FRAMED TILE PANEL, CIRCA 1890 printed, painted and glazed earthenware, inscribed I SHALL NOT, each tile 15.3cm square (frame size 34.5cm x 18.5cm; together with a LARGE AESTHETIC MOVEMENT FRAMED TILE, painted and glazed earthenware, 30cm x 44cm (frame size 35cm x 49cm) (2)
£400-600
97
95
W. T. COPELAND & SONS
GROUP OF THREE ‘MEDIEVAL OCCUPATIONS’ 6-INCH TILES, CIRCA 1880 painted, painted earthenware, later framed each tile 15cm square (frame size 19.5cm x 50cm)
£250-350
ATTRIBUTED TO H. W. BATLEY (1846-1932)
FOR JAMES SHOOLBRED & CO., LONDON PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1890 mahogany, with later upholstery (2) 43cm wide, 81cm high, 41cm deep £400-600
ANGLO- JAPANESE
AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880 ebonised wood, set with Japanese cloisonné enamel panels, mirror plate
88cm x 73cm
£2,000-3,000
ANGLO-JAPANESE
AESTHETIC MOVEMENT TWIN PEDESTAL DESK, CIRCA 1880 ebonised wood, with Japanese gilded and lacquered drawers, inlaid with mother-of-pearl, brass fittings
118cm wide, 76cm high, 63cm deep
£1,000-1,500
100
CHRISTOPHER DRESSER (1834-1904) FOR MINTON’S CHINA WORKS TILE, 1870
painted and glazed earthenware, stamped maker’s marks and Victorian registration lozenge to the reverse, 20.5cm square; together with MINTON, HOLLINS & CO., TWO AESTHETIC MOVEMENT FRAMED TILES, 1882, painted and glazed earthenware, stamped maker’s marks and Victorian registration lozenge to the reverse, frame 22.5cm square (3)
Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge, 2005, p. 109 illus.
£300-500
101
MANNER OF CHRISTOPHER DRESSER
AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880
ebonised wood, with incised and gilded decoration
62cm wide, 66cm high, 38cm deep
Christopher Dresser’s furniture designs are characterised by a focus on utility and strength, simple lines, restrained ornamentation, and often incorporate Japanese and natural organic forms, moving away from the heavy ornamentation of the Victorian era. Typical of Dresser’s furniture are the incised gilded decoration and ebonised finish which he favoured in furniture produced to his short-lived project the Art Furnishers Alliance, as well as for special projects such as the interiors at Bushloe House near Leicester.
£1,200-1,800
102
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR A. KENRICK & CO.
DOORSTOP, CIRCA 1880
cast iron, cast maker’s mark KENRICK NO 485
40.5cm high
£200-300
103
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904)
CLARET JUG, CIRCA 1890
glass, with electroplated metal mounts, ebonised wood
23.5cm high
£400-600
104
CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON
105
CLARET JUG, CIRCA 1880
glass, with electroplated metal mounts and ebonised wood handle, stamped maker’s mark, 3451
26cm high
£600-800
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR ELKINGTON & CO.
WATER JUG, CIRCA 1885
electroplated metal, stamped maker’s marks, 1A/ 17847, stamped to the body of the jug STAR AND GARTER HOTEL, ANDOVER
19cm high
£400-600
106
CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON
SERVING DISH, CIRCA 1880 electroplated metal, stamped maker’s mark, 2527, 21cm wide, 13cm high, 15.5cm deep; together with an EGG CUP SET, circa 1880, electroplated metal, stamped maker’s mark, 2029, 16cm wide, 18cm high (2)
£200-400
107
CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON
ARTICULATED LETTER RACK, 1881
electroplated metal, stamped maker’s marks, 2555, registration lozenge for 1881
9cm wide, 12.5cm high, 10.5cm deep
Literature: Whiteway M. Christopher Dresser 1834-1904, Milan 2001, p. 84, pl. 58 for a comparable example registered for 1881.
£1,000-1,500
109
CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY
TWIN-HANDLED VASE, CIRCA 1880
glazed earthenware, applied maker’s mark AULT/ impressed 246, with impressed facsimile signature
17.5cm high
£1,200-1,800
108
CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY
PITCHER, CIRCA 1880 glazed earthenware, impressed maker’s mark LINTHORPE/ HT (Henry Tooth)/ 341, with impressed facsimile signature
19cm high
£1,200-1,800
ENGLISH
SUITE OF ARTS & CRAFTS STAINED GLASS, CIRCA 1900
stained, textured and leaded glass, comprising two pairs of panels, each framed (4)
83,5cm x 45cm (frame size 92.5cm x 54cm) and 24cm x 45cm
(frame size 42cm x 54cm)
£800-1,200
111
CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW
‘CLUTHA’ PERFUME BOTTLE AND STOPPER, 1896
green glass, with aventurine and opaque trailed decoration, silver mounts and stopper, hallmarked Birmingham 1896, etched makers mark to base
CLUTHA/ DESIGNED BY CD, REG. NO. 121730
10.2cm high
£300-500
112
CHRISTOPHER DRESSER (1834-1904)
MODERN ORNAMENTATION, 1886
being a series of original designs for the patterns of textile fabrics, for the ornamentation of manufactures in wood, metal, pottery, &c.; also for the decoration of walls and ceilings and other flat surfaces, 1st ed., Batsford, 1886, half-title, title and 4pp preliminary text, fifty photolithograph plates, printed in blue, green, brown and black
£250-350
113
MINTONS
‘CHAMPIONS’ VASE, 1882
glazed earthenware, stamped maker’s mark, 1624/ O/ C
27.5cm high
£400-600
114
MANNER OF CHRISTOPHER DRESSER
AESTHETIC MOVEMENT MUSIC
CABINET, CIRCA 1880
ebonised wood, with incised and gilded decoration, sliding glazed doors enclosing divided interior
89cm wide, 86cm high, 37cm deep
Literature: Morley C. Dresser’s Decorative Designs 2010, p. 251, pl. 534 where this cabinet is illustrated.
£1,000-1,500
115
ENGLISH STORK 8 INCH TILE, 1879
ceramic, mounted on an ebonised wood and brass trivet, monogram EFH, stamped to each corner of the trivet PAT.FEB.18.79
20.4cm square, 21.5cm square including trivet
£300-500
116
ENGLISH AESTHETIC MOVEMENT MUSIC CABINET, CIRCA 1870
ebonised oak, carved walnut with brass fittings
48cm wide, 131.5cm high, 35cm deep
Provenance: Paul Reeves, London
£300-500
117
ENGLISH ANGLO-JAPANESE DRESSING TABLE, CIRCA 1890 mahogany, with brass fittings
106.5cm wide, 164.4cm high, 53.2cm deep
£600-800
118
ENGLISH, AESTHETIC MOVEMENT
SET OF THREE WALL SCONCES, CIRCA 1880 patinated and gilded metal, stamped maker’s mark AB (3)
backplate 28cm long
£500-800
119
ENGLISH AESTHETIC MOVEMENT
WRITING TABLE, CIRCA 1880
pitch pine
83cm long, 71cm high, 49.5cm deep
£400-600
120
ENGLISH
AESTHETIC MOVEMENT
WELLINGTON CHEST, CIRCA 1880 walnut, with brass fittings
85.5cm wide, 137cm high, 55.3cm deep
£1,800-2,200
122
JAMES MILO GIFFITH (1843-1897)
RELIEF PORTRAIT OF A GENTLEMAN
plaster, signed and dated MAY 3 in the plaster, in a gilt, painted and mahogany frame
49.5cm x 39cm (frame size 74.5cm x 63cm)
£200-300
121
ATTRIBUTED TO WILLIAM TONKS AND SONS
SEVEN AESTHETIC MOVEMENT WALL DISHES, CIRCA 1880 repoussé-decorated and incised brass (7) four 25cm diameter, three 31cm diameter
£500-700
123
MANNER OF CENTURY GUILD
AESTHETIC MOVEMENT LIBRARY TABLE, CIRCA 1880 oak, with brass caps and casters
137.5cm long, 74cm high, 89cm deep
£800-1,200
124
ENGLISH, MANNER OF WALTER CRANE
AESTHETIC MOVEMENT EMBROIDERY, CIRCA 1880
coloured silks on a fine linen ground, bearing the embroidered inscription HOW DOTH MY LADY’S GARDEN GROW?, later framed and mounted
30cm diameter (frame size 44cm square)
£600-800
125
KATE GREENAWAY (1846-1901)
CHILDREN AT PLAY
watercolour, framed, signed KG lower right, framed, 12.5cm x 10.5cm (frame size 22cm x 17.5cm); together with two companions by the same hand, each 7cm x 4.5cm (frame size 11cm x 13.5cm) (3)
ENGLISH PAIR OF AESTHETIC MOVEMENT THREE-TILE PANELS, CIRCA 1880 painted and glazed earthenware (2) each 45.5cm x 15cm
£300-500
SIR EDWIN LUTYENS (1869-1944)
SET OF TEN ARMCHAIRS, CIRCA 1905
ebonised birch, with horsehair-upholstery, one chair stamped to underside A.M (10)
Provenance: Commissioned for the Boardroom of Country Life magazine, circa 1905
Property of Future PLC, removed from the offices of Country Life magazine
Roseberys, Traditional Home, 18th August 2022, lot 1
Private collection
£6,000-8,000
These armchairs, originally part of a set of 21, were designed by Sir Edwin Lutyens in 1905 for the Board Room of Country Life magazine headquarters. Lutyens also designed the building, at Tavistock Street, Covent Garden.
The design of the back references shield-shaped chair back designs by the 18th century cabinet-maker George Heppelwhite. Lutyens’ furniture is noted for its eclecticism and draws inspiration from historical styles, adapting and subtly altering proportions and details to suit his own vision.
The chairs in the current lot retain their original horsehair upholstery and ebonised finish.
The editor of Country Life, Edward Hudson was a champion and patron of Lutyens. In 1901, Hudson acquired Lindisfarne castle and commissioned Lutyens to transform it into a private residence, he designed and built Hudson’s home in Berkshire, Deanery Garden, between 1897 and 1902, before taking the commission for the Country Life headquarters.
129
WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON
‘CLAREMONT’ BOWL, CIRCA 1903
painted, tube-line decorated and glazed earthenware, printed MADE FOR/ LIBERTY & CO./ RD.NO.420081, signed W. MOORCROFT DES.
26cm diameter to widest point
£1,200-1,500
130
WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY
‘LANDSCAPE’ VASE, CIRCA 1928
painted, tube-line decorated and salt-glazed earthenware, impressed MOORCROFT/ MADE IN ENGLAND, signed W. MOORCROFT
29.7cm high
£3,000-4,000
131
WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY
‘PANSIES’ BISCUIT BARREL & COVER, CIRCA 1914
painted, tube-line decorated and glazed earthenware, impressed MOORCROFT/ BURSLEM, signed W. MOORCROFT
16.5cm high
£1,000-1,500
SIR WILLIAM REID DICK (1878-1961)
LADY GODIVA, 1939
bronze, on marble plinth, signed in the bronze REID DICK/ 39 22cm high including plinth
This work is a reduction of the full-scale statue, unveiled in Coventry’s central square, Broadgate, in 1949. It depicts Lady Godiva’s legendary 11th century naked ride through the city centre in an attempt to persuade her husband to reduce heavy taxes. The statue has Grade II status, one of the few statues of a horse outside to London have this protection.
£1,500-2,000
133 §
SIR WILLIAM REID DICK (1878-1961)
‘OUR LADY OF LIVERPOOL, QUEEN OF THE SEA’, 1933 patinated plaster, signed and dated to the base REID DICK/ 1933 74cm high
Provenance: Sir William Reid Dick and by family descent
Literature: Wardleworth D. William Reid Dick Sculptor, Routledge 2013, pp.128-129
In 1929, Sir Edwin Lutyens was commissioned to design a grand Roman Catholic cathedral in Liverpool, intended to rival St. Peter’s Basilica in Rome. His design featured an enormous structure with a 510-foot-high dome. Construction began in 1933 but was interrupted by World War II and later abandoned due to rising costs, leaving only the crypt completed. As part of the project, Lutyens commissioned the sculptor Sir William Reid Dick to create Our Lady of Liverpool, Queen of the Sea. He requested an eight-foot-high statue, stating, “Our Lady must be crowned and the sea must be represented.” After the Church authorities had reviewed the statue, Lutyens wrote to Sir William, “My dear Dick, your Madonna has been approved with acclamation.” The plaster reduction, with its distinctive maritime theme, was exhibited at the Royal Academy in 1933. Two casts were made—one was given to the Liverpool Roman Catholic Cathedral, and the other remained with the artist’s family, the current lot.
£2,000-3,000
134
ENGLISH ARTS & CRAFTS
WALL MIRROR, CIRCA 1900
repoussé-decorated copper, mirror plate, decorated with galleons at sea and inscribed EAST WEST, HOME’S BEST
45.5cm x 90.5cm
£400-600
135
DONEGAL
ARTS & CRAFTS RUG, CIRCA 1900
hand-knotted wool
179.5cm x 87cm
£2,000-3,000
136
RICHARD LLEWELLYN RATHBONE (1864-1939)
PAIR OF ARTS & CRAFTS JARDINIÈRES, CIRCA 1900
repoussé-decorated brass, one stamped R. Rathbone (2) 34.5cm diameter, 25cm high
£800-1,200
151cm
£800-1,200
SHAPLAND & PETTER, BARNSTAPLE
HALL CUPBOARD, CIRCA 1900
mahogany, with patinated brass fittings
wide, 205.5cm high, 50.5cm deep
138
ENGLISH
ARTS & CRAFTS CHANDELIER, CIRCA 1900
silvered brass, with four associated period frosted glass shades
52cm diameter excluding shades, 82cm high
£400-600
139
ENGLISH
PAIR OF ART NOUVEAU WALL LIGHTS, CIRCA 1910 brass, with glass shades (2)
backplate 32.5cm high, shades each 14cm high
£400-600
140
W. J. NEATBY (1860-1910)
ARTS & CRAFTS CHARGER, CIRCA 1900 repoussé-decorated copper
50.5cm diameter
£400-600
141
WILLIAM BIRCH, HIGH WYCOMBE
SET OF FOUR ARTS & CRAFTS DINING CHAIRS, CIRCA 1910 oak, with rush seats (4)
45.5cm wide, 105cm high, 41cm deep
£300-500
142
WILLIAM BIRCH, HIGH WYCOMBE
PAIR OF ARTS & CRAFTS
ARMCHAIRS, CIRCA 1910
oak, with drop in rush seats (2) carver 63cm wide, 101cm high, 45cm deep
£1,000-1,500
143
SHAPLAND & PETTER, BARNSTAPLE
ARTS & CRAFTS SIDEBOARD, CIRCA 1900
oak, with embossed copper panels and patinated brass fittings, stamped to lock SPB
181.7cm wide, 132.5cm high, 60cm deep
£1,000-1,500
OMAR RAMSDEN (1873-1939)
ARTS & CRAFTS PENDANT NECKLACE,
white metal set with chrysoprase cabochons, within original box with inscription OMAR RAMSDEN/ ARTIST GOLDSMITH/ LONDON ENGLAND
ATTRIBUTED TO ARTHUR J. GASKIN (1862-1928) AND GEORGIE GASKIN (1866-1934)
ARTS & CRAFTS PENDANT, CIRCA 1905 amethyst, mother-of-pearl, silver pendant 5cm x 2.6cm
£1,000-1,500
OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940)
ARTS & CRAFTS BROOCH, 1917
silver and enamel, stamped maker’s mark
RN & CE, hallmarked London 1917
3.4cm wide
£250-350
148
MAURICE GREIFFENHAGEN (1862-1931)
‘IVANHOE’, EIGHT ORIGINAL ILLUSTRATIONS, 1906
watercolour and bodycolour on board, with graphite annotations, each signed and dated MAURICE GREIFFENHAGEN/ 1906 entitled Your reference must hold on this path till you come to a sunken cross. (frontispiece)
”Second to None” said the Pilgrim, who stood near enough to hear. Fair and true he hit the Norman on the visor.
Locksley stept to the appointed station, and shot his arrow.
”Seest thou, Isaac,” said Front-de-Boeuf, “the range of iron bars above that glowing charcoal?”
”Turn, false-hearted Templar! let go her whom thou art unworthy to touch !”
”Mount thee behind me on my steed - on Zamor, the gallant horse that never failed his rider.”
To the surprise of the Lady of Ivanhoe, her fair visitant kneeled on one knee. (8)
each approx. 47cm x 32cm (board size 54cm x 36.5cm)
Maurice Greiffenhagen, the British painter and Royal Academician illustrated books and designed posters as well as painting idyllic landscapes. Exhibiting at the Royal Academy of Arts from 1884, he was made an Associate Member in 1916 and a Royal Academician in 1922. From 1906 until 1926, he taught at the Glasgow School of Art.
Greiffenhagen originally produced twelve illustrations for Ivanhoe by Sir Walter Scott, published by T.C. & E.C. Jack in 1908, with a preface by Mrs Maxwell Scott of Abbotsford. These much-loved illustrations have been used in many editions of Ivanhoe and are still in print.
£800-1,200
150
ENGLISH
149
ENGLISH ARTS & CRAFTS
GALLEON STAINED GLASS PANEL, CIRCA 1920 stained and clear leaded glass 52cm x 48cm
£300-500
ARTS & CRAFTS COAL BIN, CIRCA 1900 copper, set with Ruskin roundels 33cm diameter, 48cm high
£250-350
151
ENGLISH, MANNER OF ARTHUR SIMPSON, KENDAL ARTS & CRAFTS THREE-FOLD SCREEN, CIRCA 1920 carved mahogany, inscribed EAST WEST HOME’S BEST 104cm wide (open), 83cm high £300-500
152
ENGLISH
ARTS & CRAFTS OAK FIRESCREEN, CIRCA 1900 carved oak 78.5cm x 39cm
£200-300
153
ENGLISH, ARTS & CRAFTS
FRAMED ENAMEL PANEL, CIRCA 1920
enamel, ebonised frame
panel 12cm x 6.5cm (frame size 16cm x 10.8cm)
£250-350
154
ENGLISH THREE LIGHT SHADES, CIRCA 1910 etched glass (3)
each 20.5cm high
£300-500
155
ENGLISH
ARTS & CRAFTS SERVING TABLE, CIRCA 1910 oak
122cm wide, 81.5cm high, 60.5cm deep
£300-500
156
ATTRIBUTED TO PILKINGTON’S TILE & POTTERY CO.
SIX-TILE PANEL, CIRCA 1900
tube-lined and glazed earthenware, framed each tile 15.3cm square (frame size
36cm x 51.5cm)
For a similar panel attributed to Pilkington’s see V&A collection accession no. C.187-1976
£600-800
157
ARTHUR W. SIMPSON OF KENDAL (1857-1922)
ARTS & CRAFTS OCCASIONAL TABLE, CIRCA 1910
oak, with marquetry inlay
55.3cm square, 68cm high
£500-800
158
ARTHUR W. SIMPSON OF KENDAL (1857-1922)
ARTS & CRAFTS CABINET CHEST, CIRCA 1910
oak, with patinated brass fittings by Richard Llewellyn Rathbone
78cm wide, 115.5cm high, 53cm deep
£600-800
159
HARRY NAPPER (1860-1930)
FOR SILVER STUDIOS
PAIR OF ARTS & CRAFTS
CURTAINS, CIRCA 1900
cotton velvet, lined (2)
241cm x 127cm
£1,000-1,500
160
RUSKIN POTTERY
HIGH FIRED VASE, 1925 glazed earthenware, stamped maker’s and date marks 24cm high
£500-700
161
GUSTAV STICKLEY (1858-1942)
LIBRARY TABLE, CIRCA 1907 oak and copper
106.5cm wide, 76.5cm high, 75cm deep
Literature: Catalogue of Craftsman Furniture, 1910, p.46, where this Library Table is illustrated.
£700-900
163 §
162 §
SIBYL DUNLOP (1889-1968)
ARTS & CRAFTS PENDANT, 1963
silver with gold accents, set with garnet, stamped maker’s mark SD, hallmarked London 1963, chain stamped STERLING, in original Sibyl Dunlop Ltd. box pendant 2cm wide, 3.2cm high, chain 46cm long £400-600
ATTRIBUTED TO SIBYL DUNLOP (1889-1968)
PENDANT NECKLACE, CIRCA 1930
black opal triplet, amethyst, chrysoprase and chalcedony, with original Arts & Crafts chain and toggle fastener pendant 7.8cm x 7cm, chain 73cm long
£1,000-1,500
164
CHARLES FLEETWOOD VARLEY (1828-1883)
FOR LIBERTY & CO. ‘TUDRIC’ BOX, CIRCA 1905 pewter, enamel, enamel signed lower right VARLEY, stamped to base J / MADE IN ENGLAND/ 01021/ TUDRIC 17.2cm wide, 5.5cm high, 9cm deep £1,200-1,800
165 §
SIBYL DUNLOP (1889-1968)
ARTS & CRAFTS BROOCH, 1965
silver with gold accents set with central moonstone, surrounded by amethysts and chalcedony, hallmarked London 1965
2.9cm wide, 2.2cm high
£600-800
166
ATTRIBUTED TO HARRY NAPPER (1860-1930) FOR SILVER STUDIOS
PAIR OF ARTS & CRAFTS CURTAINS, CIRCA 1900
woven cotton, unlined (2) each 231cm x 116cm
£400-600
167
ARTHUR W. SIMPSON OF KENDAL (1857-1922)
ARTS & CRAFTS DRAW LEAF DINING TABLE, CIRCA 1920
oak
245cm (extended) 153cm (closed) long, 73.2cm high, 99cm deep
£1,000-1,500
168
LIBERTY & CO., LONDON
ARTS & CRAFTS WALL MIRROR, CIRCA 1910 copper, mirror plate, ivorine maker’s label
52cm x 63cm
£400-600
169
LIBERTY & CO., LONDON
WALL SHELF, CIRCA 1900
stained beech with marquetry inlaid panels
75cm wide, 41cm high, 15.5cm deep
£300-500
171
170
LIBERTY & CO., LONDON
‘THEBES’ OCCASIONAL TABLE, CIRCA 1900 walnut
36cm diameter, 50cm high
£300-500
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON
PAIR OF CARTER & CO. GARDEN PLANTERS, CIRCA 1905
terracotta, later painted, impressed MADE FOR LIBERTY & CO./ CARTER & CO (2)
22.4cm high, 37.5cm widest point
Literature: Martin S.A. Archibald Knox, Artmedia 2001, p.276 for a comparable example.
£300-500
172
LIBERTY & CO., LONDON
ARTS & CRAFTS WALL MIRROR, CIRCA 1910
copper, set with Ruskin roundels, mirror plate, ivorine maker’s label
73cm x 88cm
£600-800
173
LIBERTY & CO., LONDON
ARTS & CRAFTS WALL MIRROR, CIRCA 1910
oak, with mirror plate, inlaid with inscription
BEAUTY IS TRUTH, TRUTH BEAUTY, bears
ivorine maker’s label LIBERTY & CO
58cm x 70.5cm
£400-600
174
LIBERTY & CO.
COFFEE POT, 1903
silver, with wicker-covered handle, stamped maker’s mark L&Co, hallmarked Birmingham 1903, no. 5208
17.5cm high
£400-600
175
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. ‘TUDRIC’ BISCUIT BARREL, CIRCA 1900 pewter, stamped to the base ENGLISH PEWTER/ MADE FOR/ LIBERTY & CO/ 0194
11.5cm wide, 11.5cm high, 11.5cm deep
£300-500
176
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. SET OF FOUR GRADUATED ‘TUDRIC’ SPILL VASES, CIRCA 1900 pewter, stamped to the base ENGLISH PEWTER/ 029 (4) the largest 31cm high, the smallest 15.5cm high
Literature: Martin S. A. (edit.) Archibald Knox, London 2001, pp. 230-231 illus. for similar examples.
£500-700
177
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO.
‘TUDRIC’ INKWELL, CIRCA 1900
pewter and enamel with glass insert, stamped TUDRIC/ 0141
9cm high, 15.2cm wide
£400-600
179
178
ARCHIBALD KNOX FOR LIBERTY & CO.
CLARET JUG AND COVER, 1904
pewter, glass by James Powell & Sons. Whitefriars, stamped registration no. 426580
19cm high
Literature: Martin S.A. Archibald Knox, Artmedia Press 2001, p. 189
£1,000-1,500
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO.
THREE ‘TUDRIC’ VESSELS, CIRCA 1905
pewter, comprising a TWIN-HANDLED BOWL, stamped ENGLISH PEWTER/ 0229, 26cm diameter; a BULLET VASE, stamped 0927, 29cm high; and a SHALLOW BOWL, stamped ENGLISH PEWTER/ 044, 26cm diameter (3)
£500-800
180
ATTRIBUTED TO ERNST MÜRRLE (B. 1861)
JUGENDSTIL NECKLACE, CIRCA 1900
silver, set with turquoise cabochons, hand-etched mark 15290/ EM
44cm long
£600-800
181
ARCHIBALD KNOX (1864-1933)
FOR LIBERTY & CO. ‘CYRMIC’ BROOCH, CIRCA 1900 silver and enamel, stamped CYMRIC/ STERLING
2.8cm wide
Literature: Martin S.A. Archibald Knox, Artmedia Press 2001, p.265, where a similar brooch is illustrated
£400-600
182
LIBERTY & CO.
TWO ‘CYMRIC’ BELT BUCKLES, 1904 AND 1908
silver and enamel, each with stamped maker’s mark L&Co, one stamped CYMRIC, hallmarked Birmingham 1904 and 1908 (2) each 8cm wide
£400-600
183
ARCHIBALD KNOX (1899-1933) FOR LIBERTY & CO. NECKLACE, CIRCA 1900-1905
amethyst, freshwater pearl, gold, unmarked 46cm long
Literature: Arwas V. Liberty Style, Parco 1983, p. 62 where a similar Archibald Knox necklace is illustrated, J.72
£1,500-2,000
WILLIAM HAIR HASELER, PROBABLY FOR LIBERTY & CO.
silver and enamel, stamped maker’s mark WHH, hallmarked Birmingham 1903, no. 3177
185
LIBERTY & CO.
NECKLACE, CIRCA 1900
silver and turquoise, stamped L&Co/ 925
chain length 49.5cm
£400-600
186
ATTRIBUTED TO ARCHIBALD KNOX (1899-1933) FOR LIBERTY & CO.
ARTS & CRAFTS BROOCH, CIRCA 1900
gold, abalone, pearl 3.9cm long
£700-900
187
ARCHIBALD KNOX (1864-1933) BROOCH, CIRCA 1900
white metal and enamel, unmarked 4.7cm wide
Literature: Martin S. Archibald Knox, ArtMedia 2001, p. 267
£400-600
188
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. BROOCH, CIRCA 1900
silver and enamel, stamped LC&CLD/ SILVER 2.5cm diameter
Literature: Martin S. Archibald Knox, London 2001, p.265 where two similar examples are illustrated.
£250-350
moonstone, enamel, white metal chain, stamped L & CO. 38cm long
A similar moonstone & enamel necklace mounted in gold is in the collections of National Museums Scotland, (Accession number A.1986.31)
Literature: Bennett D. Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design, AAC 2012, p.180, pls. 5.57 where a similar example is illustrated.
£400-600
194
ATTRIBUTED TO LIBERTY & CO.
PLANT STAND, CIRCA 1910
mahogany
30cm square, 97cm high
£300-500
195
HARRY NAPPER (1860-1930) FOR SILVER STUDIOS AND LIBERTY & CO. PANEL, CIRCA 1895
woven cotton, within associated period frame
51cm x 31cm (frame size 61.5cm x 41cm)
Provenance: Lyon & Turnbull, Edinburgh, Paul Reeves: Textiles as Art, 23 February 2017, lot 60
Literature: A London Design Studio 1880 - 1963: The Silver Studios Collection, Lund Humphries with The Middlesex Polytechnic 1980, p. 66, pl. 68
£400-600
196
LIBERTY & CO.
‘THE DANTE MIRROR’, CIRCA 1902
copper, embossed with portrait of Dante, mirror plate
78.5cm x 30.5cm
£300-500
197
LIBERTY & CO.
THREE-TIERED PLANT STAND, CIRCA 1900
mahogany, with ebonised mashrabiya panels
36cm square, 90.5cm high
Literature: Bennett D. Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design, AAC 2012, p. 96, pls. 4.14 where a similar example is illustrated.
£300-500
198
MANNER OF LIBERTY & CO. THEBES STOOL, CIRCA 1920 mahogany, with caned seat 38.5cm square, 43.5cm high
£250-350
199
LIBERTY & CO.
ARTS & CRAFTS WALL MIRROR, CIRCA 1910
copper, set with Ruskin roundels, ivorine maker’s label
52cm x 63.5cm
£500-700
200
LIBERTY & CO.
CORNER CHAIR, CIRCA 1890
mahogany, with drop-in upholstered seat and mashrabiya panels
64cm wide, 84cm high, 64cm deep
£300-500
201
ANGLO-MORESQUE
OCCASIONAL TABLE, CIRCA 1890
carved hardwood, inlaid with motherof-pearl, and set with mashrabiya panels
44.5cm wide, 54cm high
£300-500
202
DAVID VEAZEY FOR LIBERTY & CO.
THREE VESSELS, CIRCA 1900
pewter, comprising a TWIN-HANDLED ROSE BOWL, bearing inscription THE MUSK OF THE ROSE IS BLOWN AND THE WOODBINE SPICES ARE WAFTED ABROAD, stamped marks TUDRIC/ 011, 31cm across handles; A VASE, cast with a frieze of Honesty and bearing inscription FOR OLD TIMES SAKE, stamped marks, TUDRIC 010, 20cm high; and a TALL TWIN-HANDLED VASE, stamped marks TUDRIC 0214, 34cm high (3)
£600-800
203
LIBERTY & CO.
CYMRIC SILVER
[London: Liberty & Co., c.1900]. Small folio, [2] 109 [7] pp. Original japon-backed blue-green cloth, covers lettered and decorated in silver, top edge silver, full-page photomechanical illustrations throughout (many overprinted with colours), one folding plate to rear Rare trade catalogue. Library Hub cites copies at the British Library, Senate House Library, University of Exeter and the V&A only.
£300-500
204
ATTRIBUTED TO BERNARD CUZNER (1877-1956) FOR LIBERTY & CO.
‘TUDRIC’ CLOCK, CIRCA 1902
pewter, stamped TUDRIC
33.5cm high
£600-800
205
LIBERTY & CO.
THREE ‘TUDRIC’ BOXES, CIRCA 1920
hammered pewter, enamel with wood lining, comprising BOX, the panel depicting a tree in a landscape, stamped 01021/ ENGLISH PEWTER/ MADE BY/ LIBERTY & CO., 11.5cm wide, a BOX, The panel depicting a Tower Bridge, stamped 01021/ ENGLISH PEWTER/ “TUDRIC”/ LIBERTY & CO., 11.5cm wide and a BOX, he panel depicting sailing boats, stamped 0693, 11cm wide; together with a LIBERTY STYLE CIGATETTE
BOX, pewter and enamel, inscribed NONE BUT THE BRAVE DESERVE THE FAIR, stamped 0891, 15cm long (4)
£600-800
206
ENGLISH ARTS & CRAFTS JEWELLERY BOX, CIRCA 1900
white metal and enamel, with silk lining 20cm wide
£200-300
207
KATE HARRIS (1878-1949) FOR R.H. HALFORD & SONS
CENTREPIECE, 1902
silver, with green glass liner, stamped maker’s marks, hallmarked
London 1902
47.5cm wide, 30cm high
£3,000-5,000
208
KATE HARRIS (1878-1948) FOR GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON
PAIR OF COFFEE POTS, 1901
silver, with mother-of-pearl handles, stamped maker’s marks, incised to the base, registration number 322249, hallmarked London 1901, 17.5cm high; together with KATE HARRIS FOR W. G. CONNELL, A MATCHING TEA GLASS, silver, with clear glass liner, stamped maker’s mark, incised to the base, hallmarked indistinctly London, 10cm high (3)
209
£2,500-3,500
KATE HARRIS (1878-1948) FOR GOLDSMITHS & SILVERSMITHS CO. LTD, LONDON THREE PIECE COFFEE SERVICE, 1901, 1902
comprising; a COFFEE POT, silver with mother-of-pearl handle, stamped and incised makers’ marks, registration number and hallmarked London 1901, 17.5cm high; SUGAR BOWL, silver, stamped and incised makers’ marks, hallmarked London 1901, 6.5cm high; a MILK JUG, silver, stamped maker’s mark, registration number and hallmarked London 1902, 7cm high (3)
£3,000-5,000
210
KATE HARRIS (1878-1949) FOR WILLIAM HUTTON & SONS LTD.
ART NOUVEAU TANKARD, 1901
silver, copper and enamel, stamped maker’s mark, hallmarked London 1901 23cm high
£800-1,200
211
KATE HARRIS (1878-1949)
FOR WILLIAM HUTTON & SONS LTD.
PILLBOX, 1903
silver and enamel, stamped maker’s mark, hallmarked London 1903 4cm wide, 2.5cm high, 4cm deep
£1,000-1,500
212
A. E. JONES (1878-1954)
ARTS & CRAFTS FIVE PIECE CRUET SET, 1903, 1904
silver, stamped maker’s marks, comprising; TWO SALTS, with clear-glass liners, hallmarked Birmingham 1904, 7cm diameter; TWO PEPPER POTS, hallmarked Birmingham 1903, 6cm high; a LIDDED MUSTARD POT, with clear-glass liner, hallmarked Birmingham 1904, 7.5cm high (to top of handle); THREE CONDIMENT SPOONS, two hallmarked Birmingham 1904, 6cm long (cased); together with a MAPPIN & WEBB, SET OF SIX ARTS & CRAFTS
TEASPOONS AND PAIR OF SUGAR TONGS, 1902, silver, stamped maker’s mark and registration number RD355257, hallmarked Sheffield 1902, cased, each 11cm long (15)
£400-600
213
KATE HARRIS (1878-1948) FOR WILLIAM HUTTON & SONS LTD.
RARE PAIR OF SILVER NAPKIN RINGS, 1901
silver, stamped maker’s marks, hallmarked London 1901, cased (2) each 5.3cm wide
£400-600
214
CONTINENTAL SCHOOL
BUST OF AN ART NOUVEAU MAIDEN, CIRCA 1900
marble
33cm high
£500-700
215
MANNER OF EUGÈNE VIOLLET-LE-DUC
GOTHIC REVIVAL CLOCK, CIRCA 1870
repoussé decorated, cast and wrought steel, raised on an iron bound oak plinth, the twin train movement striking the hours and half hours on a gong
clock 61.5cm high, 32cm wide, 22cm deep, with plinth 68.5cm high
£1,000-1,500
216
CANTAGALLI
NEO-RENAISSANCE BOX & COVER, CIRCA 1890
polychrome painted and glazed earthenware, painted cockerel mark
26.5cm wide, 14cm high
£300-500
HENRI VIAN (1860-1905)
GASOLIER, CIRCA 1860
Henri Vian (1860–1905) was a renowned French bronze maker and foundryman, specializing in furniture bronzes, ornamental vases, chimney pieces, and lighting. His craftsmanship gained recognition at major Universal Exhibitions in 1878, 1889, and 1900, earning him a gold medal in 1889.
Vian’s workshop, located at 5 rue de Thorigny in Paris (now the Picasso Museum), became a hub for exceptional decorative arts. After his death in 1905, his wife and later his son, Paul Vian, continued the business until 1944.
218
DANTE ZOI (FL. 1880-1920)
EROS EMBRACING PSYCHE, CIRCA 1900 marble, signed D ZOI FIRENZE
128.2cm high
£3,000-5,000
219
FRIEDRICH GOLDSCHEIDER (1845-1897)
JUGENDSTIL BUST OF A MAIDEN, CIRCA 1890
patinated terracotta, impressed FRIEDRICH GOLDSCHEIDER/ 2437
59cm high
£400-600
221
FRIEDRICH GOLDSCHEIDER (1845-1897)
WALL MASK, CIRCA 1890
patinated terracotta, impressed
FRIEDRICH GOLDSCHEIDER/ WIEN/ 2287
24cm tall
£300-500
220
AFTER ALPHONSE MUCHA
WALL PLAQUE, CIRCA 1910
printed, painted and enamelled porcelain, with gilt embellishments, painted to reverse ALPHONSE MUCHA/ WULF
38cm diameter
£400-600
222
KOENIG & LENGSFELD, COLOGNE
JUGENDSTIL MANTEL CLOCK, CIRCA 1900
patinated terracotta, copper, impressed
KOENIG & LENGSFELD/ KOLN-LINDENTHAL/ 2753
54.5cm high
£400-600
224
HELIOSINE, AUSTRIA
FOUR JUGENDSTIL VASES, CIRCA 1900
earthenware with iridescent textured glaze, comprising a PAIR OF VASES, with applied fruit, stamped 10633, 23cm high; TWO FURTHER VASES, one with gilt-metal mounts, stamped 30803 and 20923, 20cm and 23cm; together with a CARL KNOLL, CARLSBAD JUGENDSTIL PITCHER, earthenware with gilt and iridescent glaze, printed maker’s mark, 19cm high (5)
£400-600
223
CLIO HINTON HUNEKER BRACKEN (1870-1925)
ART NOUVEAU VIDE POCHE, 1899 bronze, signed in the bronze CLIO HUNEKER/ COPYRIGHT/ 1899, with foundry mark THE HENRY BONNARD/BRONZE CO. N.Y./FOUNDERS, 14cm across; another ART NOUVEAU TRAY, BY ARTHUR RUBENSTEIN, bronze, indistinctly signed in the bronze, 11cm diameter; THREE FURTHER ART NOUVEAU FIGURAL BRONZE TRAYS, 16cm high, 12cm diameter, 16cm across; together with an ART NOUVEAU BOX & COVER, bronze, with cast brass, 9cm diameter (6)
£500-700
225
JOHANN MARESCH (1821-1914)
JUGENDSTIL JARDINIÈRE, CIRCA 1900
patinated terracotta, stamped to base JM/ 2474
37cm diameter
£300-500
226
ADOLF MULLERCREFELD (1863-1934) ‘NYMPHE AN DER QUELLE’, CIRCA 1900 bronze, on marble plinth, signed in the bronze MULLER-CREFELD
37cm high
£300-500
227
KOENIG & LENGSFELD, COLOGNE LARGE JUGENDSTIL CLOCK, CIRCA 1900 patinated terracotta, stamped KOENIG & LENGSFELD/ KOLN-LINDENTHAL/ 2698
102.5cm high
£500-700
228
HELIOSINE, AUSTRIA
SIX JUGENDSTIL VASES, CIRCA 1900 earthenware, with iridescent glaze, comprising a PAIR OF BOTTLE VASES, 22cm high; and FOUR FURTHER VASES, 21cm, 18.5cm, 15cm and 12cm high, unmarked (6)
£300-500
PLANT STAND, CIRCA 1900
pewter-inlaid walnut, hammered copper, leather and vellum
31cm square to the top, 112cm high
£3,000-5,000
CARLO BUGATTI (1856-1940)
231
ALPHONSE NELSON (1854-1919)
230
GUSTAV GURSCHNER (1873-1970)
LAMP, CIRCA 1905
bronze, stamped GURSCHNER
34cm high
Provenance: Sotheby’s London, Applied Art from 1880, 23rd October 1987, lot 457
£2,000-3,000
‘STELLA’, AN ART NOUVEAU FIGURAL LAMP, CIRCA 1900
patinated white metal, with illuminating opalescent glass stars, marble base, applied plaque inscribed STELLA, signed ANT. NELSON
66cm high
£300-500
232
ATTRIBUTED TO GOLDSCHEIDER
JUGENDSTIL FIGURAL LAMP, CIRCA 1910
patinated terracotta, with glass shade, incised and stamped 2542/ Z
60cm high
£400-600
233
CARL SIGMUND LUBER (1896-1934)
PAIR OF JUGENDSTIL WALL PLAQUES, CIRCA 1900
glazed earthenware with tube line decoration, each with gilt metal frames, panels 27cm x 16cm (frame size 44cm x 26cm) ; together with a PANEL, by the same hand, later framed, 26.5cm x 15cm (frame size 46cm x 35cm) (3)
£600-800
234 FRIEDRICH GOLDSCHEIDER (1845-1897)
patinated terracotta with applied glazed roundel, indistinctly signed to base, possibly for Stanislaus Czapek, applied maker’s plaque, impressed 01176
235
CARL SIGMUND LUBER (1896-1934)
THREE JUGENDSTIL TRAYS, CIRCA 1900
glazed earthenware with tube line decoration, each with white metal frames and carrying handles (3)
43.5cm; 40cm and 31cm diameter (panels only)
£600-800
236
ERNST WAHLISS (1837-1900)
JUGENDSTIL FIGURE OF A MAIDEN, CIRCA 1890
porcelain, with gilt, printed maker’s mark, impressed MADE IN AUSTRIA/ ERNST WAHLISS/ 4608
patinated terracotta, signed to base LAVERQUE, impressed 3050
124cm high
£300-500
240
LUDWIG SÜTTERLIN (1865-1917) FOR FRITZ HECKERT
ART NOUVEAU VASE, CIRCA 1900
enamelled iridescent glass, 26cm high; together with GUSTAV E. PAZAUREK, MODERNE GLÄSER, Monographien des Kunstgewerbes, Hermann Seeman Nachfolger, Leipzig, vase illustrated on p.33, Fig. 25 (2)
Literature: Pazaurek G.E. Moderne Gläser, Leipzig, 1901, p.33
ATTRIBUTED TO MICHAEL SIX (1874–1938)
OWL TABLE LAMP, CIRCA 1920 patinated bronze, with cameo glass shade, unmarked 48cm high
WILHELM KRALIK SOHN
JUGENDSTIL VASE, CIRCA 1900
iridescent green glass
30.5cm high
242
PLATEELBAKKERIJ ZUIDHOLLAND, GOUDA
VASE, CIRCA 1920
painted and glazed earthenware, painted and incised
MADE IN Z. HOLLAND/ GOUDA/ HL (Heiltje Lens)/ FS (Francien Sanderus)/ 309/ 304
30.5cm high
£300-500
243
ATTRIBUTED TO HEINRICH LEVINGER
JUGENDSTIL PENDANT NECKLACE, CIRCA 1900
silver and plique-à-jour enamel, abalone and pearl, stamped 900/ DEPOSE
chain length 44cm, pendant height 7.2cm
£400-600
244
CONTINENTAL SCHOOL
ART NOUVEAU FIGURAL WALL
MIRROR, CIRCA 1900
painted and glazed earthenware, bevelled mirror plate, fitted for electricity and with wooden back board, stamped 4919
ERNST WAHLISS, AUSTRIA PAIR OF JUGENDSTIL VASES, CIRCA 1900
glazed earthenware, printed and impressed maker’s marks, no. 4842 (2)
24.5cm high
£300-500
ERNST WAHLISS (1837-1900)
‘POESIE’, A JUGENDSTIL FIGURE, CIRCA 1890
painted and glazed porcelain, with gilt embellishments, inscribed POESIE, printed and impressed maker’s marks, no. 4343
40cm high
£250-350
248
PLATEELBAKKERIJ
ZUID-HOLLAND, GOUDA
LARGE ART NOUVEAU VASE, CIRCA 1900
painted and glazed earthenware, painted MADE IN ZUID-HOLLAND/ J.H.
57cm high
£300-500
249
ARSALL, ROTHENBURG
TWO CAMEO GLASS VASES, CIRCA 1920
overlaid cameo glass depicting Cyclamen and Irises, each cameo signed ARSALL (2)
40.5cm high and 20cm high
£400-600
250
ERNST WAHLISS (1837–1900)
‘DAPHNE’, CIRCA 1890 painted and glazed terracotta, impressed 4263 69cm high
£400-600
251
FOLLOWER OF ALPHONSE MUCHA ART NOUVEAU MAIDEN watercolour, later framed and mounted
72.5cm x 26cm (frame size 93cm x 46cm)
£300-500 252
AMPHORA
JUGENDSTIL BUST OF A GIRL, CIRCA 1900
painted and glazed porcelain, with gilt embellishments, stamped AMPHORA with crown mark, 4710 35cm high
£300-500
PROPERTY FROM THE ESTATE OF MERLE TAYLOR
The following lots are a snapshot into the lives of Jessie M. King and Ernest Archibald Taylor and their family and come from the estate of their daughter Merle Taylor. Jessie King was born at the manse in New Kilpatrick, Bearsden, near Glasgow, she was the daughter of James Watters King, a minister of the Church of Scotland, and Mary Anne Anderson. Raised in a strict religious household, she was discouraged from pursuing art, often hiding her school drawings from her mother. However, she persevered and studied at the Glasgow School of Art from 1892 to 1899, later becoming a teacher there in book decoration.
King gained international recognition for her book illustrations and her creative talents extended to posters, bookplates, jewellery, ceramics, wallpaper, murals, textiles, and furniture. In 1908, she married fellow artist E. A. Taylor, a furniture and stained glass designer who also worked in oil and watercolours. Their only child, Merle Elspeth, was born in 1909.
In 1910, the family moved to Paris, where King and Taylor ran the Shealing Atelier, an art school and gallery. Summers were spent teaching on the Isle of Arran. With the outbreak of World War I, they returned to Scotland, settling in Kirkcudbright, where King established Green Gate Close, a centre for women artists. She pioneered the batik technique in Scotland, designing scarves sold by Liberty’s. King also collaborated with Taylor on furniture and interior design projects. Taylor contributed to “The Studio” magazine as a Paris correspondent and continued to paint landscapes and lecture on art.
DAY TWO: THURSDAY 17 APRIL
2025 FROM 10AM
253
ERNEST ARCHIBALD TAYLOR (1874-1951)
‘ROSS LIGHTHOUSE, KIRKCUDBRIGHT ESTUARY’
charcoal and watercolour, framed 24.5cm x 30.5cm (frame size 39.5cm x 45cm)
Provenance: Jessie Marion King and Ernest Archibald Taylor
By descent to their daughter Merle Taylor
Estate of Merle Taylor
£200-300
254
ERNEST ARCHIBALD TAYLOR (1874-1951)
‘A BEND IN THE ROAD’
charcoal and watercolour, signed lower right, framed 21cm x 25.5cm (frame size 36cm x 40cm)
Provenance: Jessie Marion King and Ernest Archibald Taylor
By descent to their daughter Merle Taylor
Estate of Merle Taylor
£400-600
255
ERNEST ARCHIBALD TAYLOR (1874-1951)
‘TREE ON KIRKCUDBRIGHT BAY’
charcoal and watercolour, framed, 29cm x 22cm (frame size 44cm x 36cm); and another by the same hand ‘TREES BY THE RIVER’, charcoal and watercolour, framed 34cm x 23.5cm (frame size 49cm x 38cm) (2)
Provenance: Jessie Marion King and Ernest Archibald Taylor
By descent to their daughter Merle Taylor
Estate of Merle Taylor
£500-800
256
JESSIE MARION KING (1875-1949) AND ERNEST ARCHIBALD TAYLOR (1874-1951)
ERNEST ARCHIBALD TAYLOR SKETCHING
charcoal and watercolour, framed, 19cm x 25cm; together with a companion JESSIE MARION KING SKETCHING, charcoal and watercolour, framed, 24.5cm x 18cm (frame size 63.5cm x 40cm) (2)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£800-1,200
257
JESSIE MARION KING (1875-1949) INTEREST
PRESENTATION CARRIAGE CLOCK BELONGING TO HER FATHER REV. JOHN KING, 1893 brass, the twin-train movement with lever anchor escapement, bears inscription PRESENTED TO THE REV. J.W. KING. M.A./ MINISTER OF NEW KILPATRICK/ BY THE ADHERANTS OF TEMPLE CHURCH/ ON THE OCCASION OF THE APPOINTMENT OF THEIR FIRST MINISTER/ AS A MARK OF RESPECT & ESTEEM & IN RECOGNITION/ OF HIS VALUABLE SERVICES IN THE ERECTION OF THE CHURCH/ NETHERTON 15TH SEPTEMBER 1893
14.5cm high
Provenance: Jessie Marion King and Ernest Archibald Taylor
By descent to their daughter Merle Taylor
Estate of Merle Taylor
£300-500
259
258
JESSIE MARION KING (1875-1949) INTEREST
GROUP OF PERSONAL MEMORABILIA BELONGING TO HER MOTHER MARY A. KING
to include a WEDDING RING, 22ct. gold, inscribed JWK (James Waters King) & MAA (Mary Ann Anderson) 6th April 1869 hallmarked; a POCKET WATCH, 18ct. gold case, inscribed MARY to the back, makers mark IJTN (Issac Jabez Theo Newsome, Coventry), hallmarked Chester 1904, cased, 3.5cm diameter; and a framed photograph of Mary King, 9cm x 6cm THREE SUGAR TONGS, one hallmarked London 1894, inscribed MK (Mary King; one hallmarked Dundee, indistinct maker’s mark (RN?), inscribed MM (possibly Mary McNab); and another set of hallmarked silver SUGAR TONGS (6)
Provenance: Jessie Marion King and Ernest Archibald Taylor
By descent to their daughter Merle Taylor
Estate of Merle Taylor
£600-800
JESSIE MARION KING (1875-1949) AND ERNEST ARCHIBALD TAYLOR (1874-1951) INTEREST
FURNITURE AND EFFECTS FROM THE KING/ TAYLOR FAMILY HOME
to include a GEORGE III GATELEG TABLE, mahogany, 94cm wide, 70cm high, 113cm deep (open); an EDWARDIAN SIDE CHAIR, in the 18th century manner, mahogany with later close nailed upholstery, 46cm wide, 99cm high, 45cm deep; a 19TH CENTURY PORTABLE MIRROR, mahogany and mirror plate, 43cm x 33cm x 5cm; together with a group of MID-19TH CENTURY GLASSWARE, comprising a PAIR OF DECANTERS AND STOPPERS, 27cm high; a PAIR OF RUMMERS, 15cm high; and a SET OF FOUR RUMMERS, 17.5cm high (11)
Provenance: Jessie Marion King and Ernest Archibald Taylor
By descent to their daughter Merle Taylor
Estate of Merle Taylor
£600-800
260
JESSIE MARION KING (1875-1949) AND ERNEST ARCHIBALD TAYLOR (1874-1951) INTEREST
GROUP OF PERSONAL AND DOMESTIC ITEMS
[King-Taylor family recipe book]. The Practice of Cookery and Pastry by Williamson & Son 1869. 8vo, with numerous manuscript recipes laid in, including one for ‘American gingerbread’ written in the hand of Jessie M. King, another recipe apparently in another hand but with King’s annotation ‘The EASY-BISCUIT à la Polly Peacham’; Collection of family photographs, approx. 40 in total, of which several depicting Jessie M. King, including a full-length portrait of JMK as a young woman, in a garden (platinum print, mounted on card), one of JMK in a classroom with pupils (albumen print, mounted on card), and others showing E. A. Taylor, Merle Taylor, etc.; Merle Taylor’s childhood autograph album, including a watercolour sketch of a cottage through trees signed ‘EAT’ (her father Ernest Archibald Taylor, 1874-1951), and one unsigned but attributed to Jessie M. King; Typescript short story by Merle Taylor, ‘The Maister’
For a complete list of photographs in this lot see the lot description on our website lyonandturnbull.com
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
£300-500
261
JESSIE MARION KING (1875-1949) AND ERNEST ARCHIBALD TAYLOR (1874-1951)
INTEREST
COLLECTION OF BOOKS FROM THE LIBRARY OF JESSIE M. KING AND FAMILY
including: The English Version of the Polyglott Bible. London: Samuel Bagster & Sons, c.1880. 12mo, ownership inscription ‘Jessie M. King, The Manse, New Kilpatrick’ to initial blank, half-title annotated ‘John Liddel’s Bible’ in the same hand, further inscription ‘from my mother’ to the front free endpaper, lacking rear cover and apparently several leaves of text at rear; Greenaway, Kate. Kate Greenaway’s Birthday Book, c.1920. 16mo, original cloth, inscribed ‘To Merle from Angus’ within hand-drawn decorative border on front free endpaper, with manuscript entries throughout, including for ‘Mrs E. A. Taylor’, i.e. Jessie M. King, next to her birthday of 20 March; Le Nouveau Testament. Strasbourg 1878, ownership inscription ‘Peggy King, The Manse, New Kilpatrick, April 1898’ to initial blank; The Letters of Charles Lamb. London: J.M. Dent & Co., with gif inscription ‘To Mrs Taylor “A trifling memory of a true kindness” G.J.J. July 1917; Sappho. One Hundred Lyrics. London: Alexander Moring Limited, 1906. Small 8vo. contemporary green roan, gift inscription ‘To E.A.T. Xmas ’06’; and 22 others similar, from the library of Merle Taylor, several with family inscriptions, mainly leather-bound.
For more information on the contents of this lot please see the lot description on our website lyonandturnbull.com
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£400-600
262
JESSIE MARION KING (1875-1949) AND ERNEST ARCHIBALD TAYLOR (1874-1951) AND MERLE TAYLOR (1909-1985)
GROUP OF PERSONAL SILVER, JEWELLERY AND EFFECTS to include a GROUP OF COSTUME JEWELLERY, including an EDWARDIAN BROOCH, silver, enamel, set with tourmaline, 2.5cm across; a PAIR OF GOLD PLATED CUFFLINKS, inset with the letter T in mother-of-pearl; TWO POCKET WATCHES, a MINIATURE PENKNIFE, 9ct gold and steel, 2.5cm long, etc.; a LIBERTY & CO. CLOTHES BRUSH DESIGNED BY JESSIE KING, silver and bristles, makers mark L&Co, hallmarked Birmingham 1913, 19.5cm long; a LIBERTY & CO. SHOE HORN DESIGNED BY JESSIE KING, silver and plated metal, makers mark L&Co, hallmarked Birmingham 1906, 21cm long; a BOXED CHILD’S HAIRBRUSH, silver, hallmarked Birmingham 1919, 17.5cm long, etc.; together with a magnifying glass, lighters, writing implements, two paint boxes etc. (qty)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£600-800
After studying at the Düsseldorf Art Academy under Karl Janssen, Bernhard Hoetger travelled to Paris and settled there from 1900 to 1907. He became acquainted with artists such as Paula Modersohn-Becker, Käthe Kollwitz, Karl Hofer and Henri Rousseau. He was most interested by Rodin’s work, which strongly influenced his visual language in this early phase. As early as 1901, Hoetger achieved his artistic breakthrough with the sculpture “L’Aveugle (The Blind Man)”. This led to the first contact with Julius Meier-Graefe, director of the Art Nouveau gallery “La Maison Moderne”, who included Hoetger’s sculptures in the gallery’s sales catalogue alongside works by George Minne, Charpentier and others. His time in Paris, during which the present example was also created, ended in 1909 with Hoetger’s appointment as a professor at the Darmstadt artists’ colony.
263
BERNHARD HOETGER (1874-1949)
‘MÄDCHEN MIT REIF’, CIRCA 1901 bronze, signed in the bronze with artist’s monogram 19cm high
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
£800-1,200
264
MANNER OF GIACINTO MELILLO
ARCHAEOLOGICAL REVIVAL BROOCH, CIRCA 1880 gilt metal, enamel, with the legend DULCIS VITA 2.1cm square
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
Literature: Bennett D. and Mascetti D. Understanding Jewellery Woodbridge 1989, p. 238, pl. 418, for a bracelet by Giacinto Melillo of similar design
£600-800
HELEN PAXTON BROWN (1876-1956)
LADY IN A PINK DRESS, 1901 pen, ink and charcoal, signed and dated lower right, framed 28cm x 15.5cm (frame size 44cm x 30.5cm)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£300-500
267 §
CECILE WALTON (1891-1956) PLATE, 1944
painted and glazed ceramic, inscribed ORA PRO NOBIS, and to reverse TO JAKE + TAYLOR/ OCT. 1944/ CECILE
15.5cm diameter
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£250-350
266
ÁNGEL ZÁRRAGA (1886-1946) ‘STUDY FOR “DAVID”’, 1913 graphite, signed and inscribed lower left A MONSIEUR ET MADAME TAYLOR EN SOUVENIR DE ÁNGEL ZÁRRAGA, and titled and dated lower right SEPT 1913 18cm x 14cm
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£300-500
268
MARY THEW (1876-1953)
TWO ARTS & CRAFTS BROOCHES, CIRCA 1920
white metal, one set with boulder opals and carnelian cabochon, 3.2cm wide, 4.2cm high; the other set with boulder opals, 3.1cm wide, 3.2cm high, each signed with initial ‘T’ (2)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£400-600
269
JESSIE MARION KING (1875-1949)
‘MAY FORTUNE’S FAERIE BARQUE’, 1907 printed paper hand-coloured with gold and silver paint, inscribed MAY FORTUNE’S FAERIE BARQUE/ BY WIND AND WAVE BE WAFTED THEE, framed 22cm x 12.5cm (frame size 37.5cm x 27.5cm)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
Literature: White C. The Enchanted World of Jessie M King, Canongate 1989, illustrated p. 69, pl. 85
£300-500
270 § HELEN PAXTON BROWN (1876-1956)
‘THE CRITIC’ pen and ink, inscribed bottom right I DEDICATE THIS DRAWING TO E. A. TAYLOR, framed 35cm x 21cm (53.5cm x 38cm)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
£300-500
271
ADDERLEYS LTD, FOR MISS CRANSTON’S TEAROOMS GROUP OF WILLOW PATTERN CERAMICS, CIRCA 1905 glazed earthenware, the saucer and side plates stamped MISS CRANSTON’S/ WILLOW/ TRADEMARK/ ENGLAND/ ADDERLEYS.LTD, comprising; a CUP, 6.3cm high; a SAUCER, 14cm diameter; TWO SIDE PLATES, 17.5cm and 19.7cm diameter (4)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
£300-500
comprising a GROUP OF ZINC BLOCKS, to include Kirkcudbright, a Royal Burgh, in three parts, 22cm x 12cm, with spine title, along with an original copy of Kirkcudbright, a Royal Burgh; Good Greeting 1949, in five parts, 3 at 14cm x 10cm and two smaller (for the card interior) From the Green Gate (symbol) Kirkcudbright; Ernest A Taylor: NeuGaelTach bookplate, 14cm x 6cm; Horseman at the Gate, in two parts, 7.8cm x 8cm; Ex Libris: Mary Elizabeth Reid bookplate, 10.4cm x 5.2cm; and Dandelions, from Budding Life, along with an original copy of Budding Life; a GROUP OF COPPER BLOCKS, to include an illustration of Spenser’s ‘The Faerie Queen’ And in the midst thereof a pillar placed…etc., 13.5cm x 8.5cm; and illustration of Shelley’s ‘The Wild West Wind’, Sister of the Spring, 13cm x 8cm; an illustration of Morris’s ‘King Arthur’s Tomb’ For Lancelot’s red-golden hair would play, 14.3cm x 9.5cm; a GROUP OF ELECTROTYPE BLOCKS, to include Dead Babe, 19.5cm x 9cm; Sam Mavor bookplate, 7.4cm x 7.4cm; Spirit of the Woods, 11cm x 9cm; Couple by the Rocks, 14cm x 13.5cm; and three further electrotype blocks, one showing an image by Charles Rennie Mackintosh, two unidentified; a GROUP OF CARVED WOOD BLOCKS, to include Jessie M King/ The (with Green Gate symbol), 11cm x 3.7cm; a seal with carved symbol of a rose, 6cm long; Cottages in a Landscape, 8.2cm x 9cm; a crow, 7cm x 6cm; and an image of an agricultural roller, 6cm x 11cm; and a group of LINOCUTS, by Merle Taylor, E.A. Taylor and Jessie M. King, largest 15.5cm x 10.5cm (35)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£1,000-1,500
274
JESSIE MARION KING (1875-1949)
TEAPOT AND COVER, CIRCA 1940
273
JESSIE MARION KING (1875-1949)
NAPKIN RING, 1900 silver, with punched initials JMK, stamped maker’s marks for John A. Fetter, hallmarked Glasgow 1900, 4cm high, 4.3cm diameter; a TEASPOON, silver hallmarked Glasgow 1906, engraved to the terminal JMK, 12.8cm long; together with a LEVI & SALAMAN, NAPKIN RING, 1907, silver, engraved MERLE, stamped maker’s marks, hallmarked Birmingham 1907, 2.7cm high, 4.5cm diameter (3)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
This napkin ring is designed and owned by Jessie Marion King. For a napkin ring of similar design see Lyon and Turnbull, Lot 82, 15th June 2011. The other napkin ring belonged to her daughter Merle Taylor.
£300-500
glazed earthenware, signed JMK with Greengate and rabbit marks to the base
16cm high
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
Literature: White C. The Enchanted World of Jessie M King, Canongate 1989, p. 110, pl. 149 where a similar shape is illustrated.
£600-800
275
JESSIE MARION KING (1875-1949)
GROUP OF CERAMICS, CIRCA 1940
painted and glazed ceramic, signed JMK with Greengate and rabbit marks to the base, comprising; a CUP, 5.5cm high; a SAUCER, 15cm diameter; a PAIR OF SIDE PLATES, 15cm diameter, a BOWL, 15.5cm diameter; and a SOUP BOWL, 13cm diameter (6)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
£300-500
276
JESSIE
MARION KING (1875-1949)
KNIGHT AT PRAYER, CIRCA 1903
pen and ink on vellum, signed lower left JMK, framed
15.5cm x 10.5cm (frame size 43.5cm x 33.5cm)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£3,000-5,000
This exquisite drawing may be an unpublished illustration for one of Jessie Kings earliest books, illustrations for The High History of the Holy Graal, published by J.M Dent in 1903 and one of her finest achievements. Colin White King’s biographer states that “her early drawings made up of lines and dots so fine that only a sharp-eyed child or an adult equipped with a good magnifying glass could resolve them, are testimony to the acuteness of her vision and the steadiness of her hand. Her preference for drawing in pen and ink on vellum was a mark of her confidence. A coated and burnished vellum surface enhances the richness of every stroke of the pen, but the medium is unforgiving and does not allow for mistakes.”
277
JESSIE MARION KING (1875-1949)
‘A CLOSE IN HIGH STREET’, CIRCA 1912
pen and ink on vellum, signed lower left JESSIE M. KING, framed 23.5cm x 9.5cm (frame size 40cm x 24.5cm)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor
Estate of Merle Taylor
£1,000-1,500
JESSIE MARION KING (1875-1949) AND ELISE PRIOLEAU
‘HOW FOUR QUEENS FOUND SIR LANCELOT IN THE WOOD’, CIRCA 1910 coloured silks, framed 20.5cm x 41cm (frame size 48cm x 65.5cm)
Provenance: Jessie Marion King and Ernest Archibald Taylor By descent to their daughter Merle Taylor Estate of Merle Taylor
Literature: The Studio, no. 213, December 1910, pp. 232-235, illustrated in colour p.233 White C. The Enchanted World of Jessie M King, Canongate 1989, p.33, pl.28 illustrated
Exhibited: Barclay Lennie Fine Art Limited, Glasgow, Jessie Marion King Exhibition 2nd-25th November 1989, no. 45 Dumfries and Galloway Museum Service Tolbooth Art Centre, Kirkcudbright, Jessie M King Anniversary Exhibition, June 4th - July 18th 1899, no. 20
The Glasgow School of Art Jessie M King Anniversary Exhibition, 27 July-3 September 1999, no. 54 £5,000-7,000
Jessie M King’s ‘How Four Queens Found Sir Lancelot in the Wood’ employs striking design and skilful execution to illustrate a beguiling legend. Most intriguing of all however, is the artistic partnership behind its creation, a piece of the puzzle so often extinguished from the history of decorative art.
The embroidery was executed around the time King and her husband E. A. Taylor were living in France. The couple moved to Paris in 1910 and founded the Shearing Atelier School of art. It can be argued that some of her finest works belong to this Paris period, including pieces considered influential to the creation of the Art Deco movement.
This work marked the genesis of a collaboration between King and Paris based embroiderer Madame Elise Prioleau. Despite her French sounding name, Prioleau was descended from an ancient English family and married to a banker from
South Carolina. Prior to King’s move to France, Prioleau had contacted the artist via letter. A feeling was present amongst artistic circles that contemporary embroidery lacked imaginative input and was instead producing ‘insipid and meaningless’ works, a fault of the designers rather than the embroiderers. This was a sentiment with which Prioleau agreed, hence why, on seeing King’s inspired illustrations in the Studio magazine, she suggested collaboration.
The subject of the embroidery is taken from the 15th century prose work Le Morte d’Arthur by Thomas Mallory, an interpretation of the legends of King Arthur and the Knights of the Round Table Chapter three, Book VI, Volume I describes how four fantastical queens discover Sir Lancelot resting beneath an apple tree. Having placed an enchantment, they take him to a castle where he must choose between picking a queen as his ‘paramour’ or death.
Prioleau was sent a small watercolour of the design, and having traced it onto canvas, she then painstakingly worked the piece in silk threads. She was a master of her art, praised by Colin White for her use of satin stitch ‘cleverly angled across the picture like brushstrokes’, the effect being a ‘three-dimensional appearance’. Despite White’s comparison of threads with paint, E.A. Taylor in a Studio magazine article of December 1910 considers ‘How Four Queens Found Sir Lancelot in the Wood’ to be refreshingly original precisely because to him, Prioleau seems ‘at pains to avoid imitating…the pictorial painter’. The association between King and Prioleau was not limited to this piece, the duo producing works including ‘Richard Coeur de Lion’, also illustrated in the Studio. This was a fruitful and widely admired artistic partnership.
‘How Four Queens Found Sir Lancelot’ enjoyed exposure in the foremost artistic forums of the day. A full-page colour image was first reproduced in the December 1910 volume of the Studio magazine with an accompanying article discussing the state of embroidery in Paris, as well as the design featuring in ‘The Studio Year Book of Decorative Art’ the same year. Then, in 1912 the work was displayed at the Musée Galleria exhibition of embroidery, a show reported upon in the September edition of the Studio magazine. In both instances, the partnership between King and Prioleau is described in glowing terms. Whilst E. A. Taylor, King’s husband, is the author of both articles and therefore not an unbiased reporter, the publicity the embroidery received and consequently the high regard with which it must have been viewed is undeniable.
OTHER PROPERTIES
JESSIE MARION KING (1875-1949)
SEVEN HAPPY DAYS: A SERIES OF PRINTS OF DRAWINGS, 1913
with quotations from John Davidson & others, a Christmas Supplement to The Studio, MCMXIII (1913), bound within a copy of The Studio magazine, December 15th 1913, vol. 60, no. 249, and comprising 15 illustrations, some in colour with silver ink
£200-300
280
ATTRIBUTED TO ERNEST ARCHIBALD TAYLOR (1874-1951)
‘ROSE LEAVES FOR THE WORLD’ watercolour with gold paint, framed 38.5cm x 16cm (frame size 48cm x 25cm)
£400-600
281
ERNEST ARCHIBALD TAYLOR (1874-1951)
FLORAL STUDY
pencil and watercolour, signed lower left, framed 15.7cm x 11.5cm (frame size 28.5cm x 21cm)
Exhibited: London, The Millinery Works The Glasgow Style, 12-30th June 2002, no. 67
£300-500
282
JESSIE KEPPIE (1868-1951)
FLORAL STUDY
watercolour, signed lower right
JESSIE KEPPIE RSW, framed
31cm x 28.5cm (frame size 53.5cm x 47.5cm)
£700-1,000
283
ERNEST ARCHIBALD TAYLOR (1874-1951)
COTTAGE BY THE SHORE, ARRAN
watercolour and charcoal, signed lower left, framed
19cm x 26cm (frame size 41cm x 48cm)
£300-500
Literature: Morris, Talwin Concerning the Work of Margaret Macdonald, Frances Macdonald, Charles Mackintosh and Herbert MacNair: An Appreciation, unpublished manuscript, Coll. Glasgow Museums
Dekorative Kunst, vol.3, 1898, ill. p.73
Architectural Review, vol.9, 1901, p.40, ill. p.41
Larner G. and Larner C. The Glasgow Style, Astragal Books, London, 1980, where an incomplete variant is illustrated.
£3,000-5,000
This rare liqueur glass is mentioned in various contemporary publications including Dekorative Kunst in 1898 and Architectural Review in 1901 where they were also illustrated in a group of around 28. The earliest mention of the glasses can be found in an unpublished manuscript by the designer Talwin Morris where Morris expounds on the virtues of the Glasgow Four designers. In anticipation of publication he also alludes to the photograph of the glasses, intending to use it as one of the illustrations of his appreciation. He remarks on McNair’s glass designs “The artist’s need:- we might fittingly say passion - for expression has lately found vent in various, and beautiful, designs for glass-ware. Dainty, almost ethereal in design, while showing sufficiently the result needful in articles for practical use; these have been executed under their author’s personal supervision; with the result that we may obtain a set, uniform in general plan, with each item of general interest; secured by intelligent application of detail, and freedom from mechanical texture. We reproduce here a little cluster of liqueur glass; the most recent result of this development.”
285
JESSIE MARION KING (1875-1949)
‘THE FUTURE HOLDS A ROUND OF HAPPY DAYS’, CIRCA 1907
pen and ink, watercolour and bodycolour, signed lower left, framed 18.5cm x 17cm (frame size 32.5cm x 30cm)
£4,000-6,000
286
GLASGOW SCHOOL
LARGE COLLECTION OF BOOKS IN ORIGINAL ART NOUVEAU CLOTH BINDINGS
including: Charles Rennie Mackintosh (designer), Or in the Grass by Madeleine Caron Rock, London: John G. Wilson, 1914 (first edition, 8vo, original black cloth with decoration in green to front cover, top edge gilt, others untrimmed); approx. 70 novels, children’s books etc. with decorative varicoloured cloth bindings designed by Charles Rennie Mackintosh and published by Blackie and Son c.1900-10, of which approx 50 with his overall ‘batwing’ design, 8 with a geometric rectilinear design incorporating blue squares; John Kirkland (editor), The Modern Baker, Confectioner and Caterer, London: Gresham Publishing Company, 1909 (6 volumes, 4to, original decorative green cloth); Alice Corkran, The Romance of Woman’s Influence, London: Blackie and Son Limited, 1906 (first edition, 8vo, original cloth, inscriptions to half-title); and approx, 70 others, including various works in Blackie’s Plain Text Poets and other series
£300-500
287
GLASGOW STYLE
COLLECTION OF BINDINGS DESIGNED BY ETHEL LARCOMBE (1876-1940) FOR BLACKIE AND SON
c.1900-1910. 61 works, 8vo, original multicoloured cloth bindings with overall Art Nouveau floral designs (in two styles), principally children’s books (e.g. Grimm’s Fairy Tales, What Katie Did, Little Women, The Water Babies, etc.)
£300-500
288
TALWIN MORRIS (1865-1911)
LARGE COLLECTION OF WORKS IN BINDINGS DESIGNED BY MORRIS
various formats, all in original decorative cloth gilt, including: Eyre-Todd, George (editor). The Book of Glasgow Cathedral. Glasgow: Morison Brothers, 1898. First edition, one of 1,000 copies only, large 4to, bookplates (Robina Spencer and Donald Buttress, architect), tips bumped and worn;
Small, David (illustrator). By-Gone Glasgow: Sketches of Vanished Corners in the City and Suburbs. Glasgow: Morison Brothers, 1896. First edition, one of 450 copies, large 4to, binding rubbed and marked, wear to foot of spine;
Sutcliffe, G. Lister. The Principles and Practice of Modern HouseConstruction. London: Blackie & Son, Limited, 1899. First edition, 6 volumes, 4to;
French, James Weir (editor). Modern Power Generators, London: Gresham Publishing Company, 1908. First edition, 2 volumes, folio; Marilaun, Anton Kerner von. The Natural History of Plants. London: Gresham Publishing Company, 1904. First edition thus, 2 volumes, large 8vo;
Shakespeare, William. The Henry Irving Shakespeare. London: Gresham Publishing Company, 1906. 14 volumes, 8vo; and approx. 64 others, including: Science in Modern Life (6 volumes), The World of Today (6 volumes), The Homer Teacher (5 volumes), all published by Gresham; a run of 14 Blackie and Son editions of Victorian novels in varicoloured cloth with uniform Art Nouveau floral decoration to spine; approx. 40 works in the Blackie’s Library of Famous Books series; in uniform bindings; and similar £500-800
Paolo Mantegazza, Edinburgh: T. N. Foulis, 1908 (original cream cloth decorated in gilt); Corners of Grey Old Gardens, with Illustrations in Colour by Margaret Waterfield, Edinburgh: T. N. Foulis, 1922 (original pictorial boards); Songs of the Ettrick Shepherd, Edinburgh: T. N. Foulis, [no date] (original wrappers); The Book of Old Sundials and their Mottoes, 1917 (original pictorial boards); 16 George Routledge editions of novels and classics including Uncle Tom’s Cabin, Gulliver’s Travels, Arabian Nights, Robinson Crusoe, etc., all in original varicoloured cloth bindings designed by King; and approx. 40 others including further T. N. Foulis publications in King-designed wrappers, The Gallovidian Annual for 1932 and 1933, and similar £300-500
TALWIN MORRIS (1865-1911) FOR GRESHAM PUBLISHING COMPANY AND BLACKIE AND SON
LARGE COLLECTION OF WORKS IN BINDINGS DESIGNED BY MORRIS
Archer, Thomas, & Amelie Hutchinson Stirling. Queen Victoria. London: Gresham Publishing Company, 1901. 4 volumes, 4to, original red cloth gilt with enamel-effect decoration in light and dark green, all edges gilt, with the rare dust jackets; Davidson, H. C. The Book of the Home. London: Gresham Publishing Co., 1906. 6 volumes, large 8vo, original blue-green decorated cloth lettered in gilt; Blackie and Son (publishers). Poems by H. W. Longfellow, 1908; Poems by E. B. Browning, 1907; In Memoriam by Alfred Tennyson, 1906. 3 works, Red Letter Library editions, 12mo, original decorative japon; and approx. 120 others including: a uniform run of 40 Blackie and Son editions of novels with Morris’s stylised kidney-and-flowers design gilt to spines and covers (8vo, original varicoloured cloth); editions of various poets, some from the Red Letter Poets series (small 8vo, original cloth or suede bindings); and similar £300-500
GEORGE
FOR MISS CRANSTON’S BUCHANAN STREET TEAROOMS, GLASGOW
HENRY WALTON (1867–1933)
292
AFTER
CHARLES RENNIE MACKINTOSH
FOUR TEA ROOM SPOONS, CIRCA 1920
silver plate, made by Cooper Brothers, Sheffield, stamped makers’ marks, comprising; TWO TEASPOONS, 15cm long, and TWO PRESERVE SPOONS, 12.5cm long, each stamped C/ BROS/ S (4)
These spoons were probably commissioned by Miss Cranston as replacement
294
CHARLES
RENNIE MACKINTOSH (1868-1928)
HIGH STOOL, CIRCA 1894
stained beech
33cm diameter, 69cm high
Literature: Billcliffe R. Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs, Moffatt 2009, page 32, illus. D1894-96.1
Made for Queen Margaret Medical College, Glasgow, the treatment of the stretchers in these stools appears to echo those of the domino table designed by Mackintosh in 1898 for the Argyle Street Tea Rooms.
£800-1,200
MEMORIAL EXHIBITION CATALOGUE, 1933
McLellan Galleries, Glasgow, 4-27th May 1933, printed by Begg Kennedy & Elder Printers, Glasgow, together with; THE ANNUAL REPORT OF THE GLASGOW SCHOOL OF ART, Session: 1904-05; THE GLASGOW SCHOOL OF ART PROSPECTUS, Session: 1906-07; a GLASGOW SCHOOL OF ARCHITECTURE PRESENTATION
TOKEN, inscribed to George F. S. Shanks, Session 1916-17, for excellence in Architectural Design, 2.7cm wide, 4cm high; and TWO GLASGOW SCHOOL OF ARCHITECTURE MEDALLIONS, for Excellence in Architecture, inscribed to George Annand, Session 1932-33, and William H. Sanders, Session 1936-37, both cased, 4.8cm diameter (6)
£1,000-1,500
295
CHARLES RENNIE MACKINTOSH (1868-1928)
CABINET FOR SCOTLAND STREET SCHOOL, 1906
stained beech and pine, with brass fittings
156.5cm wide, 137cm high, 46cm deep
Provenance: Scotland Street School, Glasgow, Scotland
Literature: Billcliffe R. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis, 2009, p. 237, no. 1906.23 where an example of this cabinet is illustrated. Several examples held by Glasgow Museums (accession nos. ME.2000.8.52-4 and ME.2000.8.87)
Scotland Street School in Glasgow was designed by Mackintosh in 1903-4 and was to be his last totally new architectural work for the city. He was also responsible for the interiors, as was the case for other projects including The Glasgow School of Art and the Ingram Street Tearooms. The simpler design of this cabinet compared to other Mackintosh furniture reflects the more practical, institutional setting for which it was destined.
£4,000-6,000
CHARLES RENNIE MACKINTOSH (1868-1928)
‘BROOKWEED’, 1901
pencil and watercolour, signed and inscribed lower right BROOKWEED/ HOLY ISLAND/ JULY 1901/ MT FB C, framed
22cm x 17cm (frame size 44.5cm x 39.5cm)
Provenance: William Marshall, Glasgow Scottish Private Collection
Exhibited: Edinburgh, London, Darmstadt, Zürich, Charles Rennie Mackintosh (1868-1928) Architecture, Design and Painting, 1968, Catalogue number 289, lent by William Marshall, Glasgow
£15,000-20,000
1901 was a productive and exciting time for Mackintosh professionally, being the year that he was made a partner in the Glaswegian architectural practice where he worked. Seeking some brief respite from his busy roster of commissions, he and his wife Margaret took a holiday to Holy Island in the month of July, joined by the other members of ‘The Four’: Margaret’s sister Frances Macdonald and her husband Herbert McNair, as well as Margaret and Frances’s brother, Charles.
Given the trip was for such a short duration, sketches from this excursion are scarce. Nonetheless, the impact of this visit on both Mackintosh’s artistic and architectural practice was marked. For example, the surviving sketches show that he was deeply absorbed by Lindisfarne Castle. It has been noted that its sweeping, austere curves find echoes in his architectural language, for example in the Glasgow School of Art’s design which was completed in phases between 1896 and 1909.
Mackintosh had begun to develop his botanical studies in the 1890s, but the series of works from Holy Island are notable in that they crystallize the format for his botanical drawings thereafter. It is here, for example, that he begins to add his distinctive, almost Japanistic ‘cartouche’, featuring the initials of the companions present at the time of the work’s inception. In the past some have implied that the presence of ‘MM’ on such works suggest that Margaret did the colouring, but this does not fit with what is known of his attitude as an artist. Those close to him, notably Mary Sturrock - daughter of his friend and mentor Fra Newbery - are adamant that Mackintosh would not have let his artwork be added to in such a manner. Further support for this can be found in ‘Brookweed’ and other Holy Island watercolours, some of which feature more than two sets of initials. In ‘Brookweed’ the picture is signed M (for Margaret Macdonald), T (Tosh for Mackintosh himself), F (for Frances Macdonald), B (for Herbert (Bertie) McNair), and C (for Charles Macdonald, Margaret and Frances’s brother), which appears to confirm the theory that the inscriptions were more of an aide memoire or dedication to those who were present when the pictures were made.
Botanic studies were central to Mackintosh’s artistic practise. Even when he was busy with his architectural business, they remain a mainstay. Mackintosh’s ideology had sprung from the tenets of the Arts and Crafts Movement, in tandem with European Art Nouveau,
and it is crucial to understand that his design language, whether that be architecturally or artistically, ultimately found its basis in his belief that nature was the source of beauty.
His work across all media is characterised by a sinewy, linear approach to form, the distillation of the essential patterns and design of the natural world. This fascinating, alchemical process by which Mackintosh transforms the organic into design is arguably most tangible in his botanical studies, which perhaps explains their enduring appeal.
The drawings vary subtly over the course of time. From naturalistic depictions on Holy Island in 1901, to analytical, almost scientific studies in Sintra in 1908. Ultimately a more wholly decorative interest was developed post-1910, enhanced by the fact he is highly likely to have begun pressing his flower stems in order to more clearly expose the decorative formal possibilities. Finally, there was the explosion of botanical studies in Walberswick in 1914 (40 over a period of approximately 12 months), which marked a move from depictions purely of wildflowers to the inclusion of cultivated blooms.
Writing for The Studio in 1897, London critic Gleeson White remarked that the work of the ‘Spook School’, “is singularly free from vulgarity of idea, redundance of ornament, and misapplication of material…”. This sentiment holds across all aspects of Mackintosh’s work, but perhaps most particularly his botanical studies. This meeting of classicism and modernity, precision and invention, the spare and the decorative, goes some way to explain the timelessness of these pieces.
297
CHARLES RENNIE MACKINTOSH (1868-1928)
‘PIMPERNEL’, 1901
pencil and watercolour, signed and inscribed lower right
PIMPERNEL/ HOLY ISLAND/ JULY 1901/ M T, framed
22cm x 17cm (frame size 44.5cm x 39cm)
Provenance: Provenance: William Marshall, Glasgow
Scottish Private Collection
Pencil inscription to verso of frame reads ‘The previous frame’s backboard had written (handwritten) in pencil: ‘The Property of William Marshall/ 45 Cecil Street/ Glasgow (top flat)’
silver, comprising; A SINGLE SOUP SPOON, with deep almost circular bowl and with incised heel, pierced terminal, 26.5cm long; A SINGLE DESSERT SPOON, with deeper bowl and with incised heel, pierced terminal, 26.5cm long; A SINGLE DINNER FORK, with four prongs, pierced terminal, 26cm long; and A SINGLE DESSERT FORK, with four prongs, pierced terminal, 23cm long, each with maker’s mark DWH (David W. Hislop), hallmarked Glasgow 1902 (4)
Provenance: Fra H. Newbery and Jessie Newbery Elsie Newbery and by family descent Barclay Lennie Fine Art, Glasgow Donald & Eleanor Taffner, New York Lyon & Turnbull, Edinburgh The Taffner Collection, 7 September 2012, lot 23
Private European collection
Literature: Howarth T. Charles Rennie Mackintosh and the Modern Movement, New York, 1953, pl. 50 Neuwirth W. Josef Hoffmann: Cutlery for the Wiener Werkstätte, Vienna 1982, p. 30
£20,000-30,000
Mackintosh was commissioned in 1902 by Jessie and Francis (Fra) Newbery to create an elegant table set for 12 people. Fra Newbery, then director of the Glasgow School of Art, was a strong supporter of Mackintosh’s work and played a crucial role in promoting his career. His wife, Jessie Newbery, was an accomplished embroiderer and influential figure in the Arts & Crafts movement. Their long-standing friendship with Mackintosh and his wife, Margaret Macdonald, fostered many creative collaborations.
The commissioned cutlery set included a soup spoon, dessert spoon, dinner fork, and dessert fork. The order was placed through the Glasgow jeweller Edwards & Company and was executed by David W. Hislop, a skilled silversmith who had previously worked with Mackintosh on various projects. The cutlery set was later divided between the Newberys’ daughters, Mary and Elsie. Over time, Mary’s pieces were sold separately between 1970 and 1980.
Mackintosh’s cutlery design is revolutionary in its form. The spoons and forks feature exceptionally long, slender handles with a distinctive longitudinal oval opening. The forks are particularly striking, as the transition between the handle and the bowl was seamless, creating the illusion of a single, continuous band of metal. On the back, the bowls (except for the dessert fork) have a rectangular support with vertical embossing. The design anticipates Josef Hoffmann’s 1903 flaches Modell (flat model) cutlery, which was later showcased at the 1906 Wiener Werkstätte exhibition Der gedeckte Tisch (The Laid Table).
CHARLES RENNIE MACKINTOSH (1868-1928)
‘BOULETERNÈRE’, CIRCA 1925
watercolour with traces of pencil, signed with initials in pencil lower right CRM, and inscribed to reverse of sheet, possibly by Margaret Macdonald Mackintosh D. BOULETENÈRE (SIC)/ C.R. MACKINTOSH
44cm x 44cm (frame size 72cm x 72cm x 3.5cm)
Provenance: Ronald W.B. Morris Esq., Kilmacolm, an executor of the Estate of Margaret Macdonald Mackintosh, acquired after the Memorial Exhibition in 1933
Christie’s, Edinburgh, ‘Fine Paintings and Drawings’, April 27, 1989, Lot 570
Donald & Eleanor Taffner, New York
Lyon & Turnbull, Edinburgh The Taffner Collection, 7 September 2012, lot 109
Private European collection
Exhibited: Glasgow, McLellan Galleries Charles Rennie Mackintosh and Margaret Macdonald Mackintosh: Memorial Exhibition, May 1933, no. 136; Glasgow, Glasgow Museum and Art Galleries, Mackintosh Watercolours, July 1979, no. 201; Glasgow, The Fine Art Society, The Memorial Exhibition: A Reconstruction 1983, no. 136
Edinburgh, Royal Scottish Academy Mackintosh Watercolours, 8th August - 5th October 1986, no. 48
Glasgow, McLellan Galleries, May 25th - September 30th 1996; New York, The Metropolitan Museum of Art, November 19th - February 16th 1996; Chicago, The Art Institute of Chicago, March 29th - June 22nd 1997; Los Angeles, Los Angeles County Museum, August 3rd - October 12th 1997, Charles Rennie Mackintosh, Glasgow Museums Exhibition, Cat. No. 285
Edinburgh, Scottish National Gallery of Modern Art Charles Rennie Mackintosh in France, 26th November - 5th February 2006, Cat. No. 292
Literature: Billcliffe R. Mackintosh Watercolours, London 1978, p. 44, ill. p. 135, catalogue 201
Robertson P. and Long P. Charles Rennie Mackintosh in France, Edinburgh 2006, pp. 34-5 Crichton, Robin Monsieur Mackintosh: the Travels and Paintings of Charles Rennie Mackintosh in the Pyrénées-Orientales, Edinburgh 2006, pp. 63-5. £100,000-150,000
The year 1923 saw the Mackintoshes move from London to France, in the Pyrénées-Orientales, at Amélie-les-Bains. Low sales of their artwork, and an increasing number of architectural projects failing to come to fruition saw times become tight for the couple. They would have been encouraged to make the move by their circle of friends in London. Among them, notably, would have been fellow Scot and artist J.D. Fergusson and his partner Margaret Morris, who were both veterans of long sojourns working in France. As well as the obvious attractions of a change in light, climate and landscape, it made sense at a very practical level, offering a far cheaper way of life.
France marked the first time in Mackintosh’s life where there were no distractions from or demands away from his painting practice. Perhaps inevitably for an architect, Mackintosh was drawn to the local townscapes of the area. He was not attracted to grandeur however, rather the organic occurrence of more vernacular groups of dwelling - like the town of Bouleternère, somewhat vertiginously arranged on a sloping hill, culminating in a pinnacle topped with small church of rudimentary form. As Margaret remarked in a letter to Jessie Newbery in1925, “the buildings here (in this region of France) are a perpetual joy to us”. These views were not directly topographical, instead often culminations of various viewpoints, arranged ‘just-so’ for the purposes of the paintings’ design. Like many of the French works, Mackintosh employs pale tones demarked by sparer uses of colour in a high key that frequently depart from
realism; here in the blue used to delineate the shadows cast by the overhang of the red tiled rooves. In addition, the French watercolours utilise a very foreshortened pictorial plane, a device that again enhances the sense of pattern and design that so distinctly defines his work across all the media and genres he turned his hand to. These artistic choices combine to produce works of great sophistication. The paintings produced in France – between 10-15 a year – are considered very important, being a period of “remarkable evolution in his artistic practice”, as his biographer Roger Billcliffe describes it. Their importance also lies in the chronology of Mackintosh’s output. As Billcliffe continues, “…these works underscore his innovative approach to landscape painting and suggest a promising future as a painter, tragically curtailed by his untimely death from cancer in 1928. His French watercolours remain a testament to his enduring artistic vision, marking a significant, albeit final, chapter in his career.”
Regardless of the possible influences—whether artistic, physiological, or environmental—Mackintosh’s watercolours from this period represent a remarkable evolution in his artistic practice. These works underscore his innovative approach to landscape painting and suggest a promising future as a painter, tragically curtailed by his untimely death from cancer in 1928. His French watercolours remain a testament to his enduring artistic vision, marking a significant, albeit final, chapter in his career.
300
ATTRIBUTED TO ISABEL SPENCE
GLASGOW SCHOOL NECKLACE, CIRCA 1910
white metal and enamel chain length 46cm, largest roundel 2.3cm diameter
Literature: Karlin E.Z. Jewellery and Metalwork in the Arts and Crafts Tradition, Schiffer 1993, p.142 where a related necklace is illustrated.
£400-600
301
ELIZABETH MARY WATT (1886-1954)
FAIRIES AND IMP, CIRCA 1920
watercolour, pen and ink, signed lower left, framed 19.5cm x 16.5cm (frame size 28cm x 25.5cm)
£400-600
302
ATTRIBUTED TO TALWIN MORRIS (1865-1911)
GLASGOW SCHOOL TWO-FOLD SCREEN, CIRCA 1900
repoussé-decorated brass, oak frame
£1,200-1,800
SCOTTISH
GROUP OF GLASGOW STYLE EMBROIDERY, CIRCA 1905
comprising a PELMET, coloured threads and braid on a linen ground, lined, 15cm x 286cm; another PELMET, coloured silks on a satinised cotton ground, 22cm x 127cm; a TEA COSY, coloured threads on a linen ground, 25cm x 36cm; another TEA COSY, coloured silks on a satinised cotton ground, 25cm 38cm; a TEA COSY COVER, coloured threads on a linen ground, 29cm x 40cm; a CUSHION COVER, coloured silks on a linen ground, 40cm square; another CUSHION COVER, coloured silks on a ribbed cotton ground, 43cm x 47cm; and a TABLE RUNNER, coloured silks with applique on a linen ground, 24cm x 100cm (8)
£400-600
304
SCOTTISH PAIR OF GLASGOW SCHOOL EMBROIDERED PANELS, CIRCA 1900 coloured silks on a hessian ground, framed (2)
120cm x 43.5cm (frame size 129cm x 52cm)
£300-500
305
ANN MACBETH (1875-1948)
EMBROIDERED PANEL, CIRCA 1930 coloured silks on an unbleached linen ground 27cm x 49cm
Provenance: Purchased from the artist and by descent £600-800
306
ANN MACBETH (1875-1948)
COTTAGE INTERIOR, 1919
watercolour, signed and dated lower right
ANN MACBETH/ 2.1.1919; and a companion by the same hand, signed and dated lower right AMCB/ 25.4.1919 (2) each 22cm x 32cm (frame size 40cm x 51cm)
Provenance: Commissioned from the artist and by descent £600-800
307
ELIZABETH MARY WATT (1886-1954)
GROUP OF TEAWARES, CIRCA 1930 hand painted porcelain, comprising a MILK JUG, 9cm high; THREE PLATES, 21.6cm diameter; and a SUGAR BOWL, 12cm diameter (5)
£300-500
308
SCOTTISH GLASGOW SCHOOL DOOR PLATE AND HANDLE, CIRCA 1900
repoussé-decorated brass 24cm wide, 53cm high
£300-500
309
ATTRIBUTED TO MARGARET GILMOUR (1860-1942)
GLASGOW SCHOOL TRAY, CIRCA 1910 brass and enamel
73cm wide, 41cm high
£600-800
310
ATTRIBUTED TO MARGARET GILMOUR (1860-1942)
GLASGOW SCHOOL COAL BOX, CIRCA 1910
repoussé-decorated tin, with inset enamel roundel
35.5cm wide, 41cm high, 35.5cm deep
£1,200-1,800
311 §
STUART SCOTT SOMERVILLE (1908-1983)
FOUR-FOLD SCREEN, DATED 1926 oil on canvas, stretched on wood frame, signed lower right STUART SCOTT SOMERVILLE 1926
each fold 183.5cm x 55cm
£1,500-2,000
313
MANNER OF ALEXANDER RITCHIE, IONA
ARTS & CRAFTS HANGING BOOKSHELVES, CIRCA 1920 carved oak
58cm wide, 68cm high, 16cm deep
£250-350
312
ATTRIBUTED TO THOMAS HADDEN (1871-1940), POSSIBLY TO DESIGNS BY SIR ROBERT LORIMER
PAIR OF ARTS & CRAFTS TORCHERES, CIRCA 1910 patinated wrought iron (2) 131cm and 182cm high
Provenance: St. Peters Church, Morningside
Regarded as amongst Sir Robert Lorimer’s most innovative architectural designs, St Peter’s, Morningside was built in two stages from 1906-7, with the nave completed from 1928-9. The church was designed by Lorimer in an Italianate style and includes stained glass by Morris and Gertrude A. Meredith Williams, Nina Millar Davidson, and Pierre Fourmaintraux, a fine Arts & Crafts lead font by G. P Bankart and metalwork by Thomas Haddon.
£400-600
315 §
ALEXANDER PROUDFOOT (1878-1957)
BUST OF A MAIDEN, 1927
marble, signed and dated A. PROUDFOOT 1927
48cm high
Provenance: The Glasgow Art Club
Private Collection, London
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
ALEXANDER RITCHIE (1856-1941)
RARE CELTIC REVIVAL COFFER, CIRCA 1920 carved walnut, set with repoussé-decorated
This scarce box is carved to the top with the effigy of a clan chief or warrior, taken as inspiration from the grave-slabs on Iona. A group of three carved shields signed by Ritchie and dated 1901 are carved with related figures.
£1,000-1,500
317
EDUARD STELLMACHER (1868-1932)
AMPHORA OCTOPUS AND CRAB VASE, 1900
glazed earthenware with gilt, 1900
Paris Expo RSTK mark, impressed
AMPHORA/ AUSTRIA/ 4103
50cm high
£3,000-5,000
318
EDUARD STELLMACHER (1868-1932)
AMPHORA ‘PALLAS ATHENA’ WALL MASK, CIRCA 1900
painted and glazed porcelain, with gilt embellishment, signed ED. STELLMACHER, impressed AMPHORA (twice), with crown mark, 8023
26cm high
Literature: Scott R.L. Ceramics from the House of Amphora 1890-1915, Ohio 2004, p. 55 illus.
£2,000-3,000
319
EDUARD STELLMACHER (1868-1932)
AMPHORA ‘FISH’ BOWL, CIRCA 1905
painted, glazed and gilded earthenware, stamped AMPHORA/ AUSTRIA/ 4555/ 52
25cm diameter
Literature: Vreeland B. Monsters and MaidensAmphora Pottery of the Art Nouveau Era, Fledermaus Press 2003, p. 331 illus.
£800-1,200
320
AMPHORA
JUGENDSTIL VASE, CIRCA 1900
iridescent glazed earthenware, with gilt embellishments, impressed AMPHORA/ AUSTRIA/ 3513, 14.5cm high; together with another AMPHORA VASE, painted and gilded porcelain, printed rifles mark, impressed 501, 18.5cm high (2)
£300-500
321
AMPHORA
PAIR OF JUGENDSTIL ‘SEAHORSE’ VASES, CIRCA 1905
painted, glazed and gilded porcelain, stamped maker’s mark 02084 (2)
31cm high
£1,000-1,500
EDUARD STELLMACHER (1868-1932)
AMPHORA ‘CALLA LILY’ VASE, CIRCA 1896 painted, glazed and gilded earthenware, stamped IMPERIAL-AMPHORA-TURN/
EDUARD STELLMACHER (1868-1932)
AMPHORA ‘IRIS NYMPH’ VASE, CIRCA 1900 painted and glazed earthenware, impressed
pewter and glass, stamped maker’s marks, 38.5cm high; together with a WMF TWIN-HANDLED VASE, peter and etched glass, 46.5cm high (2)
38.5cm high
£250-350
327
WMF (WURTTEMBERGISCHE METALLWARENFABRIK)
JUGENDSTIL CENTREPIECE, CIRCA 1900
silver plated white metal, with cut glass liner 54cm wide
£300-500
WMF (WURTTEMBERGISCHE METALLWARENFABRIK)
JUGENDSTIL COMPORT, CIRCA 1900
plated metal, stamped maker’s marks , cast no. 246
21.5cm high
£300-500
328
WMF (WURTTEMBERGISCHE
METALLWARENFABRIK)
JUGENDSTIL COMPORT, CIRCA 1900
silver plated white metal, with cut glass liner, cast mark 331
45.5cm across handles
£250-350
330
WMF (WURTTEMBERGISCHE METALLWARENFABRIK)
JUGENDSTIL CLARET JUG, CIRCA 1900
pewter and glass, stamped maker’s marks
41.5cm high
£300-500
WMF (WURTTEMBERGISCHE METALLWARENFABRIK)
JUGENDSTIL STRUT MIRROR, CIRCA 1906 plated metal, bevelled mirror plate, 52cm high; together with another JUGENDSTIL STRUT MIRROR, pewter, with bevelled mirror plate, 52cm high (2)
331
WMF (WURTTEMBERGISCHE
JUGENDSTIL TABLE LAMP, CIRCA 1900
silvered metal, with associated Loetz glass shade, 44cm high; together with TWO FURTHER TABLE LAMPS, silvered metal with associated glass shades, 43cm and 36cm high (3)
WMF (WURTTEMBERGISCHE METALLWARENFABRIK)
JUGENDSTIL JARDINIÈRE, CIRCA 1900
silver plated white metal, with liner 27.5cm high
£300-500
FRIEDRICH ADLER (1878-1942) FOR WALTER SCHERF & CO.
‘OSIRIS’ JUGENDSTIL CLOCK, CIRCA 1900
pewter, with (later) painted dial, stamped OSIRIS/ 761 36cm high; together with a PAIR OF KAYSERZINN CANDLESTICKS, pewter, designed by Hugo Leven, stamped maker’s marks, 28cm high (3)
£400-600
334
BITTER & GOBBERS, KREFELD
JUGENDSTIL ‘IMPERIAL ZINN’ TABLE LAMP, CIRCA 1900
silvered metal, with associated iridescent glass shade, cast B&G/ IMPERIAL, 50cm high; together with a MIRROR, silvered metal, mirror plate, 54cm high (2)
£400-600
335
MORITZ HACKER (1849-1932)
JUGENDSTIL TABLE LAMP, CIRCA 1900
silvered pewter with shell shade
37.5cm high
£600-800
336
WMF (WURTTEMBERGISCHE METALLWARENFABRIK)
JUGENDSTIL TWIN-HANDLED VASE, CIRCA 1900
white metal, traces of silver plate, 23.5cm high; FIGURAL VASE, silver plated white metal, 36.5cm high; together with a FIGURAL SERVING DISH, white metal, traces of silver plate, 26cm high (3)
£500-800
337
MORITZ HACKER (1849-1932)
JUGENDSTIL TABLE LAMP, CIRCA 1900 plated metal, glass shade, stamped maker’s mark MH20
EMMANUEL VILLANIS (1858-1914)
ART NOUVEAU BUST OF A GIRL, CIRCA 1910 patinated bronze, on a marble base, signed in the bronze VILLANIS, 21cm high; together with ‘FEMME DES FLEURS’, CIRCA 1910 BY HENRI GODET (1863-1937), bronze, on a marble base, signed in the bronze HR. GODET/ MED D’OR, 23cm high (2) 23cm high £400-600
340
MULLER FRÈRES
CEILING LIGHT, CIRCA 1925
acid-etched cameo glass, depicting fruiting vines, wrought metal, cameo mark
MULLER FRÈS./ LUNÉVILLE
plafonnier diameter 45.5cm, total diameter 75cm, height to ceiling rose 50cm
£1,500-2,000
341
DAUM FRÈRES
PLAFONNIER, CIRCA 1920
mottled glass, cased and overlaid and acid-etched with leafy branches of Crested Cockscomb, signed in cameo
DAUM NANCY, with Cross of Lorraine 45cm diameter, 13cm high
£2,000-3,000
342
MULLER FRÈRES
CEILING LIGHT, CIRCA 1925
frosted and coloured glass, wrought iron, acid-stencilled MULLER FRÈS./ LUNÉVILLE
62cm diameter
£600-800
343
DAUM FRÈRES
VASE, CIRCA 1910
cameo and etched glass, on a martelé ground, etched mark DAUM NANCY and Cross of Lorraine
13cm high
£800-1,200
344
DAUM FRÈRES
PAIR OF WALL LIGHTS, CIRCA 1920
cameo glass, pressed and wrought steel (2) shades, 14cm high, 8cm diameter, the whole 27cm high, 20cm deep
£200-300
DAUM FRÈRES
WINTER LANDSCAPE VASE, CIRCA 1910 acid-etched and enamelled glass, painted mark DAUM NANCY with Cross of
GALLÉ
ART NOUVEAU PERFUME BURNER, CIRCA 1920
SCENT BOTTLE, CIRCA 1905
cased, overlaid and acid-etched mottled glass, acid etched to body DAUM/ NANCY with Cross of Lorraine
Christie’s London, Twentieth Century , 13th May 1998, Lot 269
cameo glass, on gilt metal mount fitted with bulb socket and frosted glass perfume sleeve, signed in cameo GALLÉ 13cm high
£500-700
patinated bronze, signed in the bronze A. FORETAY
349
CHARLES SCHNEIDER (1881-1953) FOR SCHNEIDER GLASSWORKS ‘PERLIÈRES’ LE VERRE FRANCAIS VASE, CIRCA 1925
acid-etched glass, signed LE VERRE FRANCAIS
25cm high
£700-1,000
350
CLEMENT MASSIER (1844-1917)
ART NOUVEAU JARDINIÈRE, 1900
lustre-glazed earthenware, incised ans painted to base
M.C.M./ GOLFE JUAN/ 1900/ AM
19cm high, 29cm diameter
£600-800
CHARLES SCHNEIDER (1881-1953) FOR SCHNEIDER GLASSWORKS
‘LE VERRE FRANCAIS’ HANGING
LIGHT SHADE, CIRCA 1920
cameo glass, with patinated wrought iron fittings, etched to shade LE VERRE FRANCAIS
shade 21cm high
£400-600
352
CHARLES SCHNEIDER (1881-1953) FOR SCHNEIDER GLASSWORKS
‘LE VERRE FRANCAIS’ NIGHT LIGHT, CIRCA 1920
acid-etched cameo glass, painted iron base, the glass etched LE VERRE FRANCAIS
16cm high
(1846-1904) FOR GALLÉ-REINEMER
ÉMILE GALLÉ
RUDOLF
MARSCHALL (1873–1967)
JUGENDSTIL TABLE LAMP, CIRCA 1900
patinated bronze, with original shade, signed in the bronze PROF. RUDOLF MARSCHALL
355
ART DECO
TWO FIGURAL
LAMPS, CIRCA 1930
patinated white metal, marble bases and glass shades (2)
63cm and 70cm high
£300-500
356
AFTER LOUISALBERT CARVIN
ART DECO SEAL
LAMP, CIRCA 1930
patinated metal, glass on a marble base
31cm high
£300-500
357
ROLAND PARIS (1894-1945)
‘POUPÉES’, SET OF FOUR PRINTS, CIRCA 1925
lithographs, framed (4)
31cm x 35cm (frame size 43cm x 34cm)
£200-300
358
MAX LE VERRIER (1891-1973)
‘DANCER’ TABLE LAMP, CIRCA 1930
patinated bronze, frosted glass, marble, unsigned 61cm high
£600-800
359 § ANDRÉ LAMBERT (1884-1967)
SEVEN DEADLY SINS, 1918
aquatint etchings, each signed and dated 1918, comprising; LA PARESSE; LA GOURMANDISE; L’ORGUEIL; L’ENVIE; LA LUXURE; L’AVARICE
framed; LA COLÉRE, unframed (7)
22cm x 16cm (frame size 34cm x 28cm)
£200-400
360
ARMAND LÉMO (1881-1936)
CHASSEURS À CHEVAL, CIRCA 1930
bronze, on marble plinth, signed in the bronze LÉMO
71.5cm wide, 62cm high, 16cm deep
£3,000-5,000
ART DECO FIGURE OF A DANCER, CIRCA 1925 patinated bronze, raised on an onyx and black slate plinth, signed in the bronze LIMOUSIN bronze 35cm high (51cm high including plinth)
364
EUGÈNE BAUDIN (1853-1918)
ART NOUVEAU VASE, CIRCA 1900
glazed earthenware, with giltmetal mounts, possibly by Lucien Galliard (1861-1942), incised BAUDIN, stamped 4618
16.4cm high
£300-500
365 Y §
RAYMONDE GUERBE
(ALIAS ANDREÉ GUERVAL) (1894-1995)
‘CHRYSIS’, CIRCA 1925
silvered and patinated bronze and ivory, on an onyx base, etched to the base A. GUERVAL
bronze 29.5cm, with plinth 33.5cm high
Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference K18XJ669.
£600-800
366
367
THEOPHILE FRANCOIS SOMME (1871-1952)
BUST OF AN ART NOUVEAU MAIDEN, CIRCA 1900
gilt bronze, set with paste ‘jewel’, raised on associated marble plinth bronze 15cm high (with plinth 25cm high)
£300-500
CONTINENTAL ART NOUVEAU STRUT MIRROR, CIRCA 1910 gilt bronze, bevelled mirror plate 46cm x 29cm
£700-1,000
368
CAMILLE FAURÉ (1872-1944)
ART DECO VASE, CIRCA 1920 enamel on brass, slivered metal, marble plinth, signed FAURE LIMOGES
34.5cm high
£500-700
369
ART DECO THREE FIGURAL TABLE LAMPS, CIRCA 1930 patinated spelter, on marble bases, frosted glass shades (3) 52cm high, 68cm high and 60cm high
£400-600
370
ATTRIBUTED TO JAN EISENLOEFFEL (1876-1957)
OIL LAMP, CIRCA 1910
brass and copper, with modern shade, converted to electricity
41cm high to base of fitting
£500-800
371
GUSTAVE SERRURIER-BOVY (1858–1910)
TRAY, CIRCA 1900
copper and brass
53cm long, 26.5cm deep
£300-500
372
JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE
INKWELL, CIRCA 1905
silvered brass, stamped monogram JH, WIENER WERKSTÄTTE and the rose trade mark
11.5cm high
£3,000-5,000
373
JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE
TWO MOSER BOWLS, CIRCA 1920
blue glass, engraved maker’s mark to one bowl (2)
the larger 15.5cm diameter, 11.5cm high, the smaller 14.3cm diameter, 11.5cm high
£500-700
374
WIENER KUNSTGEWERBESCHULE
BOX, CIRCA 1910
embossed and incised brass, with wood-lined interior
11.2cm wide, 6cm high, 9cm deep
£300-500
375
ATTRIBUTED TO THEODOR FAHRNER, PFORZHEIM
JUGENSTIL BROOCH, CIRCA 1900 enamel, garnet, dyed green chalcedony, silver, stamped DEPOSE/ 900
2.5cm x 3.2cm
Literature: Becker, V. Art Nouveau Jewelry, Thames & Hudson 1998, p.117, pl.169 where a similar brooch is illustrated.
£300-500
376
HAGENAUER WORKSHOPS
ACCORDIAN PLAYER, CIRCA 1930
nickel plated brass and ebony, 19.5cm high, 14cm wide, together with HAGENAUER WORKSHOPS SINGING SAILOR FIGURE, nickel plated brass and ebony, later engraved to base R.N. LEPANTO, 11.5cm high, each stamped WHW (Werkstätte Hagenauer Wien) (2)
£1,000-1,500
377
ATTRIBUTED TO OTTO THAM (1860-C.1905) FOR FRITZ HECKERT ‘CHANGEANT’ VASE, CIRCA 1900 iridescent glass
22cm high
£300-500
ATTRIBUTED TO MEYLE & MAYER, PFORZHEIM
JUGENDSTIL DRAGONFLY BROOCH, CIRCA 1900
silver with enamel and freshwater pearl, stamped DEPOSE, with stamped maker’s mark
5cm x 5cm
Literature: Falk F. Art Nouveau Jewellery from Pforzheim, Arnoldsche 2009, p267, where this design is illustrated
£400-600
379
LOETZ, AUSTRIA
SUCCESSIONIST ‘CRETE’ VASE, CIRCA 1900
iridescent papillon glass, with silver overlay 17.5cm high
£300-500
380 ‡
JACQUES ADNET (1900-1984)
TANTALUS, CIRCA 1935
chromium-plated metal frame, mirrored base, glass carafes, original key
20cm wide, 25.5 high, 10.5 deep
£300-500
381
382
GOLDSCHEIDER
RUDOLF PODANY (1876-1963) FOR KERAMOS, VIENNA
ART DECO WALL MASK, CIRCA 1925 painted and glazed earthenware, stamped factory mark, impressed 940/ 8/ D3 signed PODANY, 20cm wide, 23cm high, 8cm deep, together with; a KERAMOS, VIENNA, WALL MASK, CIRCA 1925, painted and glazed earthenware, impressed 944/8/D2, 22cm wide, 22cm high, 7cm deep (2)
£400-600
ART DECO LAMP, CIRCA 1925 glazed earthenware, printed and impressed maker’s marks
GOLDSCHEIDER/ WIEN/ 5366
35.3cm high to top of fitting
£300-500
383
JOSEF LORENZL (1892-1950) FOR KERAMOS
ART DECO PIERRETTE TABLE LAMP, CIRCA 1925
glazed earthenware with chromium plated fitting, printed and impressed KERAMOS/ 2829, incised top base LORENZL
27.5cm high to fitting
£300-500
386
ARMAND GODARD FOR ETLING EDITIONS, PARIS
SNAKE CHARMER NIGHT
LIGHT, CIRCA 1925
384
RUDOLF KNORLEIN (1902-1982) FOR GOLDSCHEIDER
‘EVE’, CIRCA 1930
painted and glazed earthenware, 20cm high; together with an ART DECO WALL MASK, by the same artist, painted and glazed earthenware, painted maker’s marks, impressed 6427, bears original paper maker’s and retailer’s labels, 16cm wide, 25cm high, 10cm deep (2)
£400-600
385
CONSTANTIN HOLZER-DEFANTI (1888-1951) FOR ROSENTHAL PIERROT AND PIERRETTE, CIRCA 1922
painted, glazed and gilded earthenware, printed maker’s mark
28.5cm high
£400-600
painted and glazed porcelain, painted maker’s mark EDITIONS
glazed ceramic, stamped maker’s marks, comprising; ‘PARISIENNE’, impressed mark 7390/ 23/14, 31.5cm high; LADY WITH A MUFF, impressed mark 6328/ 208/ 6, 30.5cm high; LADY WITH A HAT, impressed mark 6454/ 210/ 6, 32cm high (3)
£500-700
390 ROYAL DUX
THREE ART DECO FIGURE GROUPS, CIRCA 1930 comprising TWO DANCERS, no. 2993, 31cm high; SPANISH DANCER, no. 3058, 36.5cm high; together with COUPLE
DANCING, no. 3240, 37cm high, each with applied triangle mark, printed and impressed maker’s marks (3)
The figures in no. 2993 are possibly modelled as Rudolph Valentino and Vilma Banky in the 1926 movie ‘The Son of the Sheikh’
£400-600
391
JOSEF LORENZL (1892-1950) FOR GOLDSCHEIDER
ART DECO FIGURE, CIRCA 1930
painted and glazed earthenware, stamped GOLDSCHEIDER/ WIEN/ LORENZL/ 7042
28.5cm high
£400-600
392
STEFAN DAKON (1904–1992) FOR GOLDSCHEIDER
ART DECO FIGURE OF A DANCER, CIRCA 1930
painted and glazed earthenware, stamped DAKON/ GOLDSCHEIDER/ WIEN/ 6936, 40.5cm high; and another GOLDSCHIDER ART DECO FIGURE, stamped to base 6063, 38cm high (2)
£400-600
393
STEFAN DAKON (1904–1992) FOR GOLDSCHEIDER
ART DECO FIGURE OF A DANCER, CIRCA 1939 painted and glazed earthenware, impressed DAKON/ GOLDSCHEIDER/ WIEN/ 8126, 39.5cm high; together with another GOLDSCHEIDER
ART DECO FIGURE, painted and glazed earthenware, bears paper label GOLDSCHEIDER/ WIEN, 39.5cm high (2)
£400-600
394
JOSEF LORENZL (1892-1950) FOR GOLDSCHEIDER, VIENNA RUSSIAN COSSACK, CIRCA 1930
395 HELEN KÖNIG SCAVINI (1886-1974) FOR LENCI, ITALY ART DECO WALL MASK, 1938 ceramic, painted and impressed marks PE/ LENCI/ MADE IN ITALY/ TORINO/ 1938, 561, bears original paper label 25cm wide, 30cm high, 13cm deep
£300-500
396
ATTRIBUTED TO JOSEF LORENZL (18921950) FOR GOLDSCHEIDER, VIENNA SPANISH GUITARIST, CIRCA 1925 painted and glazed ceramic, stamped maker’s marks, impressed W./ 5548/ 38/ 15, 33cm high; together with an ART DECO ROSENTHAL FIGURE OF A DANCER, painted and glazed porcelain, printed marks, 49cm high (2)
£400-600
397
CONSTANTIN HOLZERDEFANTI (1881-1951) FOR ROSENTHAL
‘KOREAN DANCER’, DESIGNED 1919 painted, glazed and gilded porcelain, signed on the base C. HOLZER-DEFANTI, painted maker’s marks
40.5cm high
£600-800
398
ATTRIBUTED TO BENNO GEIGER (1903-1979) FOR GOLDSCHEIDER
polychrome decorated pottery, painted mark LENCI/ TORINO/ G-1937-XV/ MADE IN ITALY, 28cm high; together with a LENCI, BUST OF THE MADONNA, painted and glazed ceramic, marked 14.5cm high (2)
£300-500
400
MARIO BOTTA (B. 1943) FOR VENINI ‘RETICELLO’ LIGHT, CIRCA 1970
glass and chromed steel
38cm high excluding chain
£400-600
401
HELEN KÖNIG SCAVINI (1886-1974) FOR LENCI
‘COLPO DI VENTO’, 1932
polychrome earthenware, painted mark to the base LENCI/ MADE IN ITALY/ TORINO/ X-XIII/ X
37cm high
£1,000-1,500
402
HELEN KÖNIG SCAVINI (1886-1974) FOR LENCI
‘NELLA SEDUTA’, CIRCA 1935
painted and glazed ceramic, painted mark
LENCI/ MADE IN ITALY/ 4. XII
24cm high
£2,000-3,000
403
404
LUDOVICA SERAFINI (B. 1961) AND ROBERTO PALOMBA (B.1963) FOR FOSCARINI ‘GREGG’ FLOOR LAMP, CONTEMPOARY
powder-coated metal, with frosted glass shade
182cm high
£300-500
AFTER ACHILLE CASTIGLIONI
405
BAROVIER & TOSO FLOOR LAMP, CIRCA 1945
gilt flecked glass, brass, with later pink shade
160cm high to base of fitting
£800-1,200
406
GINO SARFATTI (1912-1985) FOR FLOS
2097/30 CHANDELIER, DESIGNED 1958, LATER MANUFACTURE
brass finish, black plastic
90cm diameter, 72cm high
£400-600
407
HENNING KOPPEL (1918-1981)
FOR GEORG JENSEN
STAR PENDANT, CIRCA 1970
silver, stamped GEORG JENSEN/ STERLING DENMARK/ 368, on associated silver chain, stamped 925 pendant 6cm square
£200-300
408
ARNO MALINOWSKI (1899–1976) FOR GEORG JENSEN
‘DOE AND SQUIRREL’ BROOCH, CIRCA 1960 silver, stamped GEORGE JENSEN/ STERLING DENMARK/ 318, import marks for London 1963, in original case
4cm square
£250-350
409
JUST ANDERSEN (1884-1943)
ART DECO VASE, CIRCA 1930 patinated bronze, stamped maker’s mark B 107
20cm high
£200-300
410
GIUSTO TOSA (B. 1939) FOR FRATELLI TOSO MURANO CHANDELIER, CONTEMPORARY glass, chromed steel 80cm diameter, 120cm high £1,500-2,500
412
FREDERICK RHEAD (1880–1942) FOR WILEMAN & CO
GROUP OF FOLEY ‘INTARSIO’ WARES, CIRCA 1900 comprising a VASE, no. 3431, 14.5cm high; a TWINHANDLED VASE, no. 3169, 11.5cm high; together with a TAZZA, no. 3388, 18cm high, each with painted and printed maker’s marks (3)
£400-600
411
FREDERICK ALFRED RHEAD (1856–1933) FOR WILEMAN & CO.
FOLEY ‘INTARSIO’ TABLE CLOCK, CIRCA 1900 printed and painted earthenware, bears inscription
CARPE DIEM/ DIES NOX, printed and painted maker’s marks, Rd. no. 342574
29.5cm high
£400-600
413
FREDERICK RHEAD (1880–1942) FOR WILEMAN & CO
GROUP OF FOLEY ‘INTARSIO’ WARES, CIRCA 1900 comprising a TEAPOT & COVER, 12cm high; a TWIN -HANDLED TAZZA, no. 3026, 13cm high; a VASE, with four handles, no. 3003, 21.5cm high; together with a TWIN-HANDLED VASE, no. 3387, 18.5cm high, each with printed and painted maker’s marks (4)
£300-500
Louis Rhead was an English-born illustrator, author and graphic designer who emigrated to America at the age of twenty-four. With his father a highly respected gilder and ceramicist, Rhead spent much of his childhood attending his father’s art classes and working in the Staffordshire art potteries along with his siblings. Demonstrating an exceptional talent, his father sent him to Paris for three years to continue his studies, before returning to an art scholarship at the National Art Training School, now Royal College of Art in London. Shortly after graduation, Rhead was offered a position as Art Director for the U.S. publishing firm of D. Appleton in New York and emigrated to the US. In the 1890s Rhead rapidly gained popularity as a poster artist. His work made a regular appearance in Century Magazine and Harper’s Bazaar, and in 1895 he won a Gold Medal for Best American Poster Design at the first International Poster Show in Boston. By the early 1900s poster art was in decline and Rhead turned his attention to children’s book illustrations, producing designs for treasured classics such as The Swiss Family Robinson, Treasure Island, Kidnapped and Robin Hood.
415
COMPTON POTTER’S GUILD
ARTS & CRAFTS PLAQUE, CIRCA 1920
moulded pottery, painted in tempera, bears paper label 21cm x 12.3cm
£300-500
416 §
ELYSE ASHE LORD (1900-1971)
THREE COLOURED ETCHINGS, CIRCA 1930 hand-coloured etchings, framed, comprising; ‘SWALLOWS AND PRUNUS’, signed and numbered 52/75, 31.8cm x 28cm (frame size 47.5cm x 42cm); ‘PHEASANT’, signed and numbered 29/75, 31cm x 30cm (frame size 47.5cm x 44cm); ‘BASSOONS’, signed and numbered 25/75, 33.5cm x 32cm (frame size 53.2cm x 47.5cm) (3)
Provenance: Aitken Dott & Son (The Scottish Gallery) 26 Castle Street, Edinburgh
£200-400
414
LOUIS RHEAD (1857–1926)
‘THE SNAKE QUEEN’ pen and ink, signed lower right LOUIS RHEAD, framed 42.5cm x 33cm (frame size 65cm x 53.5cm)
£500-800
417
ERIC GILL (1882-1940)
ST CHRISTOPHER MEDALLION, CIRCA 1930
engraved white metal, white metal chain pendant 2.5cm wide, 3.5cm high
Provenance: Given by the artist to his friend Desmond Flower and thence by descent until purchased by the vendor
This lot comes together with a greetings card from Desmond Flower’s widow Sophie, gifting the pendant.
£400-600
419
CHARLES VYSE (1882-1971)
‘MADONNA OF THE RACECOURSE’, CHELSEA POTTERY FIGURE, 1927
painted and glazed pottery, painted marks under base CV/ CHELSEA/ 1927
26cm high
£600-800
418
CHARLES VYSE (1882-1971)
‘THE PEDLAR’, CHELSEA POTTERY FIGURE, 1926
painted and glazed pottery, CV/ CHELSEA/ 1926
27.5cm high
£800-1,200
420
DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD
FAIRYLAND FLAME-LUSTRE VASE, CIRCA 1925
lustre-glazed earthenware, ‘Daventry’ pattern, overlaid with gilt, printed factory mark WEDGWOOD/ MADE IN ENGLAND, painted Z5413
21.4cm high
£800-1,200
421
DAISY MAKEIG-JONES (1881–1945) FOR WEDGWOOD FAIRYLAND FLAME-LUSTRE PUNCH BOWL, CIRCA 1925
lustre-glazed earthenware overlaid with gilt, the interior decorated with ‘Woodland Elves V’ and ‘Woodland Bridge’ patterns, the exterior with ‘Poplar Trees’ pattern, printed factory mark WEDGWOOD/ MADE IN ENGLAND, painted no. Z5360
24cm diameter, 12.5cm high
Literature: des Fontaines U. Wedgwood Fairyland Lustre, Born-Hawes, New York 1975, p.105, pl.30 where the design for ‘Poplar Trees’ is illustrated.
£2,500-3,000
422
PAUL NASH (1889-1946) FOR STUART & SONS, STOURBRIDGE ‘RAIN’ DECANTER SET, DESIGNED 1934
wheel-cut glass, etched DESIGNED BY PAUL NASH/ STUART ENGLAND comprising; a DECANTER, 28cm high; and FOUR WINE GLASSES, 15.5cm high (5) £400-600
423
HEAL & SON
MATCHED PAIR OF BEDSIDE CABINETS, CIRCA 1910
oak, with brass fittings (2)
37.5cm wide, 76cm high, 34cm deep
£700-1,000
425
ATTRIBUTED TO HEAL & SON
WRITING TABLE, CIRCA 1920
424
AMBROSE HEAL (1872-1959) FOR HEAL & SON
DRESSING TABLE & STOOL, CIRCA 1910
unpolished chestnut, the stool with later-upholstered seat pad, model 392 (2)
Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.173 where this lot is illustrated along with the original drawing
£600-800
oak, with brass fittings and inset leather writing surface
84cm wide, 76.5cm high, 51cm deep
£300-500
427
HEAL & SON
TALLBOY, CIRCA 1930
stained oak, maker’s ivorine label to top drawer
59.3cm wide, 109.5cm high, 48cm deep
£600-800
426
HEAL & SON
BUREAU BOOKCASE, CIRCA 1918
mahogany and ebonised wood
88.5cm wide, 197cm high, 50cm deep
£400-600
428 AFTER E. WHATLEY
EMBROIDERED PANEL, CIRCA 1935
coloured wools and silks, signed in the panel JMR, framed 71cm x 46cm (frame size 79.5cm x 54cm)
This embroidery is based on WINTER TOURS BY P&O poster, printed by Bull, Austin & Co., Ltd., London circa 1930.
£300-500
429
CLARICE CLIFF (1899-1972)
‘DELICIA PANSIES’ VASE, CIRCA 1932
painted and glazed earthenware, printed maker’s mark, painted PANSIES 13.4cm high
£250-350
430
GEORGE CARTLIDGE (1868-1961) FOR SAMPSON HANCOCK & SONS
‘MORRIS WARE’ VASE, CIRCA 1920
painted and glazed earthenware, stamped maker’s mark and artist’s signature, C9-1; together with a BOWL, C12-17, 22cm diameter; a BOWL, C13-3, 23cm diameter (3)
£500-700
431
HEAL & SON
DINING TABLE, CIRCA 1920
limed oak 122cm diameter, 76.5cm high
£400-600
432
HEAL & SON
TALLBOY CHEST, CIRCA 1910
oak, bears ivorine maker’s label to top drawer
114cm wide, 154.5cm high, 45.7cm deep
£2,000-3,000
433
KESWICK SCHOOL OF INDUSTRIAL ARTS
WALL MIRROR, CIRCA 1920
embossed brass with bevelled mirror plate, stamped maker’s mark K.S.I.A. 43cm diameter
£200-300
434
MANNER OF HEAL & SON
ARTS & CRAFTS CENTRE TABLE, CIRCA 1920
106.5cm diameter, 73cm high
£700-1,000
oak
436
JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930
glass, model JA V
23.5cm high
£200-300
435
JOHN MONCRIEFF LTD., PERTH THREE ‘MONART’ VASES, CIRCA 1930
glass, comprising; a VASE, model FA VI, 23.5cm high; another VASE, model DD VII, 16cm high; together with a third VASE, partial maker’s label, model SA IX, 12.5cm high (3)
£500-700
437
JOHN MONCRIEFF LTD., PERTH GROUP OF THREE ‘MONART’ VESSELS, CIRCA 1930
glass, comprising; a VASE, maker’s label, model WK VIII, 15.5cm high; another VASE, model BV, 25.5cm high; together with a BOWL, model ZA XI, 11.5cm diameter (3)
£250-350
438
JOHN MONCRIEFF LTD., PERTH TWO ‘MONART’ HANGING LAMPS, CIRCA 1930
glass, comprising; a MUSHROOM LAMP SHADE, adapted to a hanging lamp, with original chains, model P23, 22cm diameter, approx. 50cm high to ceiling rose; an MUSHROOM LAMP SHADE, adapted to a hanging lamp, 29cm diameter (2)
£400-600
439
JOHN MONCRIEFF LTD., PERTH ‘MONART’ LAMP, 1930S
glass, model P23, bears maker’s label 32cm high
£500-700
441
JOHN MONCRIEFF LTD., PERTH
TWO RARE ‘MONART’ POSY BOWLS, 1920S
glass, comprising; a LARGE BOWL, maker’s label, model QH VII, 13cm high; together with a SMALLER BOWL, model QH VI, 9.5cm high (2)
£300-500
440
PAUL YSART FOR JOHN MONCRIEFF LTD., PERTH
TWO PAPERWEIGHTS, CIRCA 1930
glass, comprising; a ‘TRIPLE FLOWER’ PAPERWEIGHT, signed PY in the design; a ‘MILLEFIORI’ PAPERWEIGHT, paper maker’s label (2) each 9cm diameter
Literature: Andrews, F.E, Turner, Ian et al Ysart Glass, London 1990, p.131, pl.147, 148, for paperweights of similar design.
£200-400
442
JOHN MONCRIEFF LTD., PERTH COLLECTION OF ‘MONART’ WARES, CIRCA 1930
glass, comprising; a VASE, maker’s label, model OF VIII, 18cm high; another VASE, model OJ IX, 12cm high; a PAIR OF SIDE PLATES, model YE IX, 19cm diameter; a PAIR OF DESSERT BOWLS, one with maker’s label, model JC X, 12.5cm diameter; a SMALL BOWL, 15cm diameter; together with a MINIATURE VASE, 9cm high (8)
£300-500
443
JOHN MONCRIEFF LTD., PERTH
THREE ‘MONART’ VESSELS, CIRCA 1930
glass, comprising; a VASE, model TE, 16cm high; 13.5cm high; a BOWL, model O VI, 23.5cm diameter; together with another VASE, 13cm high (3)
£100-200
444
JOHN MONCRIEFF LTD., PERTH
‘MONART’ VASE, CIRCA 1930
glass with mica inclusions, model MF V
25cm high
£300-500
446
445
JOHN MONCRIEFF LTD., PERTH GROUP OF THREE ‘MONART’ VESSELS, CIRCA 1930 glass, comprising; a VASE, model RB V, maker’s label, 29.5cm high; a BOWL, model UB VII, 21cm diameter; together with another BOWL, model ZA X, 12.5cm diameter (3)
£200-300
JOHN MONCRIEFF LTD., PERTH
‘MONART’ BOWL, CIRCA 1930
stoneware glass, model X IV
25cm diameter
£300-500
447
JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930
glass
19.5cm high
£300-500
448
JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930
stoneware glass, model FA VI
23.5cm high
£300-500
449
JOHN MONCRIEFF LTD., PERTH GROUP OF THREE ‘MONART’ VESSELS, CIRCA 1930
glass, comprising; a VASE, with aventurine inclusions partial maker’s label, model OJ VI, 20cm high; a LARGE VASE, 29.5cm high; together with a BOWL, maker’s label, model UB VI, 24cm diameter (3)
£200-300
451
JOHN MONCRIEFF LTD., PERTH ‘MONART’ CLOISONNÉ VASE, CIRCA 1930 glass
450
JOHN MONCRIEFF LTD., PERTH LARGE ‘MONART’ VASE, CIRCA 1930
glass, bears original paper label
26cm high
£400-600
452
JOHN MONCRIEFF LTD., PERTH ‘MONART’ CLOISONNÉ VASE, CIRCA 1930
glass, partial maker’s label 28cm high
£300-500
454
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
CHEESEBOARD, 1960’S/1970’S
oak, with carved mouse signature
36cm long, 18cm wide
£250-350
453
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
MINIATURE BOWL, 1980’S
burr oak, with carved mouse signature
14cm diameter
£250-350
456
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
SHALLOW BOWL, 1980’S
oak, with carved mouse signature
28.5cm diameter
£300-500
455
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
DEEP BOWL, 1950’S/60’S
oak, with carved mouse signature
28cm diameter
£400-600
457
WILFRED ‘SQUIRRELMAN’ HUTCHINSON (1937-2013)
OTTER, 1990’S
oak, with carved squirrel signature, carved by Stan ‘Woodpeckerman’ Dodds
12cm high
Commissioned by William ‘Squirrelman’ Hutchinson, a great friend of Dodds, both men having been employed in Robert Thompson’s workshop. Dodds worked for Thompson for 52 years, taking over as master carver in the 1960’s.
£2,000-3,000
458
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
FOOTSTOOL, 1960’S
oak, with woven leather seat, carved mouse signature
34.5cm wide, 19cm high, 24cm deep
£300-500
459
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
STOOL, 1940’S
oak and burr oak, with carved mouse signature
40.5cm wide, 37.5cm high, 27cm deep
£1,200-1,800
461
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
TRAY, 1930’S/1940’S
oak, with carved mouse signature
51.5cm wide, 31cm deep
£600-800
463
460
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
BOOK TROUGH, 1950’S/1960’S
oak, with carved mouse signature
45cm wide, 20cm high, 20cm deep
£300-500
462
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
STOOL, 1950’S
oak, with leather seat, carved mouse signature
39.5cm wide, 46cm high, 31.5cm deep
£300-500
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
BOOK TROUGH, 1950’S/1960’S
oak, with carved mouse signature
45cm wide, 20cm high, 20cm deep
£300-500
464
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
SET OF EIGHT DINING CHAIRS, 1950’S
oak, with carved mouse signature, close-nailed leather upholstery
41.5cm wide, 72.5cm high, 41cm deep
Provenance: Purchased from the vendor’s uncle and aunt from the maker, circa 1950
£2,000-3,000
465
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
OCTAGONAL DINING TABLE, 1950’S
oak, with carved mouse signature
135cm across, 74cm high
Provenance: Purchased from the vendor’s uncle and aunt from the maker, circa 1950
£2,500-3,000
466
RONSON
TWO CIGARETTE DISPENSERS AND LIGHTERS, CIRCA 1930
chrome-plated and enamelled metal, comprising; a ‘BARTENDER’, 13.5cm wide, 16cm high, 7cm deep; and a ‘JUNIOR BAR’, 10cm diameter, 20cm high (2)
£600-800
467
RONSON
TWO CIGARETTE DISPENSERS AND LIGHTERS, CIRCA 1930
chrome-plated and enamelled metal, comprising; a ‘PIK A CIG’
MONKEY, 20.5cm wide, 14cm high, 12.5cm deep; and a ‘PIK A CIG’
PENGUIN, 20.5cm wide, 14.5cm high, 13cm deep (2)
£600-800
468
G.E.C.
300 SERIES TELEPHONE, 1950S
jade green Bakelite, chrome plated metal, card, marked JADE GREEN/ D.62099/ 4849-1/ GEC/ MADE IN ENGLAND
£300-500
TWO ‘SORBONNE’ CHANDELIERS, CONTEMPORARY
glass, chromed steel (2)
67cm wide, 115cm high
£2,000-3,000
469
VAUGHAN
470
JOHN PIPER (1903-1992) FOR DAVID WHITEHEAD LTD.
‘COTSWOLD’ FRAMED PANEL, CIRCA 1962
screen-printed cotton
72.5cm x 117cm (frame size 82cm x 127cm)
Literature: Rayner G., Chamberlain R. and Stapleton A., Textile Design: Artists’ Textiles 1940-1976, ACC 2012, p.188, no.8
£300-500
471
ARTHUR ROMNEY GREEN (1872-1945)
COTSWOLD SCHOOL DRESSING CHEST, CIRCA 1920
oak, with brass fittings
122.5cm wide, 179.5cm high, 47.5cm deep
£800-1,200
472
GORDON RUSSELL (1892-1980)
ARTS & CRAFTS REFECTORY TABLE, CIRCA 1928
walnut, design no. 318
182cm long, 76cm high, 83cm deep
£600-800
473
GORDON RUSSELL (1892-1980) COTSWOLD SCHOOL BOOKCASE CABINET, 1928
mahogany, bear’s maker’s label under base, design no. 0655 46cm wide, 81.5cm high, 54cm deep
£400-600
474
ARTHUR ROMNEY GREEN (1872-1945)
ARTS & CRAFTS CABINET ON STAND, CIRCA 1920
mahogany, with glazed panels
101cm wide, 214cm high, 30cm deep
£800-1,200
475
ERNEST GIMSON (1864-1919)
ARTS & CRAFTS TABLE MIRROR, CIRCA 1905
oak, glazed mirror plate, with brass fittings
40.5cm wide, 63cm high, 27cm deep
For a similar example with drawers see the National Trust collection at Standen House, West Sussex, accession no. NT 1214077
£1,000-1,500
476
HUGH BIRKETT (1919-2002)
ARTS & CRAFTS BOOKCASE CABINET, CIRCA 1960
walnut, with glazed doors
89cm wide, 155cm high, 32.5cm deep
£1,500-2,000
ANTONY ARMSTRONG-JONES, EARL OF SNOWDON (1930-2017), CARL TOMS (1927-1999) AND JOHN POUND
PRINCE OF WALES INVESTITURE ARMCHAIR, 1969
red-stained ash ply, with original Welsh tweed upholstery and gilt crest and motto ICH DIEN
54cm wide, 78cm high, 50cm deep
478
COTSWOLD SCHOOL
ARTS & CRAFTS DRAWING ROOM
CABINET, CIRCA 1950
walnut, with holly and ebony beading and macassar ebony handles, the interior with fitted, removable glass shelves
78cm wide, 120cm high, 29cm deep
£800-1,200
479
RICHARD (DICK) DREW RUSSELL (1903-1981) FOR GORDON RUSSELL LTD.
SET OF EIGHT ‘COVENTRY CATHEDRAL’ STACKING
CHAIRS, CIRCA 1960 oak (8)
53.5cm wide, 72cm high, 44.5cm deep
£800-1,200
Coventry Cathedral (also called St Michael’s Cathedral) was lost on 14 November 1940 in a World War Two bombing raid. A new cathedral designed by Basil Spence was commissioned in 1950, built on an adjacent site and consecrated on 25 May 1962.
Among the many art and design commissions within the new cathedral were a tapestry by Graham Sutherland – which is still the largest in the world – sculpture by Jacob Epstein and chairs designed by Russell.
480
SAX SHAW (1916-2000) FOR THE EDINBURGH TAPESTRY COMPANY
‘THE LITTLE FOXES’, DOVECOT STUDIOS TAPESTRY, CIRCA 1955
wool threads, signed SHAW in the weave
153cm x 120cm
Sax Shaw, was Head of Stained Glass at Edinburgh College of Art and Artistic Director of Dovecot Studios from 1955. Constantly moving between stained glass and tapestry, Shaw’s approach to design and architecture resulted in a vibrant synthesis of colour and form.
£400-600
481 §
LAURENCE BRODERICK (1935-2024)
LARGE ELEPHANT CALF
patinated bronze
130cm wide, 101cm high, 113cm deep
Provenance: Estate of the Artist
£2,500-3,500
482 § SIMON GUDGEON (B. 1958)
DUCK IN FLIGHT
patinated bronze, signed in the bronze SG 10/12
28.5cm high
£500-700
483 § WALTER AWLSON (B. 1949)
FIGURE OF A WOMAN
glazed and unglazed ceramic, raised on a plinth, signed, dated and number 1994, 8/50, 87cm high including plinth; together with the FIGURE OF A FEMALE NUDE, glazed and unglazed ceramic, signed, dated and numbered 1991 2/50, 46cm high (2)
£300-500
484 §
ALAN CAIGER-SMITH (1930-2020) FOR ALDERMASTON POTTERY
LARGE EWER, CIRCA 1980
tin glazed earthenware, painted artist’s monogram
35.5cm high
£300-500
485 § WAISTEL COOPER (1921-2003)
THREE FOOTED BOWL stoneware, signed to the base WAISTEL, 18.5cm high; together with a RICHARD BATTERHAM (1936-2021) DISH, glazed stoneware, 31.5cm diameter; and MANNER OF ROBIN WELCH, TWO VESSELS, glazed stoneware, 18cm and 16cm high (4)
£300-500
486
CONTEMPORARY
COLLECTION OF STUDIO POTTERY TEAPOTS
comprising; JIM MALONE (B. 1946), tenmoku pottery, ash, impressed maker’s seal, 23cm high; MICK CASSON (1925-2003), glazed stoneware, ash, 26cm high; TAKASHI YASHUDA (B. 1943), glazed stoneware, 24cm high; RUTHANNE TUDBALL (B. 1948), glazed stoneware, impressed maker’s seal, 25cm high; JOHN CALVER (B. 1947), glazed stoneware, artist’s signature, 17.5cm high; ADRIAN PHILLIPS, painted and glazed stoneware, artist’s signature, 14cm high; and a further CONTINENTAL example, glazed stoneware, ash, 26cm high (7)
£400-600
488 §
487 §
WALTER KEELER (B. 1942)
TEAPOT AND JUG
salt glaze earthenware, impressed artist’s seals (2)
teapot 18cm high, jug 18cm high
£400-600
SVEND BAYER (B.1946) AT WENFORD BRIDGE
JAR AND COVER
glazed stoneware, impressed maker’s seal
32.5cm high
£300-500
489 §
DAVID FRITH (B.1943) LARGE VASE
glazed stoneware, impressed maker’s seal, 50cm high; together with a DRYMEN POTTERY VASE, glazed stoneware, signed to the base AM DRYMEN, 54cm high (2)
£400-600
490 §
VASE OF FLOWERS WITH FISH AND BIRDS
coloured pencils on black paper, unframed, gallery label verso 48cm x 52cm
Provenance: Gimpel Fils, London
£500-800
SCOTTIE WILSON (1890-1972)
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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, 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. 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 antimoney 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 moneylaundering, 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 payment whichever is later. Please note we do not accept cheques. 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.
