DESIGN Since 1860 ft. The Art of the Tile : The Michael Blood Collection
15TH & 16TH OCTOBER 2025
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INTRODUCTION
by
Paul Atterbury
Britain in the 19th century was in a turmoil of revolution though, unlike much of Europe, this was not political but rather economic, technical, industrial, social and domestic. Building on the firm foundation of the continuing Industrial Revolution established industries were modernised and expanded and many new ones were created, helping Britain into a position of considerable global economic dominance that was to continue through much of the Victorian era. The Great Exhibition of 1851, and the many similar international exhibitions that followed, were a reflection of all of this.
The British ceramic industry is a good example. Largely overshadowed by Europe and the Far East in the 18th century, it was dramatically revitalised in the first half of the 19th century, achieving by the 1860s a position of international stature. The main reasons for this were technical and include the development of transfer printing, the invention of bone china and other fine clay bodies, great improvement in glaze and firing technologies and, on a wider level, the application of steam power and other mechanical production and distribution processes. While much of this new ceramic industry was based on traditional roots, there were some important new developments, notably the design and manufacture of tiles and architectural ceramics. Until the 1830s Britain had not had an important tile industry since the Middle Ages and it is significant that the foundation of this new tile industry was the desire to recreate the encaustic or inlaid tiles of the medieval period. As in other parts of the ceramic industry, this revival was led by technology. The key development for the tile industry was the mechanised production of tiles by the dust pressed process, patented
by Richard Prosser in 1842, which launched a massive expansion of the industry from that date. Several potters were involved but the key figure was Herbert Minton who launched his first range of new encaustic tiles the same year, making Minton the key player in this new industry for the rest of the century. There were also important improvements in tile decoration, using new printing processes and expanded ranges of coloured glazes, notably those created by Minton’s French Art Director, Leon Arnoux, for his new majolica ranges. As a result, tile making became a major industry in the Potteries, the Severn valley, Yorkshire, London and elsewhere, supplying both home and overseas markets, with many of the big names, Wedgwood, Copeland, Doulton for example, becoming major players.
Tile making was an integral part of the bigger architectural ceramics industry, part of the design revolution that changed the look of Britain in the 19th century. Architects and designers came together to expand the decoration of buildings inside and out. Terracotta and coloured tiling were used extensively to ornament the exterior of buildings, particularly those in the public domain, town halls, hotels, railway stations, libraries, schools and so on, while the interiors often featured a variety of coloured and decorative tile finishes, literally from floor to ceiling. This love of colour and ornament spread rapidly to shops, and domestic housing, even to the humble terraces of industrial towns and cities.
Styles were extraordinarily diverse in a typically Victorian way, ranging from Gothic and Classical to Renaissance, French, Middle Eastern, Indian and Japanese, and often mixed together in the glorious stylistic muddle that defines Victorian taste and design. For the tile industry that was a perfect market, and surviving factory pattern books are a riot of colour and design as the many tile makers fought for their share of this new fashion-driven market. Many famous artists and designers worked for the tile industry, including C. F. A. Voysey, A. W. N. Pugin, Lewis F. Day, Christopher Dresser, William de Morgan and Walter Crane. Tiles were put on floors and walls, and inset into fireplaces, tables, chairs and other furniture in shops, pubs and houses and even in ocean liners. They were part of a major design and style revolution, and an important part of the development of what is now called interior design. Towards the end of the 19th century these elements became ever more important, with tiles playing their part in the success of the Aesthetic Movement, Arts & Crafts and Art Nouveau.
The Michael Blood collection is exceptional in its diversity and as a mirror of the Victorian tile industry and its market.
It ranges from the revived encaustic tiles of the 1840s to the slip-trailed designs of Art Nouveau. However, the emphasis is on the great days of the Victorian tile revolution, from the moulded and highly coloured majolica to the softer and more sensuous production of the Arts & Crafts era, with its focus on the decorative aspects of naturalism and the female figure. Complimentary are an exciting variety of majolica wares, along with decorative Arts & Crafts productions, such as stained glass and metalware, which help to define the nature of interior design in late Victorian Britain, of which tiles were a part. Included are tiles from over 20 makers, from the big names to some little-known today, such as Steele & Wood, Joseph Cliff, T & R Boote and Sherwin & Cotton.
Famous artists, designers and decorators are represented, again both famous and less familiar names, along with some of the pioneering women who were an important part of the industry, though often anonymous. The relative shortage of the famous printed designs by artists such as John Moyr Smith, the product of mass production, was a conscious decision as Michael sold many of these pieces from his collection to focus on more individual work.
MICHAEL BLOOD
Michael Blood’s interest in tiles began more than forty years ago, when he was given two examples unearthed during restoration work at Rufford Abbey, where he lived at the time. Those first pieces sparked a lifelong fascination that grew into a carefully assembled collection. In the early years he bought widely from antique centres, but over time his focus turned towards finer pieces, particularly those of the Aesthetic Movement, William De Morgan, and artists such as Henry Stacey Marks.
While the collection was very much Michael’s own, he was supported throughout by his partner Malcolm Bescoby, whose encouragement helped sustain his endeavours. Together they also created a remarkable garden, which gained national recognition when it won the National Garden Competition in 2016.
Michael lived with his tiles around him, framed and presented as works of art rather than as parts of a design scheme. We are now used to seeing tiles by William de Morgan, and others, as single design statements, but need to remember that they, and many other tiles, were created to be seen en masse, as a kind of ceramic wallpaper, a key component of a total, and usually colourful, design scheme. Nonetheless, what he collected and presented was a remarkable vision of the Victorian tile industry, one of the great achievements of that extraordinary era.
Michael’s involvement went beyond his own collecting. With Malcolm’s support, he played an important role in the wider community, co-organising the Nottingham Tile Fair from the early 1990s. The fair raised significant funds for the Tiles and Architectural Ceramics Society, while also providing a meeting place for collectors and enthusiasts from across Britain and abroad. Michael and Malcolm made many friends both at the fair and when hosting visits to the house afterwards.
Michael’s fine collection, and the enthusiasm with which he grew and shared it, reflect his delight and appreciation of ceramic art.
1
MINTON, HOLLINS & CO.
FRAMED MAJOLICA THREE-TILE PANEL, CIRCA 1880
glazed earthenware, marked verso STOKE ON TRENT/ NO.123078 20cm x 61cm (frame size 32cm x 73cm)
£300-500
2 WEDGWOOD
FRAMED MAJOLICA THREE-TILE PANEL, CIRCA 1870 glazed earthenware, impressed WEDGWOOD/ KLE, painted M1712 each tile 20cm square (frame size 22.5cm x 63cm)
£300-500
GEORGE JONES
TWO FRAMED MAJOLICA TILES, CIRCA 1880
glazed earthenware, impressed and painted marks, model 3394 and 3520(?), 20.5cm square (frame size 27cm square); together with a MINTON’S MAJOLICA FLORAL TWO-TILE PANEL, glazed dust pressed clay, moulded maker’s marks, each tile 20cm square (frame size 28cm x 48cm) (3)
£400-600
5
GEORGE JONES FRAMED MAJOLICA TWO-TILE PANEL, CIRCA 1875
glazed earthenware, painted 3593
20.5cm x 41cm (frame size 27cm x 47cm)
£250-350
4
GEORGE JONES FRAMED MAJOLICA THREE-TILE PANEL, CIRCA 1880
glazed earthenware
18cm x 58cm (frame size 33.5cm x 73.5cm)
£300-500
6
GEORGE JONES FOUR MAJOLICA FRAMED TILES, CIRCA 1870
glazed earthenware, various painted and impressed mark (4)
20cm square (frame size 26.5cm square)
£500-700
7
GEORGE JONES
8
MINTON, HOLLINS & CO.
FRAMED MAJOLICA THREETILE PANEL, CIRCA 1880 glazed earthenware each tile 21cm square (frame size 29cm x 70.5cm)
£300-500
SET OF FOUR MAJOLICA 6-INCH TILES, CIRCA 1870 dust-pressed clay, moulded maker’s marks; together with FOUR MAJOLICA TILES, CIRCA 1870, relief moulded and glazed dust-pressed clay, 14.7cm square; and EIGHT AESTHETIC MOVEMENT TILES, CIRCA 1875, dust-pressed clay, moulded maker’s marks, comprising; FOUR ‘FLORAL SEASONS’ TILES and FOUR CHILDHOOD GAMES TILES, 14.7cm square (16)
£300-500
9 WEDGWOOD
THREE MAJOLICA BORDER TILES, CIRCA 1880 glazed earthenware, impressed maker’s marks and date letters (3) 19cm square
£300-400
10
JOSEPH CLIFFE & SONS
FRAMED ARCHITECTURAL RELIEF TILE PANEL, CIRCA 1873
glazed earthenware
116cm x 12cm (frame size 134cm x 29.7cm)
Removed from the offices of Joseph Cliffe & Sons, Leeds
£250-350
11
GIBBONS, HINTON & CO. FRAMED ARCHITECTURAL
RELIEF TILE PANEL, CIRCA 1900 dust-pressed clay, 66.5cm x 20cm (frame size 73cm x 27cm); together with a PAIR OF ARCHITECTURAL RELIEF TILE PANELS, CIRCA 1890, dust-pressed clay, 55cm x 16cm (frame size 68cm x 29cm); together with a PAIR OF FRAMED MINTON’S RELIEF MOULDED TILE PLAQUES, CIRCA 1870, glazed earthenware, impressed maker’s marks, 15cm x 33cm; together with a PAIR OF WADE RELIEF PORTRAIT TILES, designed by Isaac Broome, 15cm square; and a RELIEF MOULDED BORDER TILE, depicting a lion, unmarked 15cm x 22.5cm; a WEDGWOOD RELIEF TILE, 1877, impressed maker and date marks, 19.5cm x 34cm, (frame size 29cm x 44cm) (9)
Gibbons, Hinton & Co. were contracted to produce tiles for the Brierley Hill Technical Institute and Library in Dudley. The total cost of these tiles, as recorded in the press of the day, was £20. This design was utilised as part of the interior scheme for the building.
£300-500
Please note all tiles in the collection are fully illustrated online at lyonandturnbull.com
ATTRIBUTED TO MINTON’S LARGE ARCHITECTURAL RELIEF TILE, CIRCA 1880 moulded and glazed stoneware
35.5cm x 37cm
£400-600
14
BURMANTOFTS POTTERY, LEEDS THISTLES, SHAMROCKS & ROSE RELIEF TILE, CIRCA 1890
glazed earthenware, impressed maker’s mark BURMANTOFTS FAIENCE
41cm square
£250-350
13
BURMANTOFTS POTTERY, LEEDS ARCHITECTURAL RELIEF ROUNDEL, CIRCA 1890 glazed earthenware, unframed, impressed BURMANTOFTS FAIENCE/ PS7, painted AS 45,2cm diameter
£300-500
15
BURMANTOFTS POTTERY, LEEDS ARCHITECTURAL RELIEF TILE, CIRCA 1890 glazed earthenware, inscribed RLD verso 39.5cm square
£200-300
A.W.N. PUGIN (1812-1852) FOR MINTON’S FRAMED GOTHIC REVIVAL 8-INCH TILE, CIRCA 1870 block-printed and hand-coloured dust-pressed clay, moulded MINTON’S CHINA WORKS/ STOKE ON TRENT, printed registration mark for 1872, 19.5cm square; together with another MINTON’S 6-INCH TILE, designed by A.W.N. Pugin, moulded maker’s marks, registration mark for 1873, 15cm square (2)
A.W.N. PUGIN (1812-1852) FOR MINTON & CO. TWO GOTHIC REVIVAL ENCAUSTIC TILES, CIRCA 1860 earthenware, impressed maker’s marks, 15.5cm square; together with a GOTHIC REVIVAL SIX-TILE PANEL by ROBERT MINTON TAYLOR, dust-pressed clay, impressed maker’s marks, each tile 10.5cm square (frame size 24cm x 34.5cm) (3)
£200-300
18
ATTRIBUTED TO A. W. N. PUGIN (1812-1852) FOR MINTON, HOLLINS & CO. FRAMED GOTHIC REVIVAL FOUR-TILE PANEL, CIRCA 1860 dust-pressed clay, moulded maker’s marks 59cm square (frame size 72.5cm)
£500-700
19
MANNER OF CHRISTOPHER DRESSER (1845-1910)
FOR MAW & CO.
FRAMED GOTHIC REVIVAL FOUR-TILE PANEL, CIRCA 1890
glazed earthenware
15.5cm square (frame size 47.5cm square)
V&A Accession Number C.157A-1976 for a similar tile
£400-600
20
MINTON’S
THREE GOTHIC REVIVAL MAJOLICA TILES, CIRCA 1880 dust-pressed clay, impressed maker’s marks, one designed by A. W. N. Pugin, approximately 21cm square; together with THREE CAMPBELL BRICK & TILE CO. GOTHIC REVIVAL MAJOLICA BORDER TILES, tin-glazed earthenware, moulded maker’s marks, 20.5cm square (6)
£200-300
21 MAW
& CO.
TWO FRAMED MAJOLICA TILE PANELS, CIRCA 1860
glazed earthenware, comprising; a FOUR-TILE PANEL, each tile 15cm square (frame size 33cm square) and a NINE-TILE PANEL, moulded maker’s marks, each tile 11cm square (frame size 35cm square) (2)
£200-400
ATTRIBUTED TO BURMANTOFTS POTTERY
FRAMED ARTS & CRAFTS
RELIEF TILE PANEL, CIRCA 1890
glazed earthenware
each tile 41.5cm square (frame size 41cm x 132cm)
£400-600
23
ATTRIBUTED TO W. J. NEATBY (1860-1910) FOR DOULTON & CO.
FRAMED ARCHITECTURAL TILE, CIRCA 1895
glazed earthenware
20.5cm square (frame size 29cm square)
Neatby’s sculptural designs for the facade of the New Physical Observatory in Greenwich, executed in 1895, particularly that depicting ‘Night’, demonstrate design similarities to this tile.
£300-500
24
ENGLISH
GROUP OF TILES, LATE 19TH CENTURY
dust-pressed and plastic clay, comprising; TWO GEORGE JONES FLOWER TILES, impressed date stamp, 20.5cm square; a FRAMED ARCHITECTURAL TILE, 26.5cm square; an ART NOUVEAU TILE, mounted in a brass trivet, tile 15cm square, trivet 20.5cm square; a MAW & CO. ARCHITECTURAL MASK TILE, impressed maker’s marks, 15.5cm square (frame size 23.5cm square); a T. A. SIMPSON GOTHIC REVIVAL TILE, stamped maker’s mark, 15.5cm square (6)
£200-400
25
BURMANTOFTS POTTERY
FRAMED ARCHITECTURAL MASK TILE, CIRCA 1890
glazed earthenware, stamped maker’s mark K295
36.5cm square (frame size 53.5cm square)
£200-300
26
ENGLISH
COLLECTION OF FRAMED ARCHITECTURAL
TILES, LATE 19TH CENTURY
dust-pressed and plastic clay, comprising; a MINTON, HOLLINS & CO. FOUR-TILE PANEL, moulded maker’s marks, each tile 15.5cm square (frame size 33cm square); a MAJOLICA TILE PANEL, (frame size 28cm square); a MINTON’S TWO-TILE PANEL, painted mark E858, each tile 15.5cm square (frame size 18cm x 33cm); and another TWO-TILE PANEL, each tile 20.5cm square (frame size 22.5cm x 43cm) (4)
The four-tile panel was originally produced for Sainsbury’s by Minton’s circa 1900
£200-400
27
ENGLISH
COLLECTION OF RELIEF TILES, LATE 19TH CENTURY
dust-pressed and plastic clay, comprising; a PAIR OF MAW & CO CLASSICAL
28
CARTER & CO. FRAMED
ARCHITECTURAL RELIEF
TILE PANEL, CIRCA 1890 glazed earthenware
22cm x 77.5cm (frame size
36.5cm x 92cm)
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing 2006, p. 85 where a single tile of this design is illustrated.
£250-350
RELIEF TILES, moulded maker’s marks, 15.5cm square (frame size 21cm square); a PAIR OF WEDGWOOD ELIZABETHAN PORTRAIT RELIEF TILES, glazed earthenware, impressed maker’s marks, 15.5cm square (frame size 21cm square); a PAIR OF MINTON’S ANGLO-SAXON PORTRAIT RELIEF TILES, moulded maker’s marks, inscribed SAXON and DANE, 15cm square; THREE SHERWIN & COTTON PORTRAIT RELIEF TILES, 15.5cm square; and a further PORTRAIT RELIEF TILE, 15.5cm square (10)
Wedgwood Tiles British Museum accession numbers 2000,0105.1 and 2000,0105.2 for similar examples
£300-500
29
MINTON’S
PAIR OF FRAMED AESTHETIC MOVEMENT
TILE PANELS, CIRCA 1880
dust-pressed clay, moulded maker’s marks (2) each tile 30.5cm square (frame size 109cm x 48cm)
£1,000-1,500
30
MINTON’S
PAIR OF FRAMED AESTHETIC MOVEMENT
TILE PANELS, CIRCA 1880
dust-pressed clay, moulded maker’s mark, painted mark S1622 (2)
each tile 31cm square (frame size 106cm x 44.5cm)
£1,000-1,500
32
WILLIAM DE MORGAN (1839-1917)
FRAMED 8-INCH ‘DOUBLE CARNATION’ TILE, CIRCA 1890
glazed earthenware, impressed maker’s mark
20.5cm square (frame size 26.5cm square)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p. 144, pl. 647
£400-600
34
WILLIAM DE MORGAN (1839-1917)
FRAMED 8-INCH ‘MARLBOROUGH’ TILE, CIRCA 1900
glazed earthenware, impressed maker’s mark
21cm square (frame size 26.5cm square)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p.148, pl. 690
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p144, pl. 644
£600-800
WILLIAM DE MORGAN (1839-1917)
FRAMED PERSIAN-STYLE
THREE-TILE PANEL, CIRCA 1890 glazed earthenware, impressed maker’s marks each tile 20cm square (frame size 79.5cm x 39cm)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p. 247 pl. 324, where a similar tile panel is illustrated.
£2,000-3,000
36
HENRY STACY MARKS (1829-1898) FOR MINTON’S
‘THE SCHOOLBOY’ FROM THE SEVEN AGES OF MAN, CIRCA 1880 earthenware, signed H S MARKS, stamped and impressed maker’s mark, traces of an old paper label
26cm x 52.5cm (frame size 36cm x 62cm)
£1,000-1,500
37
ATTRIBUTED TO HENRY STACY MARKS (1829-1898) FOR MINTON’S
LARGE FRAMED 12-INCH THREE-TILE PANEL, CIRCA 1875
earthenware, moulded maker’s marks each tile30cm square (frame size 52.5cm x 112.5cm)
£800-1,200
HENRY STACY MARKS (1829-1898) FOR MINTON’S
‘THE LOVER’ FROM THE SEVEN AGES OF MAN, CIRCA 1880 earthenware, signed H S MARKS, stamped and impressed maker’s mark 26cm x 52.5cm (frame size 36cm x 62cm)
£1,000-1,500
40
MINTON’S
THREE FRAMED ‘MEDIEVAL OCCUPATIONS’ TILES, CIRCA 1870
earthenware, comprising; an Alchemist, Blacksmith and Astrologer, dust pressed clay, moulded maker’s marks, 20cm square (frame size 26cm square); together with a COPELAND, ‘READING’ TILE, in the MANNER OF HENRY STACEY MARKS, plastic clay, impressed maker’s mark, 20cm x 14.5cm (frame size 27cm x 21.5cm) (4)
£150-250
39
W. T. COPELAND & SONS
TWO FRAMED TILE PLAQUES, CIRCA 1875
earthenware, comprising RECREATION, 41cm x 20cm (frame size 48cm x 27cm); and SINGING, presented within a border of tile spacers, panel 35.5cm x 15.5cm (frame size 49cm x 29cm) (2)
£400-600
HENRY STACEY MARKS (1829-1898) FOR MINTON’S ‘YOUTH’, A FRAMED TILE, 1873
earthenware, monogram signature HSM, impressed maker’s and date marks
20cm square (frame size 26cm square)
Literature: Lockett, Terence A. Collecting Victorian Tiles, ACC Art Books, 1999, p. 136, fig. 46, where a similar tile is illustrated
£600-800
HENRY STACEY MARKS (1829-1898) FOR DOULTON & CO. THREE FRAMED AESTHETIC MOVEMENT TILES, CIRCA 1885
dust-pressed clay, inscribed FLESH; FISH; FOWL, reserved on Minton blanks, painted maker’s mark DOULTON LAMBETH, two signed H. S. MARKS. INVT. (3)
25cm square (frame size 32.5cm square)
£1,000-1,500
PILKINGTON`S TILE & POTTERY CO.
TWO LANCASTRIAN LUSTRE 6-INCH TILES, CIRCA 1910
lustre-glazed earthenware, each with impressed P to reverse, 15.5cm square; TWO MAW & CO. 6-INCH LUSTRE TILES, lustreglazed dust-pressed clay, each with moulded maker’s marks, 15.3cm square; and TWO 6-INCH TILES BY W. B. SIMPSON & SON, glazed dust-pressed clay, 15cm square (6)
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing 2006, p. 457 where the Pilkington’s tiles are illustrated.
£250-350
44
WEDGWOOD
FRAMED TILE PANEL, CIRCA 1900
glazed and moulded dust-pressed clay, within tiled border each tile 15cm square (frame size 91cm x 31cm)
£300-500
45
ATTRIBUTED TO PILKINGTON’S TILE & POTTERY CO.
FRAMED SIX-TILE PANEL, CIRCA 1900
tube-lined and glazed earthenware, withing border of spacer tiles
each tile15.2cm square, panel 47cm x 61.5cm (frame size 55cm x 69.7cm)
For a similar panel attributed to Pilkington’s see V&A collection accession no. C.187-1976
£400-600
46
MINTON’S FRAMED MAJOLICA THREE-TILE PANEL, CIRCA 1880 relief-moulded and glazed earthenware, one tile impressed MINTON
61cm x 20cm (frame size 73cm x 33cm)
£600-800
47
MINTON’S FRAMED FIVE-TILE PANEL, CIRCA 1880 printed and glazed dust-pressed clay, moulded maker’s marks each tile 20.5cm square (frame size 105.5cm x 23cm)
£200-300
48
MINTON’S THREE FRAMED MAJOLICA TILE PANELS, CIRCA 1880 tin-glazed earthenware, moulded maker’s marks (3) two 22cm x 41.5cm, the other 17cm x 47.5cm
£500-700
MINTON’S
FRAMED SECESSIONIST THREE-TILE PANEL, CIRCA 1900 tube-lined dust-pressed clay, moulded maker’s marks, each tile 15.2cm square (frame size 19cm x 48cm); together with a FRAMED GIEN SECESSIONIST THREE-TILE PANEL, tubelined dust-pressed clay, moulded maker’s marks, each tile 15.2cm square (frame size 21cm x 52cm) (2)
£200-300
50
ATTRIBUTED TO C. F. A. VOYSEY (1857-1941) FOR ALFRED MEAKIN
FRAMED ART NOUVEAU TILE PANEL, CIRCA 1900 glazed earthenware, moulded maker’s marks, RD No. 449398 each tile 15cm square (frame size 48cm x 33cm)
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing 2006, p. 371 where this panel is illustrated. £200-300
51
BURMANTOFTS POTTERY
FRAMED ARCHITECTURAL RELIEF TILE PANEL, CIRCA 1890 moulded and glazed earthenware, 68cm x 22cm (frame size 71cm x 25cm); together with another FRAMED ARCHITECTURAL RELIEF TILE PANEL, 14.5cm x 75cm (frame size 17cm x 77cm) (2)
£200-400
53
MINTON’S
AESTHETIC MOVEMENT TILE PANEL, CIRCA 1880 dust-pressed clay, inscribed ‘LA REINE POMONE’, impressed maker’s marks
81cm x 20.5cm (frame size 100cm x 40cm)
£400-600
52
MINTON’S
PAIR OF FRAMED AESTHETIC MOVEMENT TILE PANELS, CIRCA 1875
painted and glazed dust-pressed clay, moulded maker’s marks (2)
63cm x 15cm (frame size 81cm x 32.5cm)
£400-600
54
MINTON’S
‘NIGHT’ AND ‘DAY’, A PAIR OF ALLEGORICAL FRAMED TWO-TILE PANELS, CIRCA 1875
printed and painted dust-pressed clay, pencil marks verso, one bears printed retailer’s mark HOLLAND & HOLT (2)
30.3cm x 15.5cm (frame size 40.5cm x 25.3cm)
£300-500
55
S. GIBBS & MOORE
PAIR OF AESTHETIC MOVEMENT
FRAMED TILE PANELS, CIRCA 1875
Minton’s dust-pressed clay blanks, impressed maker’s marks and printed retailer’s mark S GIBBS & MOORE/ 65 GT RUSSELL STREET/ LONDON W.C. (2)
each tile 15.5cm square (frame size 90cm x 30cm)
S. Gibbs & Moore was a partnership established in 1871 by Arthur Louis Moore and S. Gibbs, originally branding themselves ‘artists in stained glass and mural decorations’. They initially had premises at Great Russell Street and then moved to Southampton Row. In around 1879 the firm was renamed A.L. Moore & Co.
£500-700
56
ATTRIBUTED TO DOULTON & CO.
PAIR OF ART NOUVEAU LILY TILE PANELS, CIRCA 1900
glazed earthenware (2)
81cm x 19.5cm (frame size 84cm x 23cm)
£400-600
Please note all tiles in the collection are fully illustrated online at lyonandturnbull.com
57
ENGLISH
GROUP OF SEVEN TILES, LATE 19TH CENTURY
dust-pressed and plastic clay, comprising a MAW AND CO. 8-INCH TILE, depicting a shepherd, moulded maker’s marks, 20cm square; another MAW & CO. 8-INCH TILE, depicting a pair of birds, moulded maker’s marks, 20cm square; a MAW & CO FRAMED TILE, Owen Gibbons, depicting a geisha, moulded maker’s marks, 15cm x 30cm (frame size 21cm x 36cm; a COPELAND 8-INCH TILE, with geometric design, impressed maker’s marks, 19.3cm square; a further COPELAND 8-INCH TILE, with floral and foliate design, impressed maker’s marks, 20.5cm square; a TWO-TILE PANEL DESIGNED BY CHRISTOPHER DRESSER (1834-1904) FOR MINTON’S, CIRCA 1880, dust-pressed clay, moulded maker’s marks, each tile 20.5cm square (frame size 22.5cm x 42.5cm); and a MINTON’S AESTHETIC MOVEMENT TWO-TILE PANEL, dust-pressed clay, moulded maker’s marks, each tile 20.5cm square (frame size 22.5cm x 43cm) (7)
£400-600
58
JOHN CHRISTIAN HENK FOR MINTON’S SIX FISH TILES, CIRCA 1880
dust-pressed clay, moulded maker’s marks (6)
15.5cm square
£200-300
59
MINTON, HOLLINS & CO.
GROUP OF AESTHETIC MOVEMENT TILES, CIRCA 1880
printed and glazed dust-pressed clay, comprising THREE FRAMED 8-INCH TILES, moulded maker’s marks, 19.5cm square (frame size 28cm square); TWO FRAMED 6-INCH TILES, moulded maker’s marks, 14.8cm square (frame size 20.5cm square); and FOUR UNFRAMED 6-INCH TILES, unmarked, 15.2cm square (9)
£400-600
60
JOHN CHRISTIAN HENK FOR MINTON’S ART POTTERY STUDIO
AESTHETIC MOVEMENT FRAMED 8-INCH TILE, CIRCA 1870
dust-pressed clay, moulded and printed maker’s marks, printed PM/ 42, 20.4cm square, frame size 26cm square); together with TWO MINTON’S AESTHETIC MOVEMENT FRAMED 6-INCH TILES, CIRCA 1870, painted dust-pressed clay, 15cm square (frame size 25.8cm square) (3)
£300-500
61
ATTRIBUTED TO FLORENCE LEWIS FOR DOULTON & CO.
FOUR FRAMED BIRD TILES, CIRCA 1880
dust-pressed clay, moulded maker’s marks, comprising; a TWO-TILE OWL PANEL, 20.5cm x 41cm (frame size 23cm x 44cm); a SWALLOW; a BLUETIT; a ROBIN; each 21cm square (frame size 26.5cm square); together with a CRAVEN, DUNHILL & CO. FRAMED TWO-TILE BIRD PANEL, dust-pressed clay, moulded maker’s marks, each tile 20cm square (frame size 33cm x 53.5cm) (5)
£400-600
62
HELEN MILES FOR WEDGWOOD ELEVEN ‘MONTHS OF THE YEAR’ TILES, CIRCA 1878
transfer-printed dustpressed clay, impressed maker’s marks; comprising; FEBRUARY, MARCH, APRIL, JUNE, JULY, AUGUST, SEPTEMBER, OCTOBER, NOVEMBER (twice), DECEMBER, moulded maker’s marks (11) 15cm square
£600-800
63
WILLIAM WISE FOR MINTON’S SET OF FOUR FRAMED ‘COUNTRY LIFE’ SERIES 6-INCH TILES, CIRCA 1879 sepia decorated and glazed dustpressed clay, moulded maker’s marks, 15cm square, (frame size 21cm square); grisaille together with a SET OF EIGHT MINTON’S FRAMED ‘COUNTRY PURSUITS’ SERIES 6-INCH TILES, CIRCA 1880, decorated and glazed dustpressed clay, some with moulded maker’s marks, 15cm square, (frame size 21cm square) (12)
£250-350
64
ELLEN ELIZABETH HOUGHTON (D. 1922) FOR MINTON’S SEVEN ‘DAYS OF THE WEEK’ 6-INCH TILES, CIRCA 1880 printed and painted dust-pressed clay, blue colourway, moulded maker’s marks (7) each 15.4cm square
£300-500
WALTER CRANE (1845-1915)
FOR MAW & CO.
FOUR NURSERY RHYME TILES, CIRCA 1880
painted dust-pressed clay, depicting JACK AND JILL, WHERE ARE THY GOING TO MY PRETTY MAID, SING A SONG OF SIXPENCE AND THE MILK MAID, 15cm square; together with TWO PRINTS of ‘MY PRETTY MAID’ and ‘JACK AND JILL’, showing the tile designs and accompanying nursery rhyme music, 15.5cm x 15cm (frame size 30.5cm x 49.5cm) (6)
£600-800
66
WALTER CRANE (1845-1915)
FOR MINTON’S
SIX NURSERY RHYME TILES, CIRCA 1880
dust-pressed clay, moulded maker’s marks, three with painted monogram WC, inscribed; HOW DOES MY LADY’S GARDEN GROW, I HAD A LITTLE NUT TREE, HOW DO YOU DO MY DEAR, WHERE ARE YOU GOING TO MY PRETTY MAID, THE TWO LITTLE LOVERS, LITTLE BO-PEEP (6) 20cm square (frame size 32.5cm square)
£1,500-2,000
67
MINTON’S
‘THE FOUR SEASONS’, A SET OF FOUR FRAMED 8-INCH TILES, CIRCA 1880
painted dust-pressed clay, each bears seasonal inscriptions to the corners, moulded maker’s marks (4) each 20.3cm square (frame size 25.7cm)
£200-300
71
68
MINTON, HOLLINS & CO.
SET OF FOUR ‘CLASSICAL FEMALE HEADS’ SERIES 6-INCH
TILES, CIRCA 1870
dust-pressed clay, transfer printed with Classical women, moulded maker’s marks, each 15cm square; a SET OF FOUR MINTON’S 6-INCH NURSERY RHYME
TILES, 15cm square; together with a SET OF THREE COPELAND MONTHS OF THE YEAR 6-INCH TILES, 1878, with printed designs by Lucien Besche, Minton’s blanks, each 15cm square (11)
£250-350
70
BROWN-WESTHEAD,
MOORE & CO.
FOUR ‘PUTTI’ TILES, CIRCA 1880
dust-pressed clay, moulded maker’s marks, 15.5cm square (frame size 21cm square); together with a SET OF FOUR FRAMED W. T.
COPELAND & SONS 8-INCH
TILES, CIRCA 1870, representing air, fire, water and earth, impressed COPELAND, 20cm square (frame size 26.2cm square) (8)
£200-300
W. B. SIMPSON & SONS FOR MAW & CO.
FOUR ARTS & CRAFTS ‘COUNTRY PURSUITS’ TILES, CIRCA 1875
dust-pressed clay, moulded maker’s marks, 15cm square; together with W. B. SIMPSON & SONS FOR ART TILES, FOUR ‘EMOTIONS’ TILES, impressed maker’s marks, inscribed ‘SURPRISE’, ‘KINDNESS’, ‘HOPE’ and ‘SORROW’, 15cm square (8)
£400-600
72
T. C. WILD & SONS LTD. THREE FRAMED
TILE PANELS, CIRCA 1880
earthenware, two tiles with incised artist’s monogram
TCW and stamped date marks (3)
40.5cm x 20cm (frame size 54cm x 34cm)
Provenance:
Adlington Hall, Nr Wigan, demolished in the 1960s
£400-600
69
MAW & CO.
FRAMED PORTRAIT RELIEF TWO-TILE PANEL, CIRCA 1880
dust-pressed clay, moulded maker’s marks, each tile 15cm square (frame size 24.5cm x 40.5cm); together with a MINTONS BACCHUS TILE, moulded maker’s marks 20.5cm square (frame size 26cm square); a PAIR OF MAJOLICA
PORTRAIT ROUNDEL TILES ATTRIBUTED TO LEON ARNOUX (1816-1902) FOR MINTON, CIRCA 1850, plastic clay, inscribed SANCT ANDREAS and ST JUDAS THADDEUS, 15.5cm square (frame size 24.5cm square); together with a further PAIR OF MINTON’S MAJOLICA
painted and glazed dust-pressed clay, each with artist’s monogram with number 43, moulded and printed maker’s marks (2)
77cm x 15.5cm (frame size 86cm x 25cm)
£300-500
74
MAW & CO. AESTHETIC MOVEMENT
TILE PANEL, CIRCA 1900
painted and glazed dustpressed clay, moulded maker’s marks, 102cm x 30.5cm (frame size 117cm x 45cm); together with another AESTHETIC MOVEMENT TILE PANEL, impressed maker’s marks, 20cm x 61cm (frame size 26cm x 67.5cm) (2)
£400-600
75
MINTON, HOLLINS & CO.
PAIR OF FRAMED THREE-TILE PANELS, CIRCA 1880
painted and glazed dust-pressed clay (2)
61cm x 20cm (frame size 73cm x 32.5cm)
£300-500
77
WILLIAM DE MORGAN (1839-1917)
FRAMED ‘FAN’ THREE-TILE PANEL, CIRCA 1890
glazed earthenware, impressed maker’s marks each tile 20.5cm square (frame size 80cm x 39.5cm)
Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis, 2007, p. 144, pl. 652, 644
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p. 127, pl. 927
£2,000-3,000
80
WILLIAM DE MORGAN (1839-1917)
FRAMED PERSIAN-STYLE TILE PANEL, CIRCA 1890
glazed earthenware, impressed maker’s marks
65.5cm x 24.5cm (frame size 80cm x 39cm)
Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis, 2007, p.247, pl. 316
£2,000-3,000
81
WILLIAM DE MORGAN (1839-1917)
8-INCH ‘MARLBOROUGH’ TILE, CIRCA 1890
glazed earthenware, impressed maker’s makers mark, mounted on a copper and brass stand, possibly by W.A.S. Benson
tile 20cm square, trivet 21.5cm square, 8cm high
£400-600
JOHN MOYR SMITH (1839-1912) FOR W. B. SIMPSON & SONS
‘THE TOAST’ AND ‘THE DINNER’ FRAMED TILE PLAQUES, CIRCA 1872 earthenware, impressed maker’s marks, one inscribed PAINTED BY/ W. B. SIMPSON & SONS/ WEST STRAND/ LONDON (2)
22cm x 35cm (frame size 37.5cm x 50.5cm)
£800-1,200
Literature: Stapleton A., John Moyr Smith 1839-1914: A Victorian Designer, Richard Dennis 2002, pp. 41, 45
These tiles were conceived as a set of six, designed by Moyr Smith at the request of W. B. Simpson in 1872-3. The original client was Mr Charles Joy, with the tiles being installed as part of the interior scheme for his Library in Boston, Massachusetts. These designs were later produced as a series of 10 by 12-inch blanks, of which these examples are part.
83
MINTON’S
FOUR FRAMED ‘TIMES OF DAY’ TILES, CIRCA 1880 printed dust-pressed clay, moulded maker’s marks verso, inscribed MORN, NOON, EVENING and NIGHT, 19cm square (frame size 25.5cm square); together with T & R BOOTE, FOUR ‘TIMES’ TILES, dust-pressed clay, inscribed; MORN, NIGHT, SUMMER and WINTER, 14.5cm square (frame size 21.5cm square) (8)
£300-500
84
AFTER WALTER CRANE FOR W. T. COPELAND & SONS
‘GOODY TWO SHOES’, TWO FRAMED PICTORIAL TILES, CIRCA 1880
painted earthenware, one signed lower left LILLIE EDWARDS, the other signed lower right
A. GARDINER, impressed COPELAND (2)
22.5cm square (frame size 35cm square)
These two panels are based on illustrations from ‘Goody Two Shoes’ which was published around 1874 by George Routledge & Sons, London with illustrations by Walter Crane.
£500-700
85
MINTON, HOLLINS & CO.
TWO FRAMED ‘MOTHER & CHILD’ GOTHIC REVIVAL
TILE PANELS, CIRCA 1880
dust-pressed clay, moulded makers marks (2)
29cm x 26.5cm (frame size 39cm x 36.5cm)
£300-500
BROWN-WESTHEAD, MOORE & CO.
FOUR FRAMED AESTHETIC MOVEMENT 8-INCH TILES, CIRCA 1880
earthenware, comprising; a PAIR OF FRAMED SHAKESPEARE SERIES TILE PANELS, with gilt decoration, 19.5cm x 35cm (frame size 26cm x 41.5cm); a PAIR OF FRAMED SHAKESPEARE SERIES 8-INCH TILES, with gilt decoration, 19.8cm square; a FRAMED POLYCHROME SHAKESPEARE SERIES 8-INCH TILE, 19.8cm square; FOUR ‘MEDIEVAL OCCUPATIONS’ UNFRAMED 8-INCH TILES, 20cm square; and THREE ‘MEDIEVAL MUSICIANS’ UNFRAMED 6-INCH TILES, 15cm square, impressed marks (12)
£300-500
‘TULIP & CARNATION’ FRAMED FOUR-TILE PANEL, CIRCA 1880
tin-glazed earthenware
each tile 13cm square (frame size 28.7cm square)
Literature: Myers R. & H. William Morris Tiles, Richard Dennis 1996, p. 117, fig. 204, no. 489 where an example of these tiles is illustrated.
This tile pattern was used by Morris & Co. and appeared in their catalogues. It was used by Morris for a fireplace at Kelmscott Manor and the firm used it at The Hill, home of Miles Birkett Foster.
dust-pressed clay, moulded maker’s marks, one tile signed G. F. MOLINS 51 CHESTER ROAD
HIGHGATE N. (2)
each tile 15.5cm square (frame size 93cm x 32.5cm)
£300-500
91
W. B. SIMPSON & SONS
FRAMED ARTS & CRAFTS TILE PANEL, CIRCA 1880
dust-pressed clay, painted maker’s monogram, moulded and impressed maker’s marks, 75.5cm x 22.5cm (frame size 86.5cm x 34cm)
£400-600
92
ATTRIBUTED TO W. B. SIMPSON & SONS
‘THE BOAR HUNT’, PAIR OF FRAMED FOUR-TILE PANELS, CIRCA 1880
dust-pressed clay, Minton blanks (2)
77cm x 22cm (frame size 94cm x 39cm)
£300-500
93
W.B. SIMPSON & SONS
FRAMED THREETILE PANEL, CIRCA 1880
dust-pressed clay, painted maker’s monogram, moulded and impressed maker’s marks, each tile 32cm square (frame size 42.5cm x 101cm)
£400-600
96
MINTON’S FRAMED AESTHETIC MOVEMENT 9-INCH TILE, CIRCA 1875
dust-pressed clay, bears artist’s monogram to lower right-hand corner, 23cm square (frame size 31.2cm square); together with a PAIR OF FRAMED MINTON’S 8-INCH TILES, bearing inscriptions WINTER and SPRING, 20cm square (frame size 28cm) (3)
£300-500
95
MARGARET M. ARMSTRONG FOR DOULTON & CO. ‘HARP PLAYER’ FRAMED TILE, CIRCA 1880
painted dust-pressed clay, stamped maker’s mark and painted artist’s monogram MMA 113 22cm square (frame size 35.5cm square)
£250-350 94
FLORENCE JUDD FOR MINTON’S FRAMED AESTHETIC MOVEMENT TILE PLAQUE, 1886
painted earthenware, signed and dated lower left FLON. JUDD/ 1886, impressed MINTON’S 38.5cm x 29cm
£300-500
98
W. B. SIMPSON & SONS
FRAMED ARTS & CRAFTS TILE PANEL, CIRCA 1880
earthenware, impressed maker’s mark 61cm x 20cm (frame size 72cm x 31cm)
£300-500
97
W. B. SIMPSON & SONS
TWO FRAMED AESTHETIC MOVEMENT TILE PANELS, CIRCA 1880 earthenware, impressed maker’s marks, one with artist’s mark lower right ‘S’ (2) 62cm x 20cm (frame size 79.5cm x 38cm)
£400-600
Please note all tiles in the collection are fully illustrated online at lyonandturnbull.com
AFTER EDWARD BURNE-JONES FOR WILLIAM GODWIN, LUGWARDINE, HEREFORD
The ink inscription verso reads; ‘Centre Piece for 38 x 11 tile panel - William Godwin & Son (Lugwardine) LTD/ Designed and Produced by A. D’Harcourt Circa 1912 (with Thanks/ Apologies) to Sir Edward Burne-Jone’s figure’.
£300-500
100
ENGLISH
GROUP OF FIVE 8-INCH TILES, LATE 19TH CENTURY
dust-pressed and plastic clay, comprising a CRAVEN DUNNILL & CO. TILE, decorated with a peacock, impressed maker’s marks, 20.5cm square; a MINTON’S TILE, allegorical of spring, moulded maker’s marks, ex Beaulah Collection no. 1594, 20.4cm square; a PILKINGTON’S TILE & POTTERY CO. RELIEF TILE, impressed P mark, 20-.3cm square; a MINTON, HOLLINS & CO. RELIEF TILE, 20.2cm square; and a SHERWIN & COTTON TILE, decorated with flowers, 20.5cm square (5)
£300-500
101
C. F. A. VOYSEY (1857-1941) FOR MAW & CO. FRAMED FOUR-TILE PANEL, CIRCA 1900
Literature; Austwick, J&B, The Decorated Tile, Pitman House, 1980, p. 108, pl. 292
£500-700
102
CARTER & CO.
TWO FRAMED 6-INCH TILES, CIRCA 1905
faux tube lined dust-pressed clay, 15cm square; together with PAIR OF TILES BY T. & R. BOOTE LTD., BURSLEM, dust-pressed clay, sgraffito decoration, moulded maker’s marks, 15cm square (4)
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing 2006, p. 53 where the pair of Boote tiles are illustrated and p. 89 where one of the Carter tiles is illustrated.
£300-500
103
ENGLISH
THREE FRAMED TILE PANELS, CIRCA 1905
tube-lined dust-pressed clay, 45cm x 37cm (frame size 48cm x 40.5cm); 50cm x 34.4cm (frame size 53cm x 37.5cm); each tile 15cm square (frame size 78cm x 17.5cm) (3)
£300-500
105
ATTRIBUTED TO CARTER & CO.
PAIR OF FRAMED 6-INCH TILE PANELS, CIRCA 1900
104
ATTRIBUTED TO LÉON VICTOR SOLON (18721957) FOR MINTON’S FRAMED FIVE-TILE PANEL, CIRCA 1900
within tiled border, glazed and moulded dust-pressed clay, moulded maker’s marks each tile 15cm square (frame size 85cm x 24cm)
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing 2006, p. 388 where this framed panel is illustrated.
£300-500
tube-lined and glazed earthenware, within border of tiles (2)
each tile 15.5cm square, panel 80cm x 17.5cm (frame size 83cm x 21cm)
£400-600
106
CARTER & CO.
PAIR OF ART NOUVEAU FIVE-TILE PANELS, CIRCA 1910 dust-pressed clay, moulded mark 1673, each tile 15.5cm square (frame size 79cm x 17.5cm); together with a FRAMED FIVE-TILE PANEL ATTRIBUTED TO SHERWIN & COTTON, HANLEY, CIRCA 1900, glazed and tube-lined earthenware, each tile 15.2cm square (frame size 84.5cm x 24cm) (3)
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing 2006, p. 86 where one of the Carter & Co. panels is illustrated.
£300-500
107
CARTER & CO.
TWO FRAMED FIVE-TILE PANELS, CIRCA 1910 dust-pressed clay (2) each tile 15cm square (frame size 78cm x 17.5cm)
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing 2006, p. 41 where the red example is illustrated.
£200-300
108
DOULTON & CO.
PAIR OF FRAMED TILE PANELS, CIRCA 1880 dust-pressed clay, stamped maker’s mark, inscribed 1063, reserved on Minton’s blanks (2) 61cm x 20cm (frame size 73cm x 32.5cm)
£400-600
110
109
SIR GEORGE FRAMPTON (1860-1928) FOR CARTER & CO. PAIR OF FRAMED RELIEF TILE PLAQUES, CIRCA 1900
glazed earthenware, inscribed ‘MUSIC’ and ‘POETRY’, each signed GEO FRAMPTON (2) each tile 30cm x 15cm (frame size 44cm x 29.5cm)
These two tiles belonged to William Ernest Andrews, an employee of Carter & Co. from 1910-1952. When Andrews died in 1957, they passed to his daughter, Mrs Dorothy May Score.
£500-700
STEELE AND WOOD, STOKE ON TRENT
FRAMED RELIEF TILE PLAQUE, CIRCA 1880
glazed earthenware, moulded maker’s marks verso, monogram FR
42.5cm x 21cm (frame size 49cm x 27cm)
£300-500
112
MINTON, HOLLINS & CO.
FRAMED IZNIK THREE-TILE
PANEL, CIRCA 1870
glazed dust-pressed clay, moulded maker’s marks, each tile 20.5cm square, frame size 33cm x 74.5cm; a J. C. EDWARDS (RUABON) LTD. FRAMED TILE
PANEL, dust-pressed clay, each tile 15.3cm square (frame size 21cm x 82.5cm); together with a FRAMED SOMAG MEISSEN TILE
PANEL, tube-lined and glazed earthenware, moulded maker’s marks, each tile 15cm square (frame size 19cm x 78cm (3)
£400-600
111
PIERRE MALLET (1836-1898) FOR BURMANTOFTS POTTERY
FRAMED RELIEF TILE PLAQUE, CIRCA 1890 glazed earthenware, incised maker’s mark 29.5cm square (frame size 47.5cm square)
£300-500
113
BURMANTOFTS POTTERY
PAIR OF FRAMED ‘SEASONS’ RELIEF TILE
PLAQUES, CIRCA 1900
glazed earthenware, impressed maker’s marks, inscribed ‘SPRING’ and ‘SUMMER’ (2)
59cm x 22.5cm (frame size 74.5cm x 37.5cm)
£500-700
115
ENGLISH
THREE FRAMED MAJOLICA TILE
PANELS, CIRCA 1880
dust-pressed clay, moulded maker’s marks, comprising; a MINTON & CO SIX-TILE PANEL, each tile 15cm square (frame size 32cm x 47cm); a MINTON, HOLLINS & CO., THREE-TILE PANEL, each tile
19.5cm square (frame size 22cm x 61cm); a THREE-TILE PANEL, each tile 20.5cm square (frame size 22.5cm x 64cm) (3)
£300-500
114
LEWIS FOREMAN DAY (1845-1910) FOR MAW & CO.
FRAMED ARTS & CRAFTS LUSTRE TILE PANEL, CIRCA 1890
lustre-glazed dust-pressed clay, moulded maker’s marks each tile 15cm square (frame size 62.5cm x 32.5cm)
£200-300
116
ARMENIAN POTTERY, JERUSALEM
‘GAZELLE TILE’, CIRCA 1920
glazed earthenware, 15.5cm square; a CHARGER, 24.5cm diameter; together with an IZNIK-STYLE TILE, 16cm wide; a PERSIAN HEXAGONAL TILE, 22cm wide (4) 24.5cm diameter
£200-300
119
MINTON, HOLLINS & CO.
GROUP OF FOUR FRAMED 8-INCH
CHINOISERIE TILES, CIRCA 1870
dust-pressed clay, gilt embellishments, moulded maker’s marks (4) each 19.5cm square
£400-600
117
COPELAND & GARRETT
PAIR OF FRAMED TILE PLAQUES, CIRCA 1840
glazed earthenware, with gilded embellishment, printed COPELAND & GARRETT (2)
79cm x 19.5cm (frame size 83.5 x 35cm)
Literature: Copeland R. Spode and Copeland Marks: And Other Relevant Intelligence, Cengage Learning 1980, p. 62, No. 153
The maker’s marks on these plaques seem to have been reserved for larger panels for mounting in items such as chimneypieces.
£300-500
118
LONGWY POTTERY, FRANCE
PAIR OF AESTHETIC MOVEMENT FRAMED 8-INCH TILES, CIRCA 1870
enamelled dust-pressed clay, with tiled borders, moulded maker’s marks, 20cm square (frame size 33.5cm square); together with TWO FRAMED LONGWY POTTERY FRAMED 8-INCH TILES, enamelled dust-pressed clay, 20cm square, frame size 25.5cm square) (4)
£250-350
120
MINTON, HOLLINS & CO.
FRAMED TILE PANEL, CIRCA 1880
painted and glazed dust-pressed clay, moulded maker’s marks, each tile 15.4cm square (frame size 21.5cm x 113cm); together with another MINTON, HOLLINS & CO. FRAMED TILE PANEL, hand-coloured and glazed dust-pressed clay, moulded maker’s marks, each tile 15cm square (frame size 26cm x 57cm); and a MINTON, HOLLINS & CO. SIXTILE PANEL, CIRCA 1890, dust-pressed clay, moulded maker’s marks, each tile 15cm square (frame size 21cm x 104cm) (3)
£300-500
121
ENGLISH
GROUP OF FRAMED TILES, LATE 19TH CENTURY
dust-pressed and plastic clay, comprising a W. T. COPELAND & SONS
CHINOISERIE 9-INCH TILE, with celadon ground and gilt embellishments, 22cm square (frame size 30.5cm square); a SPODE CHINOISERIE 12-INCH TILE, stamped maker’s marks, 30.5cm square (frame size 39cm square); a VILLEROY & BOCH 8-INCH TILE, 20cm square (frame size 25.3cm square); a MAW & CO. CHINOISERIE TILE, with celadon ground, moulded maker’s marks, 21cm square (frame size 26.7cm square); a WEDGWOOD & SONS TWO-TILE PANEL, 20cm square (frame size 22.5cm x 43.7cm) (5)
£150-250
122
MINTON, HOLLINS & CO.
FRAMED FIVE-TILE PANEL, CIRCA 1890
dust-pressed clay, moulded maker’s marks each tile 15.5cm square (frame size 111.5cm x 28cm)
£200-300
123
MINTON, HOLLINS & CO.
PAIR OF FRAMED 6-INCH TILE PANELS, CIRCA 1880
dust-pressed clay, enamelled decoration, moulded maker’s marks, 82cm x 20cm (frame size 91cm x 30cm); together with a MINTON’S 6-INCH EIGHT-TILE PANEL, dust-pressed clay, each tile 15.4cm square, (frame size 125cm x 18cm) (3)
£400-600
AFTER H. ARNOLD FOR MINTON’S FOUR FRAMED AESTHETIC MOVEMENT TILES OF THE FOUR SEASONS, CIRCA 1880 painted dust-pressed clay, moulded maker’s marks, each 20cm x 15cm; together with FOUR FRAMED ORIGINAL PRINTS, depicting the same subjects, SPRING; SUMMER; AUTUMN and WINTER, each inscribed FROM A DRAWING BY H. ARNOLD/ LEIGHTON BROS., each 24cm x 16cm (frame size 42cm x 45cm) (8) £600-800
125
WALTER NUNN FOR DOULTON & CO.
FRAMED ‘MIDSUMMER NIGHT’S DREAM’ TILE, CIRCA 1885
painted dust-pressed clay Minton’s blank, moulded marks
42.5cm x 42.5cm (frame size 30.5cm x 30.5cm)
£600-800
126
RANDOLPH CALDECOTT (1846-1886) FOR MINTON’S ‘THE FARMER’S BOY’, TWO FRAMED 8-INCH TILES, CIRCA 1886 printed and painted dust-pressed clay, each with printed label verso; together with a copy of The Farmer’s Boy, one of R. Caldecott’s Picture Books, volume II, published by G. Routeledge & Sons and containing the illustrations for these tiles (3)
20cm square (frame size 24cm square)
£300-500
Please note the Collection is fully illustrated online at lyonandturnbull.com
128
ATTRIBUTED TO HENRY STACEY MARKS (1829-1898) FOR MINTON’S PAIR OF FRAMED AESTHETIC MOVEMENT TILES, CIRCA 1880
glazed earthenware, stamped maker’s marks, impressed date mark and painted 21/ 341 to one, painted 5374/ s1091/ 260, incised monogram MC to the other (2)
LUCIEN BESCHE (1851-1899) FOR STEELE & WOOD, STOKE-ON-TRENT
PAIR OF FRAMED 8-INCH PORTRAIT TILES, CIRCA 1880
painted dust-pressed clay, signed to one L. BESCHE, and to the other L.B., moulded STEELE & WOOD/ STOKE UPON TRENT (2)
19.5cm square
£800-1,200
130
ENGLISH
TWO FRAMED AESTHETIC MOVEMENT TILES, CIRCA 1875
painted earthenware, one depicting a seated lady at leisure, signed with initials JPH and dated 1874, 20cm square (frame size 33cm square; the other depicting a gentleman, 15.5cm square (frame size 29.6cm square) (2)
£300-500
131
JOHN MOYR SMITH (1839-1912) FOR MINTON’S TWO FRAMED ‘ARTS AND SCIENCES’ TILES, CIRCA 1892
painted dust-pressed clay, moulded makers marks verso, inscribed ‘MECHANICS’ and ‘BOTANY’ (2)
20cm square (frame size 30.5cm square)
Literature: Stapleton A. John Moyr Smith 18391914: A Victorian Designer, Richard Dennis 2002, p.58
£300-500
132
MINTON, HOLLINS & CO.
PAIR OF FRAMED TILE PANELS, CIRCA 1880
painted and glazed dust-pressed clay (2) 73cm x 19cm (frame size 81cm x 27cm)
£300-500
133
ATTRIBUTED TO CONSTANCE
PHILLOTT (1842-1931) FOR MINTON’S
PAIR OF FRAMED 8-INCH TILES ‘ARIADNE’ AND ‘HELEN OF TROY’, CIRCA 1875
painted dust-pressed clay, inscribed, impressed maker’s marks verso, each 20.5cm square (frame size 29.5cm square); and another associated DOULTON & CO. 8-INCH TILE, inscribed FIAMMETTA, on a Minton, Hollins & Co. blank, painted maker’s marks verso, 21cm square (frame size 31cm square) (3)
Literature: For similar Minton tiles by Constance Phillott see V&A collection accession no. C.294-2018
£300-500
134
MINTON’S
‘HYGIEIA’, AN AESTHETIC MOVEMENT FRAMED
TILE PANEL, CIRCA 1872
dust-pressed clay, signed P. LEVIN, impressed MINTON, date mark for 1872
92cm x 30.5cm (frame size
108cm x 47.5cm)
£300-500
135
MINTON, HOLLINS & CO.
FRAMED ALLEGORICAL TILE
PANEL, CIRCA 1880
dust-pressed clay, moulded maker’s marks, 29cm square (frame size 49.5cm square); together with a further AESTHETIC MOVEMENT
TILE PANEL, CIRCA 1880, dustpressed clay, moulded maker’s marks, 44.5cm x 14.5cm (frame size 58cm x 28cm) (2)
£200-400
136
JOHN MOYR SMITH (1839-1912) FOR MINTON’S SIX FRAMED 8-INCH ‘ANACREON’ TILES, CIRCA 1878
Literature: Stapleton A. John Moyr Smith 1839-1914: A Victorian Designer, Richard Dennis 2002, pp. 56-7
£400-600
137
JOHN MOYR SMITH (1839-1912) FOR MINTON’S ‘HUSBANDRY’, A FRAMED TILE PANEL, CIRCA 1875
dust-pressed clay, moulded maker’s marks, comprising; ‘Ploughing’, ‘Reaping’, ‘Threshing’ and ‘Espalier’, each tile 20.5cm square (frame size 84.5cm x 23cm); together with an ‘OLD KING COLE’ FRAMED THREE-TILE PANEL ATTRIBUTED TO JOHN MOYR SMITH (18391912) FOR MINTON’S, CIRCA 1875, dust-pressed clay, moulded and stamped maker’s marks, indistinct monogram, each tile 20.5cm square (frame size 35.5cm x 76cm) (2)
Literature: Stapleton A. John Moyr Smith 1839-1914: A Victorian Designer, Richard Dennis 2002, pp. 64-5 (Husbandry Tiles)
£400-600
138
JOSEPH CLIFF & SONS, LEEDS
FRAMED RELIEF 6-INCH TILE PANEL, CIRCA 1880
glazed stoneware each tile 15cm square (frame size 38.5cm square)
In the mid-19th century there was a brickworks at Wortley, Leeds, which was founded by Joseph Cliff (1806-1879). The company became Joseph Cliff & Sons, and ultimately formed part of the Leeds Fireclay Company.
£300-500
139
MINTON, HOLLINS & CO.
FRAMED AESTHETIC MOVEMENT TILE PANEL, CIRCA 1890
dust-pressed clay, moulded maker’s marks, each tile 20.5cm square (frame size 29.5cm x 70cm); together with a MINTON & CO. FRAMED FOUR-TILE PANEL, dust-pressed clay, moulded maker’s marks, each tile 15cm square (frame size 21cm x 66cm) (2)
£200-300
140
MINTON’S FRAMED RELIEF TILE PANEL, CIRCA 1896
glazed earthenware, moulded E6281, each tile 15.4cm square (frame size 38.5cm x 70.5cm); a FRAMED RELIEF TILE PANEL, POSSIBLY DOULTON & CO., CIRCA 1890, glazed earthenware, unmarked, 22cmx 46cm (frame size 30cm x 54cm); a DOULTON & CO. FRAMED TILE PANEL, painted dust-pressed clay, Minton blanks, 22cm x 68cm (frame size 25cm x 72cm); together with another FRAMED RELIEF TILE PANEL, glazed earthenware, each tile 20.5cm square (frame size 23cm x 64cm) (4)
£400-600
141
FRENCH SCHOOL
FRAMED MAJOLICA RELIEF TILE PLAQUE, CIRCA 1880
tin-glazed earthenware, allegorical of trade
24.5cm x 79cm (frame size
40.5cm x 94cm)
£200-300
142
DUTCH FOUR DELFT TWELVE-TILE PANELS, 19TH CENTURY painted and glazed earthenware, unframed, each tile 15cm square, each panel 91cm x 30cm; together with a DUTCH DELFT SIX-TILE PANEL, painted and glazed earthenware, unframed, each tile 15cm square, panel 91cm x 15cm (5)
£700-900
143
ENGLISH
GROUP OF FRAMED TILES, LATE 19TH CENTURY
dust-pressed and plastic clay, comprising a W. T. COPELAND & SONS TILE PLAQUE, printed and painted with a woman at the well, gilt embellishment, impressed mark, 27.5cm square (frame size 34cm square); a PAIR OF MAW & CO. TWO-TILE PANELS, printed with inscriptions FORTUNE/ AFFECTION/ INDUSTRY, JUSTICE, each tile 15cm square (frame size 32.5cm x 17cm); a MINTON, HOLLINS & CO. 8-INCH TILE, painted with a girl skipping, moulded maker’s marks, 20.2cm square (frame size 25.7cm square); a MINTON’S 8-INCH TILE, printed with Elizabethan scene, 20.1cm square (frame size 26.2cm square); together with a PAIR OF MINTON’S 8-INCH TILES, printed with scenes of RODEZ CATHEDRAL and THE WEST GATE, WARWICK, 20.1cm square (frame size 25.7cm square) (7)
£250-350
144
AFTER JEAN-LOUIS HAMON (1821-1874)
‘AURORA’, FRAMED TILE PLAQUE, 1885
painted and glazed earthenware, painted verso AURORA/ W.W./ 1885 plaque 28cm x 19cm (frame size 37cm x 27.5cm)
Jean-Louis Hamon used a 500-franc bequest to devote himself to art. In 1842 he entered the École des Beaux-Arts under Jean-Auguste-Dominique Ingres. From 1848 to 1853 he designed for the Sèvres porcelain factory. He began exhibiting at the Paris Salon in 1847 and received several awards, including a silver medal at the 1867 Exposition Universelle. In 1855 he became a Chevalier de la Légion d’Honneur. His genre paintings, often reproduced as prints, reached a wide audience. His work Aurora, depicting the Roman goddess of dawn, is held with other paintings by Hamon in the Louvre and regional French museums.
£300-500
145
W.T. COPELAND & SONS
‘TIRCIS AND AMARANTE’ FRAMED PLAQUE, AFTER JEAN-BAPTISTE OUDRY, CIRCA 1880 glazed earthenware, impressed crown mark, 25cm square (frame size 38.5cm square); a further COPELAND FRAMED PLAQUE, glazed earthenware, impressed maker’s mark 25.5cm square (frame size 39cm square); together with an R. DAVIES & CO. PATENT FRAMED TILE, CIRCA 1880, glazed earthenware, impressed maker’s mark, 30cm square (frame size 43.5cm square) (3)
£400-600
147
WILLIAM DE MORGAN (1839-1917)
FOUR ‘GALLEONS’ FRAMED TILE PANEL, CIRCA 1890
glazed earthenware, impressed maker’s marks, comprising; SAILING BOAT, GALLEON, MANNED GALLEY and a further similar GALLEON tile
each tile 15.5cm square (frame size 33.5cm x 80.5cm)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p. 196, pl. 24; p.120, pl. 819; p.142 pl. 649; (left to right)
£2,000-3,000
146
WILLIAM DE MORGAN (1839-1917)
FRAMED 8-INCH ‘HONEYSUCKLE’ TILE, CIRCA 1880 glazed earthenware, impressed maker’s marks 20cm square (frame size 26cm square)
Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis, 2007, p.195, pl.14
£400-600
148
WILLIAM DE MORGAN (1836-1917)
FRAMED ‘BBB’ FOUR-TILE PANEL, CIRCA 1890 glazed earthenware, impressed maker’s marks each tile 15.5cm square (frame size 19.5cm x 66cm)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p. 135 pl. 843
£300-500
WILLIAM DE MORGAN (1839-1917)
FRAMED 8-INCH ‘MARLBOROUGH’ TILE, CIRCA 1900 glazed earthenware, impressed maker’s mark 21cm square (frame size 26.5cm square)
Literature: Greenwood M. The Designs of William De Morgan, Richard Dennis, 2007, p.148, pl. 691
£600-800
WILLIAM DE MORGAN (1839-1917)
RARE FRAMED P&O ‘ARABIA COMPANION FRIEZE’ TILE PANEL, CIRCA 1897
tin-glazed earthenware, impressed maker’s marks each tile 23cm square (frame size 37cm x 60.5cm)
Literature: Catleugh, Jon ‘’William de Morgan Tiles’’, 2002, p. 79, p. 94, pl. 135, De Morgan supplied designs for twelve P&O ships between 1892 and 1900. These rare tiles were originally used in the P&O liner RMS Arabia, built by Caird & Co. in 1898 and designed by T. E. Calcutt, as a frieze just below the ceiling in the first class companionway. RMS Arabia was torpedoed on 6 November 1916 en route from Sydney via Fremantle, Western Australia to England, 180 km south by west of Cape Matapan, Greece. Divers salvaged the tiles from the wreck in the late 1970s.
£1,000-1,500
Pugin first met Herbert Minton in late 1840, initiating a productive professional and personal association. Minton, already interested in reviving medieval-style encaustic floor tiles, expanded his work in this field under Pugin’s influence. In 1842, Minton issued Early English Tile Patterns, of which these current tiles are examples. They featured designs by Pugin largely based on medieval precedents for restoration projects. That same year, Pugin employed Minton tiles for the first time at Saint Winefride’s, Shepshed. The collaboration flourished, with Pugin-designed Minton floors installed in notable buildings including the Palace of Westminster, Saint Giles, Cheadle, and Saint Augustine’s, Ramsgate. Following Pugin’s death, his son Edward and others continued to adapt his published designs for Minton.
151
A.W.N. PUGIN (1812-1852) OR E.W. PUGIN (1834-1875) FOR MINTON & CO. FRAMED ‘EARLY ENGLISH TILE PATTERNS’ ENCAUSTIC TILE PANEL, CIRCA 1850 earthenware
each tile 15cm square (frame size 22.5cm x 70cm)
Literature: Aldrich M. and Atterbury P. et al, A.W.N. Pugin: Master of Gothic Revival’, Yale University Press 1995, p. 314, no. 79
See British Museum number 1995,0719.12 for a similar tile £300-500
152
ATTRIBUTED TO DOULTON & CO.
PAIR OF FRAMED TILE PLAQUES, CIRCA 1880 painted and glazed earthenware, one after Henry Ryland, unmarked
64cm x 16.5cm (frame size 82cm x 36cm)
£250-350
153
MINTON’S
FRAMED COMMEMORATIVE 7-INCH TILE, 1891
painted and glazed dust-pressed clay, painted verso J.K. EBOR/ XMAS 91, moulded maker’s marks
tile 18cm square (frame size 23cm square)
William Dalrymple Maclagan (18 June 1826, Edinburgh-19 September 1910, London) was Archbishop of York from 1891 to 1908, when he resigned his office, and was succeeded in 1909 by Cosmo Gordon Lang, later Archbishop of Canterbury. As Archbishop of York, Maclagan crowned Queen Alexandra in 1902.
£100-200
154
HAROLD RATHBONE (1858-1929) FOR DELLA ROBBIA POTTERY, BIRKENHEAD
FRAMED TILE PLAQUE, 1895
sculpted and glazed terracotta, carved oak frame, incised factory mark, signed and dated with artist’s monogram HSR/ PINXIT 95
23.5cm x 24cm
£600-800
155
MINTON’S
FRAMED AESTHETIC MOVEMENT TILE PLAQUE, 1888
painted earthenware, impressed maker’s and date mark, 44.5cm x 19cm (frame size 61.5cm x 31.5cm); together with a MINTON’S FRAMED FIVE-TILE PANEL, CIRCA 1880, painted dust-pressed clay, each tile 20.3cm square (frame size 94cm x 32.5cm) (2)
£400-600
156
CONTINENTAL
MAJOLICA WALL BRACKET, CIRCA 1880 glazed earthenware, impressed PATENT 25cm wide, 43.5cm high, 16.5cm deep
£300-500
157
AFTER ANDREA DELLA ROBBIA
ITALIAN MAIOLICA ROUNDEL, CIRCA 1880
glazed earthenware, within carved and painted frame, bears retailer’s label verso PIETRO CHIURATO/ ROMA, roundel
47.5cm diameter (frame size 66cm); together with an ITALIAN MAJOLICA LUNETTE, glazed earthenware, painted maker’s marks SALIA(?)/ 285/ MADE IN ITALY, 32cm x 57.5cm (2)
£400-600
158
GINORI, DOCCIA
LARGE TWIN-HANDLED PEDESTAL BOWL, CIRCA 1860 painted and glazed earthenware, painted maker’s mark
GINORI/ 34-124, with crown cypher 60cm wide over handles, 31cm high
£600-800
159
ELLEN WELBY (1851-1936) FOR MINTON’S AESTHETIC MOVEMENT PORTRAIT CHARGER, 1886
painted and glazed earthenware, inscribed AD 1886, painted verso E. WELBY/ 1886, impressed MINTON’S with date mark for 1885
43cm diameter
£800-1,200
160
ELLEN WELBY (1851-1936) FOR MINTON’S AESTHETIC MOVEMENT PORTRAIT CHARGER, 1884
painted and glazed earthenware, painted verso E. WELBY/ 1884, bears paper exhibition label WINTER’S ART EXHIBITION/ DERBY 1885, hand-written ELLEN WELBY
42cm diameter
£600-800
Ellen Welby was a London-based painter known for genre scenes and floral subjects. Originally a governess, she became an artist at the Minton-founded Art Pottery Studio in Kensington in the early 1870s. There, she decorated ceramic blanks, many of which were sold by Howell, James & Co., a Regent Street retailer that supported female artists. After the studio closed due to a fire in 1875, Welby continued painting from home and briefly partnered with artist Charlotte Spiers. She also worked as an illustrator, embroiderer, and Christmas card designer. Between 1879 and 1904, she exhibited at venues including the Royal Academy, Grosvenor Gallery, Royal Society of British Artists, and New Watercolour Society. Her work was shown at the 1878 International Exhibition in Paris, including two Minton plaques matching those now in the Royal Collection. In keeping with the two chargers offered in this collection these works, featuring female figures influenced by the Pre-Raphaelites, are typical of her style.
161
CARLO MANZONI (1855-1910) FOR MINERVA ART WARE MANUFACTURERS
CHARGER, 1897
162
DOULTON & CO. JARDINIÈRE ON STAND, CIRCA 1880 moulded and glazed stoneware, with elephant head bosses, impressed DOULTON LAMBETH
47cm high
£400-600
incised, painted and glazed terracotta, incised verso HAND DRAWN & PAINTED PIF/ DESIGN MODDLING (SIC) J.C.R./ NO. 44/ CM & CO. 1897
46cm diameter
Carlo Manzoni had a short-lived career at Della Robbia pottery under Harold Rathbone and Conrad Dressler from 1893-1895 when he left the company in to form Minerva Art Ware Manufacturers, renting space in the Granville Pottery, Stoke-on-Trent. In 1898 he left the company in the hands of his workers and returned to Della Robbia where he continued to work until 1906.
£400-600
163
ENGLISH PAIR OF FRAMED ARTS & CRAFTS ALLEGORICAL PANELS, CIRCA 1890 depicting spring and summer, polychrome pokerwork wood panels (2)
78cm x 30cm (frame size 94cm x 47cm)
£300-500
164
ATTRIBUTED TO JOHN PEARSON (1859-1930)
LARGE ARTS & CRAFTS WALL CHARGER, CIRCA 1900
repoussé-decorated copper
76.5cm diameter
£600-800
167
165
MARTIN BROTHERS
6- INCH DRAGONS TILE, CIRCA 1900
salt-glazed stoneware
15cm square (frame size 22cm square)
£500-700
166
MARTIN BROTHERS
PAIR OF VASES, 1888
salt-glazed stoneware, incised R.W. MARTIN BROS/ LONDON & SOUTHALL, 10-88 (2)
26cm high
£300-500
ENGLISH, POSSIBLY JOHN HARDMAN & SON
PAIR OF GOTHIC REVIVAL ALTAR CANDLESTICKS, CIRCA 1880
brass (2)
41cm high
£250-350
168
MINTON’S
LARGE ‘SECESSIONIST’ CHARGER, CIRCA 1900 tube-lined and glazed earthenware, unmarked 46.5cm diameter
£300-500
170
MINTON’S
MAJOLICA COMPORT, 1873
glazed earthenware, impressed MINTON with date mark, impressed 1180, 29cm wide, 22cm high; together with a MINTON’S MAJOLICA FIGURAL VASE, CIRCA 1875, tin glazed earthenware, stamped MINTON, 30cm high (2)
£400-600
171
MINTON’S
MAJOLICA ROASTED CHESTNUTS DISH, CIRCA 1870
glazed earthenware, with original brass insert, 27cm diameter; together with a MINTON’S MAJOLICA SERVING DISH, tin glazed earthenware, moulded with a band of acorns, stamped MINTON, with date cypher for 1863, 34.7cm diameter (2)
£300-500
169
MINTON’S
MAJOLICA COVERED VASE, CIRCA 1875
glazed earthenware, mounted on a later turned and painted wooden plinth, 32.5cm high including plinth; together with a MINTON MAJOLICA COVERED TWIN-HANDLED VASE, glazed earthenware, mounted on a later turned and painted wooden plinth, 32.5cm high including plinth, 31cm high (2)
£400-600
172
MINTON’S
MAJOLICA VASE, CIRCA 1875
glazed earthenware, impressed MINTON/ 526
41cm high
£300-500
173
MINTON’S
175
MINTON’S
PAIR OF MAJOLICA FIGURAL COMPORTS, 1863
glazed earthenware, one unmarked and one stamped MINTON with date mark, 21cm high; together with a JOSEPH HOLDCROFT
FIGURAL DISH, 24cm high (3)
£200-300
176
MINTON’S
MAJOLICA BULB VASE, 1868
glazed earthenware, 18cm high; a MINTON’S MAJOLICA TWIN-HANDLED VASE, impressed 1816 with date code, 17cm high; and a GEORGE JONES MAJOLICA JARDINIÈRE, painted 1887 (3)
£300-500
174
MAJOLICA VASE, 1866
glazed earthenware, impressed MINTON, with date cypher for 1866
35cm high
£400-600
MINTON’S
MAJOLICA ‘MAN WITH WHEELBARROW’ COMPORT, 1864 modelled by Jean-Baptiste-Jules Klagmann, glazed earthenware, impressed MINTON, with date mark 33cm high
Literature: Jones, J., Minton, The First 200 Years of Design and Production, Shrewsbury, 1993, p. 188
£800-1,200
177
MINTON’S
MAJOLICA BULB VASE, 1868
glazed earthenware, impressed 1816 with date code 17cm high
£300-500
179
GEORGE JONES
SQUIRREL SERVING DISH, CIRCA 1870
glazed earthenware, impressed registration mark for 1869, 26cm wide; another MAJOLICA SERVING DISH, unmarked 26cm wide; together with another MAJOLICA SERVING DISH, 21.5cm diameter (3)
£250-350
178
MINTON’S
GROUP OF MAJOLICA WARES, CIRCA 1875
glazed earthenware, comprising a JUG, moulded with waterlilies, impressed MINTON/ 1228, 23cm high; an OYSTER PLATE, impressed MINTON/ 1323, 23cm diameter; a SOCKETED PLATE, impressed MINTON/ 472, 26.7cm diameter; and TWO GRADUATED JUGS, one impressed MINTONS, 21cm high; the other impressed MINTON/ 24, 19cm high (5)
£400-600
181
THOMAS FORESTER & SONS
GRADUATED SET OF THREE MAJOLICA JUGS, CIRCA 1875
glazed earthenware, 20cm, 18cm and 16.5cm high; together with a MATCHING TEAPOT & COVER, 15cm high (3)
£200-300
180
GEORGE JONES
GROUP OF WARES, CIRCA 1875
glazed earthenware, comprising a SARDINE BOX & COVER, impressed GJ/ STOKE ON TRENT, 16cm wide; a JUG, unmarked, 20.5cm high; a TANKARD, impressed GJ, painted 3316, 14.5cm high; together with a COPELAND JARDINIÈRE, impressed COPELAND, 20.5cm high and a MINTON’S MAJOLICA PITCHER, CIRCA 1870, impressed MINTON/ 1231, 24.5cm high (5)
£300-500
182
GEORGE JONES
MAJOLICA ‘BLUE TIT’ STRAWBERRY SERVER, CIRCA 1875
glazed earthenware, comprising a dish, removable sugar and cream bowls and spoon, impressed factory marks, painted 3423 dish 37cm wide, spoon 20cm long
£400-600
184
MAW & CO.
183
THOMAS FORESTER & SONS
MAJOLICA CHEESE BELL AND STAND, CIRCA 1875
glazed earthenware, rare pink and green colourway, 29cm high; a WEDGWOOD MAJOLICA CHEESE BELL AND STAND, glazed earthenware, impressed WEDGWOOD, 23cm high; and a GEORGE JONES MAJOLICA CHEESE BELL AND STAND, 31cm high (3)
£300-500
MAJOLICA CACHE POT, CIRCA 1890 glazed earthenware, impressed MAW & CO./ NO. 3, 25.5cm high; a FORESTER’S MAJOLICA JARDINIÈRE, unmarked, 25cm high; and a CONTINENTAL SCHOOL COMPORT, 28cm high (3)
£400-600
186
WEDGWOOD
GROUP OF MAJOLICA, CIRCA 1875
glazed earthenware, comprising a COMPORT, 17cm high; A FIGURE OF A PUTTO, forming the base of a lamp, 33cm high; a PAIR OF TRUMPET VASES, each 27.5cm high; and a JUG, 18.5cm high, each bears maker’s mark WEDGWOOD (5)
£300-500
185
GEORGE JONES
MAJOLICA JARDINIÈRE, CIRCA 1875
glazed earthenware, painted mark 3290 38cm wide
£300-500
187
AFTER DANTE GABRIEL ROSSETTI (1828–1882)
AESTHETIC MOVEMENT STAINED GLASS PANEL, CIRCA 1880
painted, stained and leaded glass, bear the inscription BUY FROM US WITH A GOLDEN CURL
42.5cm x 46cm
’Buy from Us with a Golden Curl’ was the illustration frontispiece to Goblin Market and other Poems by Christina Rossetti. Published in 1862 this was Christina Rossetti’s first book of verse and helped establish her as England’s leading female poet. The text concerns sisters tempted by goblins to consume delicious fruit symbolizing illicit desire. Dante Gabriel Rossetti’s illustration captures the moment Laura succumbs and buys the wares offered by a group of animal-headed monsters as Lizzie carries water home in the background.
£800-1,200
188
ENGLISH
AESTHETIC MOVEMENT STAINED
GLASS ROUNDEL, CIRCA 1880
painted, stained and leaded glass
26.5cm diameter
£250-350
189
ENGLISH
FRAMED AESTHETIC MOVEMENT STAINED GLASS PANEL, CIRCA 1880
painted, stained and leaded glass, 80.5cm x 56.5cm (frame size 88cm x 63,5cm); together with a PAIR OF AESTHETIC MOVEMENT STAINED GLASS PANELS, CIRCA 1880, painted, stained and leaded glass, each 72cm x 29cm (3)
£600-800
191
ENGLISH PAIR OF AESTHETIC MOVEMENT PORTRAIT
STAINED GLASS PANELS, CIRCA 1880
painted, stained and leaded glass (2)
each 29cm square
£300-500
192
ENGLISH
ARTS & CRAFTS STAINED GLASS ROUNDEL, CIRCA 1900
painted, stained and leaded glass
41cm diameter
Provenance: By descent from Douglas Shepherd and by descent Douglas Shepherd (1922-1989) was a designer and architect working on public houses for the brewery firm Ind Coope. He was influenced by the Arts and Crafts and Art Nouveau aesthetic and assembled a large collection from the 1950s to 1970s.
£300-500
190
ENGLISH
‘NIGHT’, AESTHETIC MOVEMENT STAINED GLASS PANEL, CIRCA 1880
painted, stained and leaded glass, framed 81cm x 95cm (frame size 88cm x 102cm)
£1,200-1,800
193
ENGLISH
LARGE ARTS & CRAFTS STAINED GLASS PANEL, CIRCA 1900
painted, stained and leaded glass
183cm x 47.7cm
£800-1,200
194
ENGLISH ARTS & CRAFTS MUSICAL PROCESSION, CIRCA 1910
watercolour and gold paint, framed
44.5cm square (frame size 50cm square)
£200-300
195
ART REFERENCE
COLLECTION OF BOOKS MAINLY RELATING TO TILES to include - Lockett T. Collecting Victorian Tiles, ACC Art Books 1999; Simmermacher R. Jugendstil-Fliesen, Badishches Landesmuseum 2000; Pearson L.F. Tile Gazetteer: A Guide to British Tile and Architectural Ceramics, Richard Dennis 2005; Catleugh J. William de Morgan Tiles, Richard Dennis 1991; The Tile Book, V&A/ Thames & Hudson; Van Lemmen H. Tiles: A Collector’s Guide, Souvenir Press Ltd., 1990; Catleugh J. and Pearson A. The Ceramics of William De Morgan, Abbot Hall Art Gallery; Journal of the Tiles & Architectural Ceramics Society Burmantofts Decorative Tiles for Interiors; Austwick J. The Decorated Tile: An Illustrated History of English Tile-Making and Design, Charles Scribner’s Sons 1981; Barnard J. Victorian Ceramic Tiles, Studio Vista, 1972; van Lemmen H. Tiles in Architecture, Laurence King 1993; Riley N. Tile Art, Apple Press, 1988; Harrison M. and Waters B. Burne-Jones, Barrie and Jenkins, 1989; Van Lemmen H. and Verbrugge B. Art Nouveau Tiles, Laurence King 1999; Van Lemmen H. Minton, Hollins Picture Tiles, Gladstone Pottery Museum 1984 and revision 1985; Floriated Ornament, Richard Dennis Publications 1999; Phaidon Press, 1994; Halen W. Christopher Dresser: A Pioneer of Modern Design, Phaidon Press, 1994; Greenwood M. The Designs of William de Morgan, Richard Dennis & William E. Willshire, 1989; Gaunt W. and Clayton-Stamm M. William de Morgan, Studio Vista 1971; The John Scott Tile Collection, The History Press, 2015; Hyland P. The Della Robbia Pottery, Birkenhead, 1894-1906, ACC Art Books, 2013; Dawes N.M. Majolica, Crown Publishing Group 1990; Minton Tiles: Selected Patterns of Enamelled Tiles for Walls, Hearths, Fire Places, Furniture, Flower Boxes, etc, Richard Dennis 1996; Cluett R. George Jones Ceramics 1861-1951, Schiffer Publishing Ltd 1998; and approximately 12 auction catalogues Woolley & Wallis, Lyon & Turnbull etc. £200-300
196
MICHAEL BLOOD (1936-2024)
‘CYPRESS TRESS, LAKE GARDA’, 2012
oil on canvas, signed and dated lower right, framed
109cm square (frame size 136cm square)
£300-500
Please note all tiles in the collection are fully illustrated online at lyonandturnbull.com
END OF COLLECTION
CONTENTS FROM A LONDON APARTMENT
197
ENGLISH GOTHIC REVIVAL HALL
LANTERN, CIRCA 1880
brass, with frosted glass
68cm high
£300-500
198
ENGLISH, POSSIBLY JOHN HARDMAN & SONS PAIR OF GOTHIC REVIVAL BRACKETS, CIRCA 1860 brass, 53cm high, 66.5cm wide; and an ASSOCIATED VICTORIAN GOTHIC REVIVAL BED CANOPY, oak, 215.5cm wide, 15.5cm high, 93cm deep (3)
£400-600
200
LEWIS COTTINGHAM (1787-1847) FOR SAMUEL PRATT
GOTHIC REVIVAL SIDE CHAIR, CIRCA 1840
oak, with later upholstery
55.5cm wide, 105cm high, 55.5cm deep
£600-800
201
ENGLISH GOTHIC REVIVAL
GOTHIC REVIVAL PEDESTAL CUPBOARD, CIRCA 1880
carved oak, with marble top
43cm wide, 91.5cm high
£400-600
199
TORQUATO CASTELLANI (1846-1941)
FAIENCE TWIN-HANDLED
VASE, 1881
glazed and painted earthenware, signed and dated to the base TC Roma 1881
42cm high
£400-600
202
ATTRIBUTED TO A.W.N. PUGIN (18121852) FOR JOHN HARDMAN & CO. CORONA CHANDELIER, CIRCA 1890
brass
corona 78cm diameter, 89cm diameter at the widest point, 94cm high
£2,000-3,000
203
TORQUATO CASTELLANI (1846-1941)
FAIENCE TWIN-HANDLED VASE, 1881
glazed and painted earthenware, signed and dated to the base TC Roma 1881 42cm high
£400-600
204
MANNER OF A. W. N. PUGIN
PAIR OF GOTHIC REVIVAL OCCASIONAL TABLES, MODERN mahogany, with brass fitting (2) 43cm diameter, 47.7cm high
£400-600
206
A.W.N. PUGIN (1812-1852) FOR JOHN HARDMAN & SONS
GOTHIC REVIVAL FLOWER VASE GARNITURE, CIRCA 1860
brass, comprising; a LARGER VASE, 19.5cm high; TWO SMALLER VASES, 15cm high (3)
Literature: Atterbury P. and Wainwright C. (edits.) Pugin: A Gothic Passion, Yale 1994, p. 244, pl. 454 where an engraving from the Art Journal of 1851 shows similar products.
£300-500
205
ATTRIBUTED TO J.G. CRACE & SONS, IN THE MANNER OF A.W.N. PUGIN
SET OF TEN GOTHIC REVIVAL DINING CHAIRS, CIRCA 1880 oak, with later close-nailed woven horsehair (10)
45cm wide, 89cm high, 45cm deep
£2,000-3,000
207
ATTRIBUTED TO J.G. CRACE & SONS, IN THE MANNER OF A.W.N. PUGIN
GOTHIC REVIVAL EXTENDING DINING TABLE, CIRCA 1880
oak, with six additional leaves
450cm long extended, 148cm long closed, 72cm high, 138.5cm deep
£1,500-2,000
211
ENGLISH
GOTHIC REVIVAL THRONE
CHAIR, CIRCA 1880 oak, with later upholstery
68cm wide, 152cm high, 61cm deep
£600-800
208
ENGLISH, MANNER OF JOHN HARDMAN & CO.
GOTHIC REVIVAL PAIR OF CANDLESTICKS, CIRCA 1870
brass, with enamel decoration (2)
27.5cm high
£300-500
209
ENGLISH
GOTHIC REVIVAL MANTEL CLOCK, CIRCA 1880
steel dial, within carved and ebonised wooden case with pierced brass panels
28cm wide, 56cm high, 18cm deep
£600-800
210
ENGLISH PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1870
brass, set with jewelled cabochons (2)
36cm high
£300-500
212
A.W.N. PUGIN (1812-1852) FOR MINTON & CO.
GOTHIC REVIVAL TRAVELLING FONT AND COVER, CIRCA 1840 glazed stoneware, stamped cartouche ST. MARY MAG./ OXFORD, 31cm high; together with a GROUP OF CHARLES MEIGH WARES, CIRCA 1840, glazed stoneware, comprising; a ‘VIRTUES’ JUG, 23cm high; an ‘APOSTLES’ JAR AND COVER, stamped 50/66, 15.5cm high; and an ‘APOSTLES’ CREAM JUG, stamped 20/51, 11cm high (4)
Literature: For a similar font see Aldrich M. and Atterbury P. A.W.N. Pugin: Master of Gothic Revival, Yale University Press, 1995, p. 250, pl. 25.
£150-200
214
BURMANTOFTS POTTERY
PAIR OF FAIENCE BOTTLE VASES, CIRCA 1890
glazed earthenware, impressed marks to base
BURMANTOFTS/ FAIENCE/ 2064/ ENGLAND (2)
46.5cm high
£600-800
213
ENGLISH
CASED SET OF GOTHIC REVIVAL SALTS, 1872
silver, comprising; FOUR SALTS, stamped maker’s marks possibly for Charles Favell, hallmarked Sheffield 1872, 9.5cm diameter; FOUR SPOONS, stamped maker’s marks for Jehoiada Alsop Rhodes, hallmarked Sheffield 1872, stamped Victorian registration lozenge 6.7cm long; within original Munday, Great Portland Street case (8)
£700-900
215
ENGLISH
GOTHIC REVIVAL TWIN PEDESTAL DESK, CIRCA 1890
inlaid walnut, brass handles, with polychrome and gilt
leather writing surface
129.5cm wide, 75cm high, 92cm deep
£1,000-1,500
217
216
CHARLES BEVAN (1815-1891)
REFORMED GOTHIC OCCASIONAL TABLE, CIRCA 1880
inlaid oak
60.5cm diameter, 69.5cm high
£800-1,200
ATTRIBUTED TO CHARLES BEVAN (1815-1891)
PAIR OF REFORMED GOTHIC
SIDE CHAIRS, CIRCA 1875
inlaid oak, with later close-nailed upholstery, 49cm wide, 92cm high, 53cm deep; together with a PAIR OF GOTHIC REVIVAL SIDE
CHAIRS, CIRCA 1890, oak, with ebony detail and later upholstery, 49cm wide, 91cm high, 50cm deep (4)
£400-600
218
CHARLES BEVAN (1815-1891)
REFORMED GOTHIC OCCASIONAL TABLE, CIRCA 1880
oak and ebonised oak
66cm diameter, 67.5cm high
£800-1,200
The commission for the glazing of the new Chapel at Cheadle Royal Hospital, near Manchester, represents a significant episode in the later history of Morris & Company. Between 1906 and 1915, the firm provided a complete scheme of stained glass for the building, which consisted of twelve multi-light windows in a Perpendicular Gothic structure. The east window was installed first (1906), followed by the side windows (1909–1911), and the west window (1915). This programme reflected a deliberate choice by the patrons to ensure stylistic unity by entrusting the entirety of the Chapel’s glazing to Morris & Co.
The design process was overseen by John Henry Dearle, then Art Director, who consulted with the hospital authorities on the selection of biblical figures and narrative scenes. While most of the cartoons were the work of Edward Burne-Jones, dating from commissions of the 1860s to 1890s, their adaptation for Cheadle was carefully coordinated to produce a coherent scheme. The surviving watercolour sketches and pattern designs, now in the
219
SIR EDWARD BURNEJONES (1833-1898) FOR MORRIS & CO. ‘TWO ANGELS WITH LONG TRUMPETS’, A PAIR OF STAINED GLASS PANELS, 1915 stained, leaded and painted glass, each within chenille material borders and framed in later carved oak frames and including light boxes (2) each panel 121cm x 25cm (frame size excluding light box 152.3cm high, 50.5cm wide, 14.2cm deep)
Provenance: Haslam & Whiteway, London
Literature: Cormack P. Morris & Company’s Stained Glass for The Chapel of Cheadle Royal Hospital, Haslam & Whiteway Ltd. catalogue 2008, pp. 2-3 and pp. 14 -15.
£10,000-15,000
Huntington Library, provide rare insight into this process.
The Cheadle windows illustrate the persistence of Morris & Co.’s late nineteenth-century aesthetic after the deaths of Morris and Burne-Jones.
Executed by long-serving craftsmen, they embody the continuity of the firm’s technical and stylistic practices and exemplify its capacity to sustain high standards well into the twentieth century.
The designs for Two Angels with Long Trumpets were originally drawn by Burne-Jones as full-size figures for a major window at Cheddleton Church, Staffordshire, in 1869. The cartoons were subsequently adapted for several other Morris & Co. windows, including full-size versions at All Saints’, Bingley (1874), and tracery versions at Holy Trinity, Sloane Street, London (1894–95).
The current examples were two parts of a tracery light from above the Ascension scene in the Chapel’s west window and their reappearance at Cheadle highlights the firm’s practice of reinterpreting established designs to ensure stylistic consistency across different commissions.
220
SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO.
‘ANGEL HOLDING THE STAR OF BETHLEHEM’, A STAINED GLASS PANEL, 1915
stained, leaded and painted glass, within chenille material border, framed in later carved oak frame and including a light box
Literature: Cormack P. Morris & Company’s Stained Glass for The Chapel of Cheadle Royal Hospital, Haslam & Whiteway Ltd. catalogue 2008, pp. 40-41.
£5,000-7,000
The original version of this design by Burne-Jones was drawn for the famous Morris & Co. tapestry The Adoration of the Magi, first woven in 1886-90 for the chapel of Exeter College, Oxford (where both Morris and Burne-Jones had been students in the 1850s). Burne-Jones also used the same subject, with minor changes, for an enormous watercolour, The Star of Bethlehem, commissioned by Birmingham City Art Gallery in 1887. The Morris firm adapted Burne-Jones’s designmore closely following the tapestry version than the watercolour - for at least two other stained glass windows, at Westerham church (1909) and St Michael’s church, Macclesfield (1918). The current lot formed part of the upper section of the Nativity scene from the Chapel’s west window.
221
A.W.N. PUGIN (1812-1852) FOR MINTON & CO.
GOTHIC REVIVAL DESSERT PLATE, CIRCA 1850
painted and glazed bone china
23.5cm diameter
Literature: Atterbury, Paul & Wainwright, Clive (edits.), ‘Pugin: A Gothic Passion’, New Haven and London 1994, p. 151, pl. 282
V&A Accession Number C.33-1984
£300-500
223
ENGLISH
222
ENGLISH, MANNER OF JOHN HARDMAN & CO.
PAIR OF GOTHIC REVIVAL THREE BRANCH CANDELABRA, CIRCA 1870 brass (2)
47.4cm high
£400-600
GOTHIC REVIVAL EXTENDING LIBRARY TABLE, CIRCA 1890
oak, with hinged top and the legs to each side opening to form supports for the extended top, fitted with a tooled leather writing surface
135.5cm long, 73cm high extended, 68cm square, 75.5cm high closed
£400-600
224
AFTER A.W.N. PUGIN
PAIR OF GOTHIC REVIVAL
CABINETS, CIRCA 1880
oak, with brass fittings and glazed doors (2)
137.3cm wide, 94.3cm high, 53cm deep
£3,000-5,000
226 Y
ATTRIBUTED TO GEORGE GILBERT SCOTT (1811-1878)
THREE GOTHIC REVIVAL CHAIRS, POSSIBLY FOR PRESTON TOWN HALL, CIRCA 1870
oak, ebony and ivory inlay, with later close-nailed upholstery, comprising an ARMCHAIR, 53cm wide, 84cm high, 55cm deep; together with a PAIR OF SIDE CHAIRS, 48cm wide, 88.5cm high, 48cm deep (3) 48cm wide, 88.5cm high, 48cm deep
Preston Town Hall was built between 1862 and 1866 but was destroyed by fire on the night of 15th March 1947 and subsequently demolished. This chair is thought to have formed part of the magnificent interiors.
Sold in compliance with UK Government and APHA regulations, with (nontransferable) exemption registration reference EGD7RDHR.
£600-800
227
MANNER OF W.A.S BENSON
THREE LIGHT ARTS & CRAFTS ELECTROLIER, CIRCA 1900
brass, with opalescent frosted glass shades, associated chain
36cm diameter, 60cm high to ceiling rose
£1,000-1,500
228
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
‘OLIVE AND ROSE’ EMBROIDERED PANEL, CIRCA 1880
coloured silks on a blue linen ground, later applied to a quilted lining, with fabric border, velcro hanging strip panel 58.5cm x 57.5cm, total 72cm x 71cm
£400-600
229
W.A.S. BENSON (1854-1924)
TWO ARTS & CRAFTS TABLE LAMPS, CIRCA 1900
copper and brass, with extending mechanism, one stamped to the reservoir EVERED LD & CO/ PATENT, both stamped PATENT, later converted to electricity with later shades (2)
61cm high, 81cm and 68cm high fully extended (to base of fitting)
£2,000-3,000
230
WILLIAM DE MORGAN (1839-1917)
ARTS & CRAFTS RUBY LUSTRE CHARGER, CIRCA 1890
lustre-glazed earthenware
36cm diameter
Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.32, pl.1181, where this design is illustrated.
£2,000-3,000
231
ENGLISH
MID-VICTORIAN PARLOUR CHAIR, CIRCA 1855 mahogany frame, with button upholstery in original Morris & CO. ‘Squirrel and Vine’ fabric
62cm wide, 88cm high, 62cm deep
£400-600
232
W. A. S. BENSON (1854-1924)
ARTS & CRAFTS FENDER, CIRCA 1900 copper and brass
123.5cm wide, 24.5cm high, 36cm deep
£2,000-3,000
233
JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO.
ARTS & CRAFTS HAMMERSMITH CARPET, CIRCA 1880
hand-knotted wool
402cm x 389cm
John Henry Dearle (1859–1932) was a central figure in the development of Morris & Co.’s textile and carpet designs in the late nineteenth and early twentieth centuries. He joined the firm in 1878 as a shop assistant and, from the mid-1880s, became the principal designer responsible for all carpet designs. Following William Morris’s death in 1896, Dearle assumed leadership of the company’s textile production. Dearle’s carpets combine natural motifs with structured, geometric composition. Drawing on English flora as well as Persian and Turkish textiles, he adapted traditional forms with careful attention to proportion, scale, and colour. Technically, his carpets were produced both as hand-knotted works and on the patented Axminster loom, enabling precise patterning and rich coloration for a range of interiors and budgets.
Dearle’s designs contributed to the sustained success of Morris & Co. and exemplify the Arts & Crafts commitment to craftsmanship and functional beauty. His work is recognized for its clarity of design, material quality, and the role it played in extending Morris & Co.’s legacy in textile and carpet production.
£20,000-30,000
235
LIBERTY & CO.
ANGLO-MORESQUE ARMCHAIR, CIRCA 1890
oak, with later close-nailed velvet upholstery 59.5cm wide, 118cm high, 49.5cm deep;
£1,000-1,500
236
JOSEPH THÉODORE
DECK (1823-1891)
IZNIK-STYLE PLATE, CIRCA 1870
tin-glazed earthenware, impressed TH.DECK.
30cm diameter
British Museum accession number
1993,0715.1, for a similar example
£600-800
234
ATTRIBUTED TO LIBERTY & CO.
MATCHED PAIR OF ANGLO-MORESQUE
OCCASIONAL TABLES, CIRCA 1890
oak (2)
47cm diameter, 68.5cm high
£400-600
237
ATTRIBUTED TO LIBERTY & CO.
MATCHED PAIR OF ANGLO-MORESQUE
OCCASIONAL TABLES, CIRCA 1890
oak (2)
47cm diameter, 69cm high
£400-600
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ARTS & CRAFTS HAMMERSMITH RUNNER, CIRCA 1880 hand-knotted wool
268cm x 121cm
Literature: Haslam M. Arts & Crafts Carpets, 1991, p. 50, 52 and 53, figs. 31 and 32 where similar carpets are illustrated. Morris designed the borders for this type of runner.
£2,000-3,000
239
ENGLISH
GOTHIC REVIVAL WALL MIRROR, CIRCA 1880
carved oak
79cm x 67cm
£300-500
240
ENGLISH
THREE ARTS & CRAFTS EMBROIDERED PANELS, CIRCA 1900 comprising; a FISH PANEL, coloured silks on a silk and linen backing, within later padded fabric border and lining, 39.5cm x 25cm, total 60cm x 47cm; a BIRD PANEL, coloured silks on a linen ground, within later fabric border and lining, panel 39cm x 48cm, total 50.5cm x 59.5cm and an ADAM AND EVE PANEL, coloured silks on a silk ground, within later silk border and cotton lining, panel 166cm x 101cm, total 176cm x 112cm (3)
£500-700
241
ENGLISH
PAIR OF GOTHIC REVIVAL SCULPTURE
STANDS, MODERN oak, each with revolving and adjustable tops (2) 34.5cm diameter, 113cm high
£300-500
242 ENGLISH PAIR OF GOTHIC STYLE OCCASIONAL TABLES, MODERN
oak, with brass fitting (2)
48cm diameter, 57cm high
£400-600
243 Y
PRATT & PRINCE, BRADFORD
REFORMED GOTHIC DRESSING TABLE, CIRCA 1880
ash, with marquetry inlay in ivory and specimen woods
136cm wide, 171.5cm high, 58cm deep
Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference 3LCMNG46.
£600-800
244 Y
PRATT & PRINCE, BRADFORD
REFORMED GOTHIC POT CUPBOARD, CIRCA 1880
walnut and coromandel wood, inlaid with ivory and specimen woods, 41.5cm wide, 80.5cm high, 36cm deep; together with a POT CUPBOARD, 38cm wide, 82cm high, 37cm deep (2)
Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference N6MJ2XSC.
£250-350
245
MANNER OF CHARLES BEVAN REFORMED GOTHIC WARDROBE, CIRCA 1875
inlaid and carved oak, with brass fittings and central mirror plate
168cm wide, 217cm high, 60cm deep
£1,000-1,500
246
W. A. S. BENSON (1854-1924)
MATCHED PAIR OF CANDLESTICKS, CIRCA 1900 brass and copper, one stamped 304(?) (2) 28cm long
Literature: Hamerton I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p.253, pl.23 where this design is illustrated (204).
£800-1,200
247
MINTON, HOLLINS & CO.
FRAMED GROUP OF EIGHT MAJOLICA TILES, CIRCA 1860 glazed earthenware, in a modern wooden frame each tile 19.5cm square, the panel 52cm x 91cm
£300-500
248
ENGLISH
GOTHIC REVIVAL CHEST OF DRAWERS, CIRCA 1880
inlaid oak, with brass fittings 121cm wide, 109cm high, 58cm deep
£800-1,200
250 ENGLISH
DUET STAND, CIRCA 1880
ebonised oak, with gilded embellishments and brass fittings
44cm wide, 120.5cm high
£400-600
249
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR WEDGWOOD
SET OF AESTHETIC MOVEMENT PLATES, 1872
glazed earthenware, impressed maker’s mark
WEDGWOOD P/ ORA/ D (6)
26.5cm diameter
Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge 2005, p. 68, pl. 81
A very similar plate to the present example was photographed by Nicolas Pevsner at Ada Dresser’s house in 1936.
£300-500
251
A. KENRICK & CO.
GOTHIC REVIVAL HALL STAND, CIRCA 1880
cast iron, cast maker’s mark to top rail KENRICK, later painted
57cm wide, 93.5cm high, 21.5cm deep
£800-1,200
252
CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD
AESTHETIC MOVEMENT TRAY, CIRCA 1880
brass, with stamped sunflower design
43.5cm diameter
£300-500
254
PAIR OF SIDE CHAIRS, CIRCA 1875
ebonised wood with gilt incised decoration, burr walnut, carved and inlaid walnut, later close-nailed velvet upholstery, bears traces of paper label, possibly dated 1877 (2)
253
MANNER OF CHRISTOPHER DRESSER
FABRIC PANEL, CIRCA 1880
woven cotton, with later silk border and padded lining, panel 114cm x 110cm, total 127cm x 123cm; Together with a PAIR OF ‘MADRAS MUSLIN’ PANELS BY ALEXANDER MORTON & CO., muslin, within later silk borders with cotton lining, panels 52.5cm x 119.5cm, 51cm x 118cm; totals 71.5cm x 139cm, 71cm x 139cm (3)
£300-500
ATTRIBUTED TO BRUCE TALBERT (1838-1881) FOR GILLOW & CO.
42cm wide, 84cm high, 41cm deep
£800-1,200
255
CHRISTOPHER DRESSER (1834-1904) FOR MINTON’S
PAIR OF 8-INCH TWO-TILE PANELS, CIRCA 1880
painted and glazed earthenware (2)
frame size 26cm x 46cm
Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge 2005, p. 109
£1,000-1,500
256
ATTRIBUTED TO HOWELL & JAMES
ASSEMBLED AESTHETIC MOVEMENT CLOCK GARNITURE, CIRCA 1880
painted porcelain and ebonised wood, comprising; a MANTEL CLOCK, bears paper label WALTER MURTON, CHISLEHURST, 32cm wide, 44cm high, 18.5cm deep; TWO VASE GARNITURES, 11cm wide, 26cm high, 11cm deep (3)
£500-800
257
ENGLISH
AESTHETIC MOVEMENT FENDER STOOL, CIRCA 1880
ebonised and gilded wood, with drop-in seat having later velvet upholstery
110.5cm long, 46.5cm high, 34.3cm deep
£500-800
CHRISTOPHER DRESSER (1834-1904) FOR THE COALBROOKDALE COMPANY
AESTHETIC MOVEMENT HALLSTAND, CIRCA 1880 painted cast iron, cast maker’s mark verso 214962 no. 27 and registration lozenge, the removeable drip tray cast COALBROOKDALE, lozenge and registration number 68.5cm wide, 190cm high, 23cm deep
Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge 2005, p.154, pl. 292 where the design for this hallstand is illustrated.
£1,500-2,000
MANNER OF KENTON & CO.
WORK BOX ON STAND, LATE 19TH CENTURY
rosewood, with patinated brass fitting, the hinged lid enclosing a fitted interior, with further void below
41.2cm wide, 67cm high, 41.2cm deep
Although unmarked this small and unusual workbox and stand demonstrates similarities to furniture made by the short-lived firm Kenton and Co. in the early 1890s. The firm was made up of a partnership of designers and architects including Mervyn Macartney, Sidney Barnsley, Reginald Blomfield, William Lethaby, Ernest Gimson, Stephen Webb and Colonel Harold Esdaile Malet (a sleeping partner who ‘had taste and knew people’). It was formed in 1890 ‘with the object of designing, making and supplying furniture of excellent quality’.
£1,000-1,500
260
WALTER CAVE (1863-1939) FOR BECHSTEIN
ARTS & CRAFTS UPRIGHT PIANO, 1879
polished mahogany, with brass fittings, bears brass plaque to inside of keyboard cover BECHSTEIN BERLIN, the overstrung iron frame with serial no. 10930
165.2cm wide, 139cm high, 74cm deep
£800-1,200
ATTRIBUTED TO MILLICENT TAPLIN (1902-1980) FOR WEDGWOOD
SET OF SIX DESSERT PLATES, CIRCA 1925
glazed earthenware, impressed maker’s mark WEDGWOOD/ MADE IN ENGLAND/ 41180, painted mark CLH5703 (6) 23.5cm diameter
£250-350
262
ENGLISH
ARTS & CRAFTS HALL
LANTERN, CIRCA 1900
copper, with stained and leaded glass panels
35cm diameter, 55cm high
£400-600
263
LOUIS MAJORELLE (1859-1926)
ART NOUVEAU BED, CIRCA 1900 walnut, with marquetry inlaid panels and later slatted base
128.4cm wide, headboard 159cm high, footboard 77cm high, total length 209.5cm, internal measurement 120cm wide, 195cm long
£600-800
265
GORDON RUSSELL (1892-1980) FOR GORDON RUSSELL LTD.
BOWFRONT CHEST OF DRAWERS, 1930
264
GORDON RUSSELL (1892-1980) FOR GORDON RUSSELL LTD.
BOWFRONT DRESSING TABLE/DESK, 1930
English walnut, with carved ebony handles, bear’s maker’s label under drawer DESIGN NUMBER 824/5040, DESIGNER GORDON RUSSELL, FOREMAN F SHILTON, CABINET MAKER F BURLAND, DATED 27.11.30
117cm wide, 77cm high, 55cm deep
£600-800
266
English walnut, with carved ebony handles, bears maker’s label under drawer DESIGN NUMBER 742/1478, DESIGNER GORDON RUSSELL, FOREMAN F SHILTON, CABINET MAKER J MANN, DATED 1.10.30
91cm wide, 100cm high, 50cm deep
£1,500-2,000
GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY
PAIR OF ARTS & CRAFTS SINGLE BEDS, 1929
English walnut, inlaid yew and ebony, design number X126, each bears paper label, CABINET MAKER H. ALLAWAY & B. JONES, dated June 19th 1929, each with later bed base (2)
91cm wide, 118.5cm high, 201.5cm long
£300-500
CONTEMPORARY BRITISH SCHOOL
LARGE BREAKFRONT BOOKCASE CABINET, 1990S
oak, with patinated bronze fittings
221cm wide, 259cm high, 64.5cm deep
This bookcase was designed by Margaret Martin (now Sainsbury) and made by Brian Moxon circa 1990
£800-1,200
END OF COLLECTION
268
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
269
ENGLISH
PAIR OF ARTS & CRAFTS
CANDELABRA, CIRCA 1880
brass (2)
33.5cm high
£300-500
270
A. W. N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO. SET OF GOTHIC REVIVAL FIRE IRONS, CIRCA 1850
cast iron and brass, comprising; a SHOVEL, 74cm long, a PAIR OF TONGS, 70cm long, and a POKER 72cm long (3)
Literature: See Historic Furniture & Decorative Arts Collection, Houses of Parliament, London, no. POW 05245 for related fire irons (heritagecollections.parliament.uk/collections/getrecord/HOP_POW_05245)
£500-700
271
A.W.N. PUGIN (1812-1852)
PAIR OF GOTHIC REVIVAL FIREDOGS, CIRCA 1860
cast iron (2)
10cm wide, 33cm high, 21cm deep
Literature: See Historic Furniture & Decorative Arts Collection, Houses of Parliament, London, no. POW 02090 for related firedogs.
£200-300
272
TORQUATO CASTELLANI (1846-1941)
FAIENCE CHARGER, 1878
tin-glazed earthenware, painted mark TC ROMA 1878, with later stand
47cm diameter
£600-800
273
ATTRIBUTED TO A. W. N. PUGIN
(1812-1852) GOTHIC REVIVAL CHAIR ‘SPEAKER’S CHAIR’, MID19TH CENTURY
oak, with later leather upholstery and original brass nails 44.5cm wide, 101cm high, 46cm deep
Literature: Atterbury P and Wainwright C. A.W.N. Pugin, Master of Gothic Revival, London, 1995, p. 132, no. 231 Ross I. (ed.), The Houses of Parliament, History, Art, Architecture, London, 2000, pp. 188, 206 (illus.)
The current lot is a variant of a group of oak side chairs, or “back stools,” which were originally designed by Pugin in 1846 in the ‘National’ style for the New Palace of Westminster. Their carved frames, decorated with oak leaves and English roses, reflect Pugin’s adaptation of fifteenth-century Gothic motifs. The design was conceived as a group of sixteen chairs to accompany the octagonal dining tables in the Queen Victoria Lobby (now the Prince’s Chamber), while a pair of gilded mahogany chairs of the same pattern served as thrones for the Prince of Wales and Prince Albert in 1849. This ‘New Palace’ pattern was revived in 1859 by Holland & Sons for the Speaker’s Residence, with more elaborately carved stretchers. Three related chairs bearing laurel-wreathed Gothic-lettered “H” cyphers, likely from the collection of John Harris, appeared at Sotheby’s London, Out of the Ordinary: The Discerning and Individual Taste of Christopher Gibbs and Harris Lindsay, 10 May 2006, Lots 207 and 208. Other examples from this set are kept at The Museum of Fine Arts, Houston; The Art Institute of Chicago; The Los Angeles County Museum of Art.
£1,000-1,500
274
WARD OF HALIFAX
PAIR OF BOLSTER CUSHIONS, THE FABRIC CIRCA 1870
cotton and silk, later made up (2)
67cm long, 18cm diameter
£200-300
275
AFTER EUGÈNE EMMANUEL VIOLLET-LE-DUC (1814-79) AND FATHER
ARTHUR MARTIN (1802-1856) FOR POUSSIELGUE-RUSAND (1824–89)
PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1870
brass and gilt brass (2)
62cm high
£600-800
277
WARD OF HALIFAX
TWO CUSHIONS, THE FABRIC CIRCA 1870
cotton and silk backed with red linen and covered buttons, later made up (2)
64cm x 40cm, 56cm x 27cm
£200-300
276
ENGLISH
GOTHIC REVIVAL SIDE TABLE, CIRCA 1880
pitch pine
91.5cm wide, 83cm high, 54.2cm deep
£300-500
MANNER OF WILLIAM BURGES
GOTHIC CENTRE TABLE, CIRCA 1870 walnut, stained oak, with gilded embellishment, marble and lapis lazuli inlay 107cm diameter, 60cm high
Literature: Mordaunt Crook J. William Burges and the High Victorian Dream, London, 1981, p. 295 & p. 406, n. 26J. Cooper J. Victorian and Edwardian Furniture and Interiors, London, 1987, p. 72, fig. 152.
This table demonstrates similarities to furniture designed by Burges for his client Reverend J. A. Yatman and his new wife Anna Hamilton for their bridal bedroom at The Hall, Winscombe, in 1858. Burges insisted on an elaborate figurative scheme for the walls whilst the furniture, a gift to the couple from Burges, was left relatively plain. A well-documented mirror for the room in ebonised walnut, inlaid with hardstones was sold Christies, New York The Ann and Gordon Getty Collection: Temple of Wings, 14th June 2023, Lot 78.
£2,000-3,000
ENGLISH, MANNER OF A.W.N. PUGIN
GOTHIC REVIVAL DESK SEAL, CIRCA 1880
gilt bronze
8.9cm high
£200-300
280
A.W.N. PUGIN (1812-1852) OR E.W. PUGIN (1834-1875)
NEEDLEWORK RUG, CIRCA 1850
wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpet
218cm x 149cm
St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.
The remains of a medieval palace, formerly owned by the Archbishops of Canterbury, were adapted by Edward Welby Pugin between 1863 and 1866 to house Mayfield School of the Holy Child. A particularly noteworthy feature from this period is a needlework rug that once extended the full length of the Chapel. Due to the scale of the undertaking, the rug was produced in smaller, panelled sections, which were subsequently joined to form a continuous carpet. This hand-stitched work was executed by the sisters of Mayfield Chapel for Mother Cornelia Connelly, the founder of the Society of the Holy Child Jesus. Consistent with his other projects, E. W. Pugin is believed to have drawn upon decorative designs originally conceived by his father, which may have informed the ornamentation of this rug.
£1,500-2,000
281
A.W.N. PUGIN (1812-1852)
GOTHIC REVIVAL ‘HOUSE OF LORDS’ ARMCHAIR, CIRCA 1880 walnut, with close-nailed leather upholstery
58cm wide, 98cm high, 61cm deep
Literature: Furniture in the House of Lords: A Report by the Victoria and Albert Museum, London 1974, pl. III where a similar armchair is illustrated.
Atterbury P. and Wainwright C. (edits.) Pugin: A Gothic Passion, Yale 1994, p. 131, pl. 230c. illus.
Cooper, J. Victorian & Edwardian Furniture & Interiors, London, 1987, p. 101, pl.
112 illustrating the dining room at Abney Hall.
This chair is the companion armchair to the standard House of Lords side chair, of which several examples still exist in the Palace of Westminster. Chairs of this form were made by both Gillow & Co. and Holland & Son as required.
The chair was also used for domestic commissions such as the dining room at Pugin’s last commission Abney Hall Cheadle.
£400-600
There are several examples and sizes of tables of the type offered here in the Palace of Westminster. These tables were designed to function as simple desks or general-purpose tables and were made by both Gillow & Co. and Holland & Sons.
The office of Serjeant at Arms, established in 1415, is one of the oldest parliamentary posts in the United Kingdom. Traditionally charged with maintaining
order and overseeing the security of the House of Commons, the role today is largely ceremonial. At the time this table was made, the position was likely held by Lord Charles Russell (1807–1894), a British soldier and Whig politician. Russell represented Bedfordshire in Parliament from 1837 to 1841 and again in 1847, before being appointed Serjeant at Arms in 1848 — a post he held until 1875.
282
A.W.N PUGIN (1812-1852) FOR THE NEW PALACE OF WESTMINSTER GOTHIC REVIVAL LIBRARY TABLE, CIRCA 1850
oak, with iron handles, carved to each end in bas relief VR in a roundel, stencilled marks under ST AT ARMS H CO NO.**5 102cm wide, 73cm high, 70cm deep
Christie’s King Street, 15th April 1987
Literature: Furniture in the House of Lords: A Report by the Victoria and Albert Museum, London 1974, pl. V where a similar table is illustrated.
£1,500-2,000
283
ATTRIBUTED TO CRACE & SON GROUP OF FOUR FRAMED OIL CLOTH SAMPLES, CIRCA 1900 printed oil cloth, framed (4)
58cm x 49cm (frame size 62.5cm x 53cm)
£400-600
285
284
ATTRIBUTED TO LEWIS FOREMAN DAY (1845-1910) FOR HOWELL & JAMES 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
ENGLISH PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1890 brass, converted to electricity (2)
49cm high
£300-500
286
ENGLISH FINE PAIR OF GOTHIC REVIVAL ALTAR
287
ENGLISH, MANNER OF J. G. CRACE
GOTHIC REVIVAL SWIVEL DESK
CHAIR, CIRCA 1890
walnut, with upholstered seat
41cm wide, 84.5cm high, 43cm deep
£500-700
CANDLESTICKS, CIRCA 1880
gilded brass and enamel (2)
47.5cm high
£800-1,200
289
SIR JOHN TENNIEL (1820-1914)
LADY CLARE, RONALD AND THE WHITE DOE, 1872
watercolour and bodycolour, signed with monogram JT and dated 1872 lower right
101cm x 67cm (frame size 123cm x 90cm)
£800-1,200
290
ATTRIBUTED TO A.W.N. PUGIN (1812-1852) FOR HOLLAND & SONS
GOTHIC REVIVAL ARMCHAIR, CIRCA 1880
walnut, with green velvet upholstery, stamped HOLLAND & *, E. KENNY
68cm wide, 101cm high, 73cm deep
Literature: See Historic Furniture & Decorative Arts Collection, Houses of Parliament, London, no. POW 00224 for a related armchair designed by Pugin.
£600-800
288
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
£600-800
291 ATTRIBUTED TO TEMPLETONS, GLASGOW
THREE AESTHETIC MOVEMENT CURTAINS/ HANGINGS, CIRCA 1875
wool and cotton, later made-up and lined with mustard linen fabric, with later applied hanging rings (3) each 297.5cm x 127cm
Provenance: Sotheby’s London Chatsworth: The Attic Sale
£1,500-2,000
292
ENGLISH, MANNER OF CHARLES EASTLAKE
AESTHETIC MOVEMENT CABINET, CIRCA 1880
ebonised oak, incised gilded decoration with applied silk and white metal fittings
Mount Zion Church, Quarriers Village, Renfrewshire
Quarriers Village was founded as the ‘Orphan Homes of Scotland’ in 1876 by Glasgow shoemaker and philanthropist William Quarrier. Quarrier had a vision of a community allowing the young people in his care to thrive, set in a countryside environment and housed in a number of grand residences under a house-mother and father. This vision was realised by a number of donations from Quarrier and his friends, who had a free hand in choosing the style that their cottage was built in. As a result, the village is an unusual mix of Gothic, French, Old English, Scottish Baronial and Italian. Despite this virtually all of the buildings were the responsibility of one architect, Robert Bryden of Clarke & Bell in Glasgow, who worked free of charge on Quarrier’s projects over a course of some twenty-eight years.
A charity under the name of Quarriers continues the work of the former homes and is based within the village, although over time the homes and associated buildings have been converted into private housing, and some expansion has taken place with new residential development. Quarriers is a registered charity and still functions to help disadvantaged young people, carers and adults with disabilities in the United Kingdom and beyond.
£600-800
294
ENGLISH
PAIR OF GOTHIC REVIVAL DOORS, CIRCA 1880
oak, inset with stained, painted and leaded glass panels depicting portraits of John Ruskin and Thomas Carlisle, the lower panel in birch incised with roundels of flowers in the manner of A.H Mackmurdo, with iron fittings (2) each door 217.5cm x 50cm
£2,000-3,000
295
ALEXANDER MUNRO (1825–1871)
RELIEF ROUNDEL OF GEORGE MACDONALD, CIRCA 1860 patinated plaster, signed with artist’s monogram AM 50.5cm diameter
£800-1,200
Alexander Munro (1825–1871), a distinguished Scottish sculptor of the Victorian era, holds a significant place within the Pre-Raphaelite movement. Born in Inverness, the son of a stonemason, Munro displayed artistic talent from an early age. His abilities were recognized and fostered by the Duchess of Sutherland, his father’s employer, who provided financial assistance and facilitated his introduction to the architect Charles Barry. Through Barry’s patronage, Munro was placed under the guidance of John Thomas and travelled to London to contribute to the sculptural decoration of the newly constructed Houses of Parliament. He subsequently enrolled at the Royal Academy Schools, where he formed lasting friendships with Dante Gabriel Rossetti and John Everett Millais, two founding members of the Pre-Raphaelite Brotherhood, who profoundly shaped Munro’s artistic outlook and practice. Despite his early death in 1871, his body of work played a notable role in shaping mid-nineteenth-century British sculpture. Between 1849 and 1870,he exhibited regularly at the Royal Academy and also participated in the Great Exhibition of 1851. His most celebrated work, Paolo and Francesca (1851–1852),is frequently cited as the archetypal example of Pre-Raphaelite sculpture.
George MacDonald (1824–1905) was a Scottish novelist, poet, and writer of Christian allegories, best remembered for his influential fairy tales. Munro frequented the MacDonald’s home ‘Tudor Lodge’ near Regent’s Park in Camden after they met in Hastings August 1859. Initially a Congregational minister, he later pursued a career as a freelance preacher, lecturer, and professional writer. His works for adults include Phantastes: A Faerie Romance for Men and Women (1858) and Lilith (1895), while his most enduring children’s works are The Princess and the Goblin (1872) and its sequel, The Princess and Curdie (1883).
296 Y
COLLINSON & LOCK
GOTHIC REVIVAL OCCASIONAL TABLE, CIRCA 1880 rosewood, stamped under top COLLINSON & LOCK/ LONDON/ 6628 51cm diameter, 66cm high £400-600
297
MANNER OF E. W. GODWIN AESTHETIC MOVEMENT ARMCHAIR, CIRCA 1880 walnut, upholstery
56.5cm wide, 99cm high, 56cm deep
£400-600
ROBERT PHYSICK (1816-1882)
BUST OF A GIRL, 1874 marble, signed and dated ROBT. PHYSICK SCULP. 1874
64cm high, 41cm wide, 24cm deep
£3,000-5,000
299
BURMANTOFTS POTTERY
PAIR OF FAIENCE VASES, 1880S moulded and glazed earthenware, impressed BURMANTOFTS
FAIENCE 2044 ENGLAND, painted COL 167/10 (2)
44.5cm high
£400-600
301
ENGLISH
300
ENGLISH
AESTHETIC MOVEMENT CENTRE TABLE, CIRCA 1880
ebonised wood, gilt and polychrome decorated roundels, and brass caps and castors
92.5cm wide, 73cm high, 51cm deep
£400-600
302
MANNER OF BRUCE TALBERT
PAIR OF BEDSIDE CABINETS, CIRCA 1880
walnut, with ebony embellishments and brass handles (2)
40cm wide, 78cm high, 38.5cm deep
£800-1,200
ARTS & CRAFTS FIRESCREEN, CIRCA 1900
oak, inset with stained, painted and leaded glass panels
74.5cm wide, 115cm high
£250-350
303
ENGLISH
ARTS & CRAFTS STAINED GLASS PANEL, CIRCA 1890
stained, leaded and painted glass, framed
39.5cm x 62.5cm (frame size 45.5cm x 68.5cm)
£400-600
304
ENGLISH
AESTHETIC MOVEMENT WELLINGTON
CHEST/ CABINET CIRCA 1880
mahogany, with brass handles
54.5cm wide, 114.5cm high, 39cm deep
£600-800
305
ENGLISH
AESTHETIC MOVEMENT DISPLAY
CABINET, CIRCA 1880
ebonised mahogany, with mirrored plates, gilt embellishment and brass handles, the doors inset with polychrome and gilt painted panels
106cm wide, 165cm high, 38cm deep
£300-500
306
307
AFTER E.W. GODWIN, POSSIBLY BY WILLIAM WATT
PAIR OF AESTHETIC MOVEMENT LOW CHAIRS, CIRCA 1880
ebonised mahogany, with later upholstery (2)
44.5cm wide, 75cm high, 46cm deep
Literature: Soros S. The Secular Furniture of E. W. Godwin, New Haven, 1999, p. 113, pl. 137 where a comparable chair is illustrated.
£600-800
ATTRIBUTED TO E. W. GODWIN (1833-1886) FOR COLLINSON & LOCK, LONDON
AESTHETIC MOVEMENT DISPLAY CABINET
VITRINE, CIRCA 1880
mahogany, glass, with fabric lining and characteristic brass sabots
113.5cm wide, 158cm high, 39cm deep
£1,200-1,800
THOMAS JECKYLL (1827-1881)
FOR BARNARD, BISHOP & BARNARD
AESTHETIC MOVEMENT FIRE INSERT, CIRCA 1880
cast brass and cast iron
external 99cm wide, 96.5cm high; internal 46cm wide, 68cm high
Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge 2005, p. 83, pl. 102 where a photograph of circa 1896 shows an example of this fire insert in situ in the house of William Ault, manufacturer of ceramics, including the designs of Christopher Dresser.
£6,000-8,000
Thomas Jeckyll began working for Barnard, Bishop & Barnard, the Norwich-based brass and iron foundry, in 1859 as their leading designer. Trained as an architect, he is best known for his metalwork designs for gates, railings, garden benches, seats, and fire grates and tools. These include the sunflower andirons of around 1878, a pair of which were displayed in the Peacock Room, designed by Jeckyll for Frederick Leyland and now housed in the Freer Gallery of Art, Washington, D.C.
309
MANNER OF BRUCE TALBERT AESTHETIC MOVEMENT
CANDLE SCONCE, CIRCA 1880
repoussé-decorated brass
20cm wide, 35.5cm high
£300-500
310
ATTRIBUTED TO BRUCE TALBERT (1838-1881) FOR JAMES LAMB, MANCHESTER FINE AESTHETIC MOVEMENT DRAWING ROOM
CABINET, CIRCA 1880
ebonised and gilded mahogany, amboyna, brass fittings, the twin glazed doors enclosing shelves lined with gilt tooled leather, backed with mirrored plates, flanked by incised, inlaid panels, stamped to door LAMB MANCHESTER 33742
198.5cm wide, 111cm high, 48cm deep
£4,000-6,000
311
ENGLISH
PAIR OF ARTS & CRAFTS HANGING LIGHTS, CIRCA 1900
brass, associated ‘Hollophane’ glass shades, each with moulded mark HOLLOPHANE (2)
25.5cm diameter, 33cm high with fitting
£500-800
312
ENGLISH
‘EUTERPE’ ARTS & CRAFTS FRAMED EMBROIDERY
coloured silks, gold thread and beaded embellishments on a linen ground, inscribed EUTERPE/ SONG
72.5cm x 21cm (frame size 77.5cm x 26cm)
£300-500
313
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, 50cm deep
Literature: Cooper J. Victorian & Edwardian Furniture & Interiors, London 1998, p. 85, pl. 188
These chairs closely resemble designs 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).
£3,000-5,000
314
SELWYN IMAGE (1849-1930) FOR THE ROYAL SCHOOL OF NEEDLEWORK
‘VENUS’, ‘JUNO’ AND ‘MINERVA’, AN EMBROIDERED TRIPTYCH, CIRCA 1879
crewel-stitch in gold, green and brown threads on a cream silk satin ground, moulded mahogany frame, bearing embroidered inscriptions VENUS/ JUNO/ MINERVA
156cm x 134cm including frame
Paul Reeves, London
Private Collection
Exhibited: London, Royal School of Needlework Exhibition, 1879
Literature: Morris B. Victorian Embroidery: An Authoritative Guide, Dover 2003, pp. 136-137, pl. 56 illus.
Originally designed as a set of four to include Proserpine, these panels were designed by Selwyn Image, circa 1879, for the Royal School of Needlework. The School was founded in 1872 with the aims of ‘restoring Ornamental Needlework for secular purposes, to the high place it once held amongst decorative arts, and to supply suitable employment for poor gentlewomen’. The school commissioned designs from the leading architects and designers of the day.
£2,000-3,000
315
ATTRIBUTED TO COLLINSON & LOCK
AESTHETIC MOVEMENT CENTRE TABLE, CIRCA 1900 mahogany
98cm diameter, 74.5cm high
£800-1,200
316 ENGLISH
PAIR OF GOTHIC REVIVAL CURTAINS, CIRCA 1900
woven cotton, with braided edge and cotton lining (2)
224cm x 129cm
£300-500
317
W.A.S. BENSON (1854-1924)
TWO TABLE LAMPS, CIRCA 1900
brass, with period opalescent glass shades, each with adjustable arms, stamped BENSON (2)
30cm and 25cm high
£500-700
318
PRATT & PRINCE REFORMED GOTHIC SEWING TABLE, CIRCA 1880 inlaid oak, bears maker’s label under drawer PRATT & PRINCE UPHOLSTERERS, BRADFORD, CARPET, CURTAINS ETC.
61cm wide, 73cm high, 40cm deep
£300-500
319
ATTRIBUTED TO CHARLES BEVAN (1815-1891) FOR MARSH & JONES
PAIR OF SIDE CHAIRS, CIRCA 1880 birch, inlaid with specimen woods, with caned seats (2)
44cm wide, 85cm high, 36.5cm deep
£800-1,200
320
CHARLES BEVAN (1815-1891)
GOTHIC REVIVAL OCCASIONAL
TABLE, CIRCA 1875
oak, inlaid and carved oak and black walnut
60cm diameter, 70.5cm high
£1,000-1,500
321
ENGLISH
AESTHETIC MOVEMENT ADJUSTABLE STANDARD LAMP, CIRCA 1880
brass, with ratcheted adjustment and later pleated silk shade
122cm high to base of fitting (closed), 162cm high (fully extended)
£300-500
322
JAMES LAMB, MANCHESTER
PAIR OF SIDE CHAIRS, CIRCA 1870
oak, stencilled maker’s mark J LAMB/ JOHN DALTON STREET/ MANCHESTER/ 22317 (2)
43cm wide, 93cm high, 44cm deep
£300-500
323 Y
ENGLISH, MANNER OF MORRIS & CO.
ARTS & CRAFTS CENTRE TABLE, CIRCA 1890
rosewood, with brass caps
90.5cm diameter, 68.5cm high
£1,000-1,500
324
MANNER OF DANIEL COTTIER
AESTHETIC MOVEMENT
JARDINIÈRE STAND, CIRCA 1875
painted and ebonised wood, the top inset with a MINTON, HOLLINS & CO. painted ceramic tile
27.5cm square, 73cm high
£300-500
325
ATTRIBUTED TO GEORGE FAULKNER ARMITAGE (1849-1937)
FINE AESTHETIC MOVEMENT
WRITING CABINET, CIRCA 1880
carved and moulded mahogany, brass fittings
109.5cm wide, 121.5cm high, 64.5cm deep
£1,500-2,000
327
GILLOW & CO, LANCASTER
AESTHETIC MOVEMENT WASHSTAND, CIRCA 1890
ash and marble, with glazed ceramic tiled splashback and brass handle, stamped to drawer GILLOW & CO/ LANCASTER
107cm wide, 141cm high, 53cm deep
£300-500
326
ENGLISH
ARTS & CRAFTS EMBROIDERED PORTIERE, CIRCA 1900
coloured wool, silk and chenille threads on a cotton ground, with wool and cotton braided embroidered border, lined with a satinised cotton lining and later applied hemming rings
173cm x 152cm
£300-500
328 ATTRIBUTED TO JOHN POLLARD SEDDON (1827-1906)
SET OF SIX DINING CHAIRS, CIRCA 1880
oak, with later close-nailed felt upholstery (6)
46cm wide, 92.5cm high, 52cm deep
£600-800
329
AMERICAN
AESTHETIC MOVEMENT CLOCK, CIRCA 1880
patinated bronze, the French twin train movement with enamel dial striking on a gong
40.5cm high
£400-600
330
ALFRED WATERHOUSE (1830-1905), POSSIBLY MADE BY HENRY CAPEL FIREPLACE FOR BLACKMOOR HOUSE, CIRCA 1875
oak, inset with the original glazed blue and white ceramic tiles by W. B. Simpson
244cm wide, 120.5cm high, mantel shelf 29.5cm deep
For a fireplace of similar form see The Fine Art Society: 142 Years on New Bond Street, Sotheby’s, London, 5th February 2019, Lot 49 Henry Capel supplied much of the furniture at Blackmoor House and for other Waterhouse commissions, including Eaton Hall, Balliol College, Oxford, and in Cambridge, Jesus and Pembroke Colleges. His show card for his Art Furniture illustrates a fireplace of similar design to the current lot, with multiple brackets under the mantel shelf and carved panels to the jambs.
£800-1,200
331
MANNER OF THOMAS JECKYLL
PAIR OF AESTHETIC MOVEMENT FIRE DOGS, CIRCA 1880 brass, one with stamped maker’s mark (2)
15cm wide, 26.5cm high, 19cm deep
£250-350
332
ROYAL
WORCESTER
SET OF SIX AESTHETIC MOVEMENT PLATES, 1876
glazed, enamelled and gilt embellished porcelain, stamped maker’s and date marks (6)
23cm diameter
£300-400
333
MARSH & JONES, LEEDS
BOOKCASE CABINET, CIRCA 1880
oak and ebonised oak, with carved decoration and brass fittings, paper label verso MARSH & JONES (LATE KENDAL & CO.), 56 LONGBOTTOM & SON
204cm wide, 152cm high, 45.5cm deep
£1,000-1,500
DAY TWO THURSDAY 16 OCTOBER 2025 FROM 10AM
334
CHRISTOPHER DRESSER (1834-1904) JAMES COUPER & SONS
‘CLUTHA’ VASE, CIRCA 1890 green glass, with aventurine trailed inclusions 16.5cm high
£400-600
335
CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS
‘CLUTHA’ VASE, CIRCA 1880 green glass, with aventurine and milky trailed inclusions 39cm high
Provenance: Private Collection, Glasgow
Literature: Whiteway M. Christopher Dresser: 1834-1904, Skira 2001, pl. 242, p. 197 where a vase of the same design in yellow glass is illustrated.
£800-1,200
337
336
CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS
‘CLUTHA’ VASE, CIRCA 1890 amber glass, with applied trailed decoration 14.5cm high
Provenance: Paul Reeves: An Eye for Design feat. Textiles as Art II, 2019 (100) Private Collection, Glasgow
Literature: Halen W. Christopher Dresser: A Pioneer of Modern Design, Phaidon 1993, p. 173, pl. 195
Lyons H. Christopher Dresser: The People’s Designer 1834-1904, ACC 2005, p.162, pl. 311 where a vase with similar decoration is illustrated.
£600-800
CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. VASE, NO. 1303, 1867
bone china, glazed, enamelled and gilded decoration 15cm high
Literature: Halen W. Christopher Dresser: A Pioneer of Modern Design, Phaidon 1993, p. 122, pl. 128
£500-800
338
HEAL & SON
AESTHETIC MOVEMENT WASHSTAND, CIRCA 1880
ebonised and gilded wood, with painted polychrome decoration, brass handles, marble stamped to the drawer HEAL & SON/ LONDON (adapted)
122.5cm wide, 107cm high, 56cm deep
£1,200-1,800
339
HEAL & SON
AESTHETIC MOVEMENT DESK, CIRCA 1880
ebonised and gilded wood, with painted polychrome decoration, brass handles, stamped to the drawer HEAL & SON/ LONDON (adapted)
123cm wide, 96cm high, 54cm deep
£2,500-3,000
340
MANNER OF CHRISTOPHER DRESSER
ANGLO-MORESQUE WALL SHELVES, CIRCA 1880 hardwood
124cm wide, 128.5cm high, 24cm deep
£500-800
341
CHRISTOPHER DRESSER (1834-1904) FOR THE COALBROOKDALE COMPANY
STICK STAND, CIRCA 1875
cast iron, with removeable drip pan, cast mark to base COALBROOKDALE, cast lozenge mark and number verso
49cm wide, 82.4cm high, 17.5cm deep
Literature: Cooper J. Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, p.145, pl. 357. £800-1,200
343
CHRISTOPHER DRESSER (1834-1904) FOR THOMAS KNIGHT
CORNER CHAIR, CIRCA 1880
carved mahogany, with close-nailed upholstered seat
53cm square, 104.5cm high
Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge 2005, pp. 144-145, pls. 261 and 262 and pp. 150-151, pl. 272
£3,000-5,000
Thomas Knight was a nationally recognised cabinetmaker whose work primarily reflected traditional designs, often associated today with the Victorian style. He exhibited at the London Exhibitions of 1851 and 1862, receiving favourable mention from Christopher Dresser in his review of the latter.
The Knight archive, held at the Victoria and Albert Museum, includes a page of sixteen chair illustrations indexed under the title “Dr Dresser’s chairs.” Within the archive, the sketches are recorded as “Dr Dresser’s designs.”
The annotations on the sketches are numbered
342
CHRISTOPHER DRESSER (18341904) FOR J.W. & C. WARD, HALIFAX
AESTHETIC MOVEMENT FABRIC PANEL, CIRCA 1873
silk and wool, later lined and framed with linen panel 237cm x 108cm, total 261cm x 123cm
Literature: Whiteway M. (ed.) Christopher Dresser: A Design Revolution, V&A 2004, p. 75, no. 84
£1,200-1,800
from 217 to 232, suggesting they represent design numbers within the Knight allocation, although this sequence usually consists of four digits. The sketch for this particular chair is numbered 272. By 1883, Knight was recorded as a significant creditor of the Art Furnishers’ Alliance (AFA). Many of the chairs designed by Dresser and produced by Knight were later sold by Liberty & Co. as part of their Anglo-Moresque range. These chairs, including the present example, may originally have been intended for the AFA but were subsequently sold through Liberty & Co.
CHRISTOPHER DRESSER (1834-1904)
‘PRINCIPLES OF DECORATIVE DESIGN’, THIRD EDITION
London: Cassell, Petter & Galpin, circa 1875, 2 chromolithograph plates, monochrome illustrations, price label pasted to inside Science and Art Department of the Committee of Council on Education, South Kensington Queens Prize 1882, small 4to £300-500
346
CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH
DOUBLE BON-BON DISH, CIRCA 1880
silver plate, stamped marks H&H/ 2523
27.5cm across
Literature: Christopher Dresser People’s Designer 1834-1904, New Century Exhibition Catalogue, June 1999, Cat. No. M-048, for a similar example
£300-500
347
CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY
PLATE, CIRCA 1880
glazed earthenware, impressed LINTHORPE/ HT/ 355, with facsimile signature
33.7cm diameter
£400-600
345
CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON
LETTER RACK, CIRCA 1880
silver plate, stamped maker’s marks H&H and with registration lozenge for 1881 12.5cm high, 15cm wide
Literature: Whiteway M. Christopher Dresser 1834-1904, Milan 2001, p. 84, pl. 58 for a comparable example registered for 1881.
£600-800
MANNER OF CHRISTOPHER DRESSER FOR SCHEURER-ROTT, HAUT-RHIN
PAIR OF AESTHETIC MOVEMENT CURTAINS, CIRCA 1880
printed cotton, with glazed cotton lining and braided edge, with matching tie-backs (4)
290cm x 154cm
Literature: Lyons H. Christopher Dresser Textiles, ACC 2018, pp.18-19 and p. 112 where examples of fabric by Dresser bearing similarities to the current lot are illustrated.
£300-500
350
349
CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO.
AESTHETIC MOVEMENT
TEAPOT, CIRCA 1879
transfer printed and glazed earthenware, impressed ‘Minton’ with date code for 1879
19cm high
£300-500
351
ATTRIBUTED TO BRUCE TALBERT (1838-1881)
AESTHETIC MOVEMENT MUSIC CABINET, CIRCA 1880
ebonised wood, gilt, burr walnut, with painted and enamelled panels, the interior with velvet lined shelves
68.5cm wide, 111cm high, 40.5cm deep
£1,000-1,500
CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH
BON-BON BASKET, CIRCA 1880
silver plate, with wicker-covered swing handle, impressed H&H/ 2658
19.5cm wide
£300-500
352
ATTRIBUTED TO MAY MORRIS (1862-1938) FOR MORRIS & CO. ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1890
coloured silks on a linen ground
50cm x 55cm
£400-600
353
354
W. A. S. BENSON (1854-1924)
PAIR OF CANDLESTICKS, CIRCA 1890
brass and copper, each stamped to drip tray W.A.S. BENSON (2)
29.5cm long
Literature: Hamerton I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p.253, pl.23 where an illustration of this design is pictured (204).
£1,000-1,500
PHILIP WEBB (1831-1915) FOR MORRIS & CO. MUSIC CABINET, CIRCA 1870 mahogany
71cm wide, 118cm high, 34cm deep
Literature: Crow G. William Morris, Designer, New York 1934, p.75
An étagère with similar characteristics can be seen in an 1879 photograph of the Morris & Company shop window at 449 Oxford Street.
£1,200-1,800
355
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
£500-800
356
WILLIAM DE MORGAN (1839-1917)
FRAMED TWELVE-TILE PANEL, 1898 glazed ceramic, impressed maker’s marks each tile 15.5cm square, visible panel 61.5cm x 45cm, frame size 67.5cm x 51.4cm
Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 1989, p. 149, pl. 588 and 572 where the designs for these tiles are illustrated.
£2,000-3,000
357
KATHLEEN KERSLEY ( B. 1889) FOR MORRIS & CO.
SANDERSON ‘BIRD AND POMEGRANATE’ WALLPAPER
PANEL, DESIGNED CIRCA1926, PRINTED CIRCA 1955
hand-blocked paper, 87.5cm x 55.5cm (frame size 94cm x 62cm)
Literature: William Morris Gallery Catalogue number B143 ‘Bird & Pomegranate’ was the last wallpaper design produced by Morris & Co. This version was printed using original Morris & Co. blocks by the firm Arthur Sanderson & Sons Ltd., who acquired the blocks from Morris & Co. when they closed in 1940.
£300-500
358
EDWARD BURNE-JONES (1833-1898) AND JOHN HENRY DEARLE (1859-1932)
‘FLORA’ TAPESTRY, CIRCA 1930
wool and silk, lined with blue cotton 100cm x 40.4cm
Literature: Marillier H.C. History of the Merton Abbey Tapestry Works, London, 1927, p. 34
Parry L. William Morris Textiles, V&A 2013, pp. 133-136
£6,000-8,000
This late tapestry by Morris & Co. was possibly woven by Douglas Griffiths, one of the company’s final apprentices, who left to serve in the military at the outbreak of the Second World War, or by Arthur Wingate and Wallace Stevens, two of the other remaining weavers at Morris & Co. in the 1920s and 30s. A photograph held by the William Morris Gallery depicts Griffiths at his loom at Merton Abbey, working on Pamona, a companion piece in both size and treatment to the present tapestry. This work was completed in 1938 and was very possibly presented to Lady Chilston in 1937.
In 1882, Burne-Jones received £25 for the figure designs of Flora and Pamona, his first designs specifically for tapestry, while Morris was responsible for the verdure backgrounds. The two original tapestries were acquired by the Whitworth Art Gallery in Manchester. From 1896 later versions began to be made, this time with verdure grounds designed by Dearle in a simpler form, allowing the figures to remain the primary focus rather than being overshadowed by the background.
According to Marillier, the firm wove six additional Pamona tapestries and ten Flora tapestries before 1927. The present tapestry is believed to have been produced after this date and is therefore not included in that count.
359
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
PAIR OF ‘TULIP & ROSE’ PATTERN CURTAINS, CIRCA 1876
woven woollen 3-ply cloth, unlined (2) 253cm x 169cm
Literature: Parry L. William Morris Textiles, V&A 2013, p. 210, fig. 18 illus.
£2,000-3,000
360
JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO.
FRAMED EMBROIDERY, CIRCA 1890
coloured silks
131.5cm x 52.5cm (frame size 140cm x 61cm)
£1,800-2,200
361
ATTTRIBUTED TO THE ROYAL SCHOOL OF NEEDLEWORK
EMBROIDERED PANEL, CIRCA 1900
coloured silks on an unbleached linen ground 70cm x 53cm (frame size 80.2cm x 66cm)
£400-600
363
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘THE APPLE TREE’ EMBROIDERED PANEL, CIRCA 1890
coloured silks
56cm x 55cm (frame size 64.5cm x 64.5cm)
Literature: Parry l. William Morris Textiles, 1983, p. 28 where a similar design for an embroidery is illustrated.
£1,000-1,500
362
W. A. S. BENSON (1854-1924) ARTS & CRAFTS CANDLEHOLDER, CIRCA 1890
copper and brass
22.5cm high
Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 99 (illustrated); Hamerton, I. (ed.), W. A S. Benson Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 125, pls 101 and 101A (one similar illustrated).
£300-500
364
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. FRAMED ‘LEA’ FABRIC PANEL, CIRCA 1885
printed cotton
94.5cm x 81cm (frame size 103cm x 89.5cm)
Literature: Parry, L. William Morris Textiles, V&A Publishing, London 2013, p.243, pl.64
£400-600
365
AFTER SIR EDWARD COLEY BURNE-JONES ‘HOPE’, CIRCA 1890
sepia print, within oak frame with cast plaster capitals and beaded details frame size 72cm x 39.5cm
£400-600
Alexander Fisher was immersed in a creative environment from an early age, his father working as an enameller and painter on ceramics for Brown-Westhead, Moore & Co and latterly for the Terra Cotta Co. A wellrespected and influential figure in his lifetime, particularly in the medium of enamelling, Alexander taught key individuals in the Arts & Crafts Movement and reached a wider audience with his regular features in The Studio Magazine and other seminal art journals.
Fisher had an illustrious start to his career, graduating from the South Kensington School of Design before winning a travelling scholarship to Italy and France. It was whilst in Paris that he received his first training in enamelling under M. Dalpayrat, as he recounts in an 1896 TheStudio feature ‘An Enameller and his Work’. When he returned to London, he was encouraged by his mentor and the director of the South Kensington Museum (later the V&A) Thomas Armstrong and recalls he ‘followed up the craft…attempt[ing]…to mend an article before an open fire’. During the 1890s he taught himself the art of enamelling, gleaning information from old books and then trial and error. He progressed from enamelling on pottery to enamelling on metal, as is the method on this set of candelabra.
Fisher quickly acquired the skills to teach, first at the Central School of Arts and Crafts, where he met architect and metalworker Henry Wilson, and then at the Finsbury Technical College. At the latter institution Fisher’s influence and enthusiasm encouraged many including Arthur and Georgie Gaskin and Nelson Dawson to introduce enamelling into their practice.
One of Fisher’s first studios in Warwick Square is romantically described as ‘drawing room type’, with sumptuous carpet and a pair of armchairs, the focal point of the room being
A candlabra in situ at St Mary’s Church, Dodington Park, Gloucestershire. Image courtesy of Future Publishing Ltd.
two enamelling stoves. The fashionable proprietor reputedly welcomed clients dressed in a swallow-tail coat and pinstripe trousers, before showing them to the adjacent workshop. Then in 1897 he entered into partnership with Henry Wilson, taking a floor at Wilson’s 17 Vicarage Gate premises. Wilson and Fisher collaborated on metalwork commissions, but their incompatible characters meant the relationship was ultimately short lived, with Fisher relocating his studio in 1898.
These candelabra marry Fisher’s signature enamelling with metalwork, as is commonplace in his oeuvre. They were commissioned for St. Mary’s Church on the Dodington Park Estate in Gloucestershire. Tendrils of foliage wrap around the arms of the candelabra like sinuous muscle, the chain motif around the stem of each reminiscent of the Celtic motifs with which Fisher worked from the mid-1890’s. Their production coincides with the zenith of Fisher’s career, as he continued to expand his influence both through teaching and writing The Art of Enamelling, published in four instalments in The Studio from 1901-1905.
366
ATTRIBUTED TO ALEXANDER FISHER (1864-1936)
SET OF EIGHT CANDELABRA, CIRCA 1900
bronze, enamel, oak (8)
55.5cm high. 43.5cm wide
Provenance: St. Mary, Dodington, Gloucestershire
Private Collection
£6,000-8,000
“ Even the humblest article of utility demands to be made beautiful ”
Alexander Fisher
367
ENGLISH
PAIR OF ARTS & CRAFTS
HALL LANTERNS, CIRCA 1910
368
ENGLISH
ARTS & CRAFTS TABLE
RUNNER, CIRCA 1900
chenille thread on a velvet ground, with silk backing
252cm x 48.5cm
£300-500
brass, with pink glass shades, later converted to electricity (2)
lantern 31cm high, 46cm high to ceiling rose
£300-500
HERBERT DAVIS RICHTER (1874-1955) FOR THE BATH CABINETMAKERS
CENTRE TABLE, CIRCA 1910
inlaid mahogany
91cm diameter, 76.2cm high
£1,500-2,000
370 AFTER GAVIN MORTON AND G.K. ROBERTSON
LARGE ARTS & CRAFTS HAND-KNOTTED CARPET
wool, the ivory field having all-over decoration of bold palmettes and stiff leaves in blue, green and pastel enclosed by a conforming indigo palmette border 652cm x 335cm
Provenance: Collection of the late Sir Richard Shepherd, MP Private Collection, London
Literature: Haslam M. Arts and Crafts Carpets, London 1991, p. 106, fig. 67. where a carpet of similar design is illustrated
£6,000-8,000
371
AUGUSTUS SAINT-GAUDENS (1848-1907)
ROBERT LOUIS STEVENSON, MODELLED1887-88, THIS VERSION CIRCA 1900
bronze, cast inscription TO ROBERT LOUIS/STEVENSON/ AUGUSTUS/SAINT-GAUDENS/ MDCCCLXXXVII and with several stanzas from Underwoods by Stevenson in the upper half, inscribed COPYRIGHT BY SAINT-GAUDENS, lower centre, set within oak frame roundel 30cm diameter (frame size 53cm x 47cm)
Literature: Dryfhout J.H., Fox B., Augustus Saint-Gaudens: The Portrait Reliefs, New York, 1969, nos. 39-41, other examples illustrated.
£2,000-3,000
Augustus Saint-Gaudens (1848–1907) was an American sculptor born in Dublin on 1 March 1848. He was raised in New York and later travelled to Europe for further training and artistic study before returning to the United States. Saint-Gaudens became known for his public monuments commemorating figures of the American Civil War. In addition to his sculptural work, he was interested in numismatics and designed the $20 “double eagle” gold coin for the United States Mint between 1905 and 1907, as well as the $10 “Indian Head” gold eagle coin.
Saint-Gaudens admired Robert Louis Stevenson’s New Arabian Nights (1882) and told their mutual acquaintance, Will Low, that he would be willing to model a portrait of Stevenson should the author visit the United States. This opportunity arose in 1887–88, when Stevenson (1850–1894) sat for Saint-Gaudens in New York and later in Manasquan, New Jersey. The relief depicts Stevenson writing in bed, a practice necessitated by his tuberculosis, and is accompanied by an inscription of a poem by Stevenson dedicated to Low and published in 1887.
The first version of the relief, a rectangular bronze, was cast in 1887. The circular format—produced in three sizes and preferred by Saint-Gaudens—continued to be made into the mid-1920s in various iterations, reflecting the artist’s tendency to introduce subtle changes to his designs. The original frame may be designed by Stanford White, the Gilded Age architect who was his great friend and collaborator. In 1904 Saint-Gaudens created a version of the plaque as a memorial to Stevenson in Edinburgh. Installed in St Giles’ Cathedral, it remains the only memorial to Stevenson in his native Scotland.
372
KATE HARRIS (1878-1948) FOR GOLDSMITHS & SILVERSMITHS CO. LTD.
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)
£2,000-3,000
373
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
£600-800
374
KATE HARRIS (1878-1948) FOR GOLDSMITHS & SILVERSMITHS CO. LTD.
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)
£1,500-2,000
376
375
AFTER WALTER CRANE (1845-1915)
‘WHEN LILIES OF THE DAY ARE DONE’, EMBROIDERED APPLIQUÉ PANEL, CIRCA 1910
coloured silks and silk and gold threads, reserved on a fine linen ground, bears embroidered inscription WHEN LILIES OF THE DAY ARE DONE, AND SUNK THE GOLDEN WESTERING SUN 65cm x 46cm (frame size 83cm x 64cm)
This image is taken from Crane’s 1902 publication Flora’s Feast, A Masque of Flowers.
£400-600
ATTRIBUTED TO HARRY NAPPER (1860-1930) FOR THE SILVER STUDIO PAIR OF ART NOUVEAU PRINTED COTTON HANGINGS, CIRCA 1900
printed and woven cotton, unlined, braided and tasselled to two sides (2)
271cm x 110cm
£600-800
SHAPLAND & PETTER, BARNSTAPLE
ARTS & CRAFTS SECRETAIRE ON STAND, CIRCA 1900
oak, with rosewood crossbanding, chequer inlay and brass fittings, the fitted interior with marquetry panels to the doors above pull out writing slide, with tooled baize surface, stamped to the lock S&P B
74cm wide, 126.5cm high, 40cm deep
£1,000-1,500
378
ATTRIBUTED TO C.F.A. VOYSEY (1857-1941) FOR THOMAS ELSLEY LTD. SET OF THREE WALL LIGHTS, CIRCA 1905 brass, with original brass shades (3) 57cm wide, 46cm high, 34.5cm deep (back plate 21cm x 21.7cm)
Provenance: Paul Reeves, London Private Collection, London
Literature: For a related ceiling light see Thomas Elsley Linited trade catalogue circa 1900, p. 10. no. 86E
£4,000-6,000
379
C.F.A. VOYSEY (1857-1941) FOR NEWMAN, SMITH & NEWMAN LTD.
FRAMED FURNISHING FABRIC PANEL, CIRCA 1898
printed cotton
90cm x 84cm (frame size 99.5cm x 94cm)
Literature: Parry L. British Textiles from 1850-1900, V&A 1993, pl. 120
V&A accession no. CIRC.72-1953
£600-800
380
MANNER OF C.F.A. VOYSEY
CEILING LIGHT, CIRCA 1900 copper, with frosted glass shade
25.5cm high to top of fitting
£300-500
381
C.F.A. VOYSEY (1857-1941) FOR ALEXANDER MORTON & CO.
‘BIRD & LEAF’ FABRIC PANEL, CIRCA 1897
382
MANNER OF C.F.A. VOYSEY
FIRESIDE SET, CIRCA 1890
brass and steel, comprising; a STAND, 65cm high; ASH SHOVEL, 46cm long; COAL NIPPERS, 43cm long; BRUSH, 45cm long and POKER, 44.5cm long (5)
£600-800
383
C.F.A. VOYSEY (1857-1941) FOR THOMAS ELSLEY & CO.
ARTS & CRAFTS FIRE SURROUND, CIRCA 1898
polished and cast brass, wrought iron bears cast inscription WORK/ PLAY, maker’s marks verso Rd. 233020/ ELSLEY/ No. 420
55cm wide, 96.5cm high
Literature: Dekorative Kunst, vol. 1, 1898, p.256 illus. Livingstone K., Donnelly M., Parry L. C.F.A. Voysey: Arts & Crafts Designer, London 2016, p. 254, pl. 326 where an example illustrated.
£1,500-2,500
woven silk and wool double cloth, framed 31.5cm x 47cm (frame size 39cm x 55cm)
£250-350
384
OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940)
ARTS & CRAFTS BUCKLE, 1901
silver, enamel, on later fabric belt, twice stamped RN&C, hallmarked London 1901 buckle 9cm x 4.5cm, belt 100cm long
£300-500
385
ATTRIBUTED TO MARGARET WILSON (1864-1912)
GLASGOW SCHOOL PENDANT NECKLACE, C.1900
white metal with abalone and blister pearl pendant 6.2cm long, with drop 9.2cm, chain length 44cm
£400-600
386
WILLIAM MANTON, BIRMINGHAM
ARTS & CRAFTS SILVER CASKET, 1904
hammered silver, embossed to the sides with quotation from ‘Westward Ho!’ by Charles Kingsley THERE IS NO HERB LIKE IT UNDER THE CANOPY OF HEAVEN, stamped W.M., hallmarked Birmingham 1904, 510g 20.5cm wide
Versions of this casket and smaller variations are recorded in silver-plate and copper, but very rarely in solid silver
£600-800
387
ARTHUR J. GASKIN (1862-1928) AND GEORGINA GASKIN (1866-1934)
FINE ARTS & CRAFTS NECKLACE, CIRCA 1907 silver and enamel, opals and pearls, later tooled leather box with gilt printed mark EDITIONS GRAPHIQUES GALLERY, 3 CLIFFORD STREET, LONDON W1, ARTHUR AND GEORGINA GASKIN
39.5cm long, pendant roundel 3.7cm diameter
Literature: Anscombe I. & Gere C. Arts and Crafts in Britain & America, Academy Editions 1978, p.206, pl. 300, illustrated Arwas V. Art Nouveau in Britain from Mackintosh to Liberty: The Birth of a Style, Andreas Papadakis 2000, p.112, illustrated.
£5,000-7,000
388
ENGLISH
ARTS & CRAFTS HALL LANTERN, CIRCA 1910
wrought steel, glass
71cm tall, lantern only
£400-600
389
ELLEN
MARY
ROPE (1855-1934)
ARTS & CRAFTS RELIEF PLAQUE, CIRCA 1920
polychrome decorated plaster relief, inscribed MAKE A CHEERFUL NOISE/ UNTO THE GOD OF JACOB, signed in the plaster EM Rope
88.5cm x 38.5cm
£400-600
390
ATTRIBUTED TO ARTHUR DIXON (1856-1929) FOR BIRMINGHAM GUILD OF HANDICRAFT
ARTS & CRAFTS TABLE LAMP, CIRCA 1908
brass
54cm high
Literature: Crawford A. (edit.) By Hammer and Hand: The Arts & Crafts Movement in Birmingham, Birmingham Museums 1984, p. 99, pl. 77 where a similar lamp illustrated.
V&A Collection accession no. CIRC.277-1961
Birmingham Guild of Handicraft trade catalogue, p. 18, listed as No. 7
£3,000-5,000
The Birmingham Guild of Handicraft, established by Arthur Dixon in 1890, was a cooperative workshop associated with the Arts & Crafts movement and which emphasised craftsmanship, functional design, and social reform. This lamp, characterized by plain form and straightforward construction, contrasted with prevailing Victorian taste but aligned with Arts & Crafts ideals of integrity in materials and design.
391
KATE GREENAWAY (1846-1901)
THREE AESTHETIC MOVEMENT WATERCOLOURS, CIRCA 1880 to include 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) £800-1,200
392 ENGLISH ARTS & CRAFTS
FIREPLACE SURROUND, CIRCA 1900
overpainted pine, embossed copper
internal 93.5cm wide, 72.5cm high, external
145.3cm wide, 178.8cm high, 18cm deep
£1,500-2,000
393
ARTHUR SIMPSON OF KENDAL (1857-1922)
OCCASIONAL TABLE, CIRCA 1894
oak
30cm square, 41.5cm high
Literature: Wright H. The Beautiful Furniture of The Simpsons of Kendal, Bookcase 2011, p. 33 where a similar table is featured in the 1894 brochure.
£400-600
394
SHAPLAND & PETTER, BARNSTABLE?
PAIR OF ARTS & CRAFTS WINDSOR CHAIRS, CIRCA 1900 mahogany (2)
56.5cm wide, 116 high, 47cm deep
£500-800
397
ENGLISH
ARTS & CRAFTS FENDER, CIRCA 1910
brass, glazed ceramic, steel
145.5cm wide, 17.5cm high, 32cm deep
£300-500
395
ENGLISH
ARTS & CRAFTS STICK STAND, CIRCA 1900
copper and brass, with removeable tin liner
59cm high
£200-300
396
JOHN PEARSON (1885-1910)
ARTS & CRAFTS JARDINIÈRE, 1897
repoussé-decorated copper, signed and dated J PEARSON/ 1897/ 2332 20cm high
£300-500
398
ENGLISH
ARTS & CRAFTS STANDARD LAMP, CIRCA 1920
wrought iron, with later parchment shade 144cm high to fitting
£300-500
399
ENGLISH
ARTS & CRAFTS EMBROIDERED PORTIERE, CIRCA 1900
coloured silks and cotton on a fine linen ground 174cm x 97cm
£300-500
400
ARTHUR SIMPSON OF KENDAL (1857-1922)
ARTS AND CRAFTS OCCASIONAL TABLE, CIRCA 1920
chip-carved mahogany
60.5cm square, 66.5cm high
£500-800
401 §
MARY IRELAND (NEE MORRIS) (1891-1980) ‘FRILLS’
oil on board, signed lower left, inscribed verso MARY MORRIS/ STOCKINGFORD/ “FRILLS” and with sketch
29cm x 29cm (frame size 42cm x 42cm)
Mary Ireland (née Mary Morris), originally from Stockingford, Warwickshire, was a celebrated British female artist active during the 1930s-1950s, who was influenced by the Birmingham School and in particular the work of Joseph Southall. Although her artistic skills included cartoons, watercolours, stained glass and needlework, she was most noted for her ‘fabric mosaics’ which incorporated fragments of antique textiles into the composition of the picture.
£250-350
402
ENGLISH
ARTS & CRAFTS HALL LANTERN, CIRCA 1900
copper and brass, with glass panes
29cm high to base of chain
£300-500
403
ARTHUR
SIMPSON OF KENDAL (1857-1922)
WORK TABLE, CIRCA 1920
stained oak, the interior with two lift-out trays, stamped 3522 49cm wide, 81.5cm high, 29cm deep
£400-600
404
ENGLISH
TWO TIER OCCASIONAL TABLE, CIRCA 1910
mahogany, inlaid with boxwood and mother-of-pearl
65.5cm wide, 74cm high
£300-500
407
406
405
ENGLISH
ARTS & CRAFTS PENDANT LIGHT, CIRCA 1910
copper, with opalescent glass shade
38cm high top of fitting
£600-800
ENGLISH
ARTS & CRAFTS MIRROR, CIRCA 1900
repoussé-decorated copper, with enamel roundel and bevelled mirror plate, 38cm x 28.5cm; together with another ENGLISH, ARTS & CRAFTS MIRROR, repoussé-decorated copper, with bevelled mirror plate, 57cm x 27cm (2)
£400-600
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
£500-700
408
ENGLISH, MANNER OF G. M. ELWOOD CENTRE TABLE, CIRCA 1900 oak
80.5cm diameter, 78.5cm high
£300-500
411
RUSKIN POTTERY
VASE, CIRCA 1905
409
BERNARD MOORE (1850-1935)
KNEELING FIGURE, CIRCA 1920
flambé glazed earthenware, painted and stamped maker’s marks
7.5cm high
£250-350
glazed earthenware, impressed
RUSKIN POTTRY/ WEST
SMETHWICK/ 382/ 190*
19.5cm high
£300-500
410
A. E. JONES (1878-1954)
MAZER, 1985
silver and turned wood, stamped maker’s mark A.E.J., hallmarked Birmingham 1985
14.5cm diameter
£250-350
412
ROYAL DOULTON
JARDINIÈRE & STAND, CIRCA 1905
glazed stoneware, impressed maker’s marks
total height 86cm
£300-500
413
MARK MARSHALL (1843-1919)
FOR ROYAL DOULTON
ART NOUVEAU STONEWARE
VASE, CIRCA 1920
glazed stoneware, impressed maker’s marks and incised initials MVM/ EP
50cm high
£400-600
414
CHARLES LEONARD HARTWELL
(1873- 1951)
FAMILY GROUP
patinated bronze on marble base, signed C. L. HARTWELL F.A., 22.5cm high, 24cm wide, 29cm high, 24.5cm wide (including base)
The Collection of Gillian Raffles.
£600-800
415
ALEXANDER KELLOCK BROWN (1849-1922)
MOTHER AND CHILD, 1918
patinated plaster, signed and dated KELLOCK BROWN 1918 53cm high
£400-600
416
THE LEEDS FIRECLAY CO. LTD
GARDEN JARDINIÈRE ON STAND, CIRCA 1900
glazed terracotta
jardiniere 43cm diameter, 38cm high, total height 92.5cm
£300-500
417
ARTHUR RACKHAM (1867-1939)
‘HELENA’, 1907 pen, ink and watercolour, signed and dated lower right ARTHUR RACKHAM 1907
28.2cm x 18cm (frame size
61.5cm x 49cm)
£6,000-8,000
Arthur Rackham (1867–1939), a central figure of the Edwardian “Golden Age of Illustration,” trained at the Lambeth School of Art while working as a clerk, later refining his skills through magazine illustration. By the early twentieth century he was widely recognised for books that combined delicate linework with translucent washes of colour, creating images at once enchanting and subtly unsettling.
This watercolour of Helena, from William Heinemann’s 1908 edition of A Midsummer Night’s Dream, exemplifies his style. The dreamlike atmosphere not only reflects Shakespeare’s world of magic and confusion but also highlights Rackham’s talent for combining beauty with an undercurrent of unease.
“ A piece of silver-work, to be truly interesting, must be endowed with the spirit of Art; and to achieve that result, it must be made by a workman who has received an Art training ”
A. E. Jones, 1904
The city of Birmingham was a significant regional centre of the Arts and Crafts Movement, and Albert Edward Jones (1878–1954) was a prominent figure in the field of silverwork. From an early age, Jones resolved to become a silversmith. He was first apprenticed to Woodwards of Birmingham, later moving to Hardman Powell’s, the ecclesiastical silversmiths. His education continued with a period of study at the Central School of Arts and Crafts in Birmingham under Edward Taylor, after which he worked with the Birmingham Guild of Handicrafts.
In 1902, Jones established his own business in Windmill Street and subsequently acquired the firm of Jesson, Birkett & Co., at which point he began using the St Dunstan trademark. Although relatively small in scale, the company became a gathering place for other artists and designers, including Edward Taylor (head of the Birmingham School of Art and son of Ruskin Pottery’s owner Howson Taylor), Arthur Gaskin, and A. S. Dixon. Jones’ principal achievement was his ability to balance commercial production with the ideals of the Arts and Crafts Movement—craftsmanship, quality, and artistry.
Following his death in 1954, the firm continued under the leadership of his son, Kenneth Crisp Jones, and later with Caroline Lee as managing director.
The following lots are from the Jones family by descent.
418
A. E. JONES (1878-1954)
THREE-PIECE TEA SERVICE, 1917
419
A. E. JONES (1878-1954) AND RUSKIN POTTERY PEDESTAL BOWL, 1913
salt glazed pottery bowl, impressed RUSKIN/ ENGLAND, with silver mounts, stamped maker’s mark AEJ, hallmarked Birmingham 1913 17cm diameter, 13cm high
Literature: Arthur Sutton, A. Edward Jones Master Silversmith of Birmingham, Birmingham, 1980, p. 25 where a similar example is illustrated
£1,000-1,500
silver, comprising a TEAPOT, with wooden handle and knop, 10.5cm high; a MILK JUG, 7.5cm high; and a TWIN-HANDLED SUGAR BOWL, 13cm across handles, each with stamped maker’s mark A.E.J., hallmarked Birmingham 1917, 528g including handles (3)
£400-600
420
A. E. JONES (1878-1954)
TWO QUAICHS, CIRCA 1920 silver, 24.5cm and 18cm across handles, each with stamped maker’s mark
A.E.J., hallmarked Birmingham 1916 and 1923; together with a FOX & GRAPES QUAICH, silver, with stamped maker’s mark A.E.J., hallmarked Birmingham 1916, 18cm across handles, 419g (3)
£300-500
421
A. E. JONES (1878-1954)
‘FOX AND GOOSE’ MILK JUG AND SUGAR BOWL, 1916
silver, each with stamped maker’s mark A.E.J., hallmarked Birmingham 1919, 9cm high and 10.5cm diameter; together with an ARTS & CRAFTS
MILK JUG AND SUGAR BOWL, each with stamped maker’s mark A.E.J., hallmarked Birmingham 1909, 7cm high and 11.5cm diameter, 464g (4)
£500-700
422
A. E. JONES (1878-1954) AND RUSKIN POTTERY
HIGH FIRED BOWL, CIRCA 1930 glazed pottery, impressed RUSKIN/ ENGLAND, with later silver mounts, stamped maker’s mark AEJ, hallmarked Birmingham 1991 19.8cm diameter
£300-500
423
A. E. JONES (1878-1954)
BOWL, 1994
silver, stamped maker’s mark A.E.J., hallmarked Birmingham 1994, 308g, 14cm diameter; a THREEHANDLED PRESERVE DISH AND COVER, silver, stamped maker’s mark A.E.J., hallmarked Birmingham 1928, 198g, 11cm diameter; together with a TWIN HANDLED BOWL, silver, stamped maker’s mark GLC (G L Connell Ltd), hallmarked Birmingham 1924, 261g (3)
£200-300
425
A. E. JONES (1878-1954)
424
A. E. JONES (1878-1954)
ARTS & CRAFTS POWDER BOX & COVER, 1922
silver and enamel, stamped maker’s mark AEJ, hallmarked Birmingham 1922, 210g 11.5cm diameter
Literature: Arthur Sutton, A. Edward Jones Master Silversmith of Birmingham, Birmingham, 1980, p.20 where this design is illustrated £400-600
ARTS & CRAFTS SUGAR SIFTER AND CREAM JUG, CIRCA 1907
silver, each with stamped maker’s mark A.E.J., hallmarked Birmingham 1907 (sifter) and 1908 (jug), 247g (2) sifter 16cm high, cream jug 9.5cm high including handle
Literature: Arthur Sutton, A. Edward Jones Master Silversmith of Birmingham, Birmingham, 1980, p.19 where these designs are illustrated £400-600
426
A. E. JONES (1878-1954)
FOUR-PIECE TEA SERVICE, 1919
silver, comprising a TEAPOT, with wooden handle and knop, 14cm high; a HOT WATER JUG, with wooden handle and knop, 21.5cm high; a MILK JUG, 8cm high; and a SUGAR BOWL, 9.5cm diameter, each with stamped maker’s mark A.E.J., hallmarked Birmingham 1919, combined including handles 1251g (4) £600-800
427
A. E. JONES (1878-1954)
TEA CADDY, 1918
silver, with stamped maker’s mark A.E.J., hallmarked Birmingham 1918, 12cm high; together with a TABLE LIGHTER, silver, with stamped maker’s mark A.E.J., hallmarked Birmingham 1928, 8.5cm high, 257g (2)
Literature: Arthur Sutton, A. Edward Jones Master Silversmith of Birmingham, Birmingham, 1980, p.26 where the table lighter is illustrated
£300-500
428
A. E. JONES (1878-1954)
COMPORT, 1915
silver, with stamped maker’s mark A.E.J., hallmarked Birmingham 1915, 375g, 25cm wide; together with a TWIN HANDLED COMPORT, silver plate, stamped SILVER PLATE, 34cm across handles (2)
Literature: Arthur Sutton, A. Edward Jones Master Silversmith of Birmingham, Birmingham, 1980, p.24 where the twin-handled comport is illustrated
£300-500
429
A. E. JONES (1878-1954)
ARTS & CRAFTS COMPORT, 1912
silver, stamped maker’s mark A.E.J., hallmarked Chester 1912, 789g 22cm diameter (widest), 19.5cm high
Literature: Arthur Sutton, A. Edward Jones Master Silversmith of Birmingham, Birmingham, 1980, front cover and p.20 where this design is illustrated
£800-1,200
430
A. E. JONES (1878-1954)
TWO ‘SNAIL’ SALTS, 1988
silver, with glass liners, each with stamped maker’s mark A.E.J., hallmarked Birmingham 1988, 631g (2)
9cm high
£700-900
431
A. E. JONES (1878-1954)
CASED SET OF THIRTEEN APOSTLE SPOONS, 1977
silver, each inscribed with the name of apostle and with cast figural terminals, stamped maker’s marks A.E.J. hallmarked Birmingham 1977, 15cm long, 450g; together with a CASED SET OF SIX TEASPOONS, silver, stamped maker’s marks A.E.J. hallmarked Birmingham 1917, 73g (19)
The apostles spoons were inspired by Worcester Cathedral.
£400-600 432
A. E. JONES (1878-1954)
THREE-PIECE TEA SERVICE, CIRCA 1910 silver, comprising a TEAPOT, with wooden handle, 14.5cm high; a MILK JUG, 8cm high; and a TWIN-HANDLED SUGAR BOWL, 15cm across handles, each with stamped maker’s mark A.E.J., hallmarked Birmingham 1908 (milk jug and sugar bowl) and 1913 (teapot), 647g including handle (3)
£600-800
433
A. E. JONES (1878-1954
CADDY SPOON, 1983
silver, with stamped maker’s mark A.E.J., hallmarked Birmingham 1987, 36g, 11cm long; together with THREE ARTS & CRAFTS COFFEE SPOONS, white metal set with coloured cabochon stones, each 9cm long; and TWO SILVER MUSTARD SPOONS (6)
£250-350
435
A. E. JONES (1878-1954)
ARTS & CRAFTS TEA SERVICE, CIRCA 1910
silver, comprising a TEAPOT, with wooden handle, 13cm high; MILK JUG, 7cm high; and SUGAR BOWL, 10.5cm diameter, each with stamped maker’s mark A.E.J., hallmarked Birmingham 1908 (milk jug) and 1913 (teapot and sugar bowl), 676g including handle (3)
Literature: Arthur Sutton, A. Edward Jones Master Silversmith of Birmingham, Birmingham, 1980, p.21 where this set is illustrated
£600-800
434
A. E. JONES (1878-1954)
MAZER, 1987
silver and turned wood, stamped maker’s mark A.E.J., hallmarked Birmingham 1987, 14.5cm diameter; together with a LOBED DISH, silver, stamped maker’s mark A.E.J., hallmarked Birmingham 1992, 17cm diameter, 287g (dish) (2)
£300-500
436
A. E. JONES (1878-1954)
CRUET SET, 1932
silver, with blue glass liners, comprising a SALT & PEPPER POT, each 6cm high; a MUSTARD POT, 5cm high; and a PAIR OF SALTS, 5.2cm diameter, each with stamped maker’s marks A.E.J., hallmarked Birmingham 1932; together with a MATCHED CRUET SET, silver, with blue glass liners, comprising a lidded MUSTARD POT, hallmarked Birmingham 1922, 7cm diameter; a PEPPER POT, hallmarked Birmingham 1919, 6cm high; and a SALT, hallmarked Birmingham 1921, 7cm diameter, 382g (8)
£300-500
Sir Edwin Lutyens is renowned for his architectural achievements, including Castle Drogo, Little Thakeham, and Campion Hall, as well as his role in designing war memorials for the Imperial War Graves Commission and in planning New Delhi. Yet his influence extended beyond architecture into furniture design, where he demonstrated the same meticulous attention to detail and craftsmanship that defined his buildings.
Raised in the Surrey countryside, Lutyens developed a passion for architecture from an early age, spending his childhood sketching buildings and refining his draughtsmanship. Though illness prevented him from attending public school, his early immersion in the practicalities of construction shaped his architectural outlook. By the age of twenty, he had established his own practice in London, combining technical knowledge with an intuitive grasp of proportion and spatial relationships—an understanding that carried naturally into his approach to furniture.
437
SIR EDWIN LUTYENS (1869-1944)
SIDEBOARD FOR DEANERY GARDEN, 1900
oak, with mahogany banding and brass and pewter drop-handles, bears exhibition label verso 333cm wide, 85.7cm high, 50.5cm deep
Provenance: Edward Hudson, Deanery Garden, Berkshire Private Collection
Exhibited: London, Hayward Gallery Lutyens: The Work of the English Architect Sir Edwin Lutyens (18691944), 18 November 1981-31 January 1982, no. 132/5
Literature: Stamp G. Edwin Lutyens Country Houses from the Archives of Country Life, Aurum Press 2001, p.89 where the sideboard, ‘loaded with Edward Hudson’s collection of china and pewter’, is illustrated in situ.
£15,000-20,000
The sideboard offered here was conceived as part of the dining room scheme at Deanery Garden in Sonning, Berkshire, a quintessential Lutyens property built 1899–1901. Country Life concluded in 1903, the year Hudson sold the house, that “Mr Lutyens never designed a more perfect house or a more charming garden”. The dining room, in keeping with the vernacular aesthetic of the house was simple furnished with antique oak furniture along with pieces which Lutyens designed for the room, including the ladderback dining chairs and the sideboard.
Lutyens’ furniture is characterised by eclecticism, drawing on historical models while adapting and reinterpreting them with his own distinctive sensibility. This sideboard is no exception with its design and construction rooted in the 18th century but with Lutyens subverting the design. He seldom reproduced designs verbatim; rather, he subtly recalibrated scale, proportion and detailing to suit the architectural setting. His dislike of “dead proportions” is well documented: he frequently adjusted standard measurements, making them marginally larger or smaller than conventional halves or quarters in order to enliven the rhythm of a piece.
439
438
JAPANESE
PAIR OF FROG CANDLESTICKS, RETAILED LIBERTY & CO., CIRCA 1890
bronzed metal (2)
29cm high
Literature: For a similar pair see Liberty’s 1875-1975, V&A exhibition catalogue 1975, p. 26, no. B.20
£400-600
ATTRIBUTED TO LIBERTY & CO.
ARMCHAIR, CIRCA 1900
stained beech, with upholstered back and seat
60cm wide, 119cm high, 45cm deep
£500-700
440
LIBERTY & CO.
ARTS & CRAFTS TABLE, CIRCA 1890 oak
44cm diameter, 67cm high
£250-350
441
ATTRIBUTED TO ARCHIBALD KNOX (18641933) FOR MURRLE BENNETT & CO.
PENDANT NECKLACE, CIRCA 1900
silver and enamel, stamped SILVER, with maker’s mark pendant 4cm long, chain length 40cm
443
Literature: Stephen A. Martin (ed.), Archibald Knox, London, 2001, p265, where a similar enamel colourway is illustrated
£400-600
442
JESSIE MARION KING (1875-1949) FOR LIBERTY & CO.
MATCHED BUCKLE, 1909
silver and enamel buckle, stamped L&Co, hallmarked Birmingham 1909
6.2cm x 5.3cm
£300-500
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO.
SMALL ‘CYMRIC’ CASE, 1901
silver and enamel, with inscribed dedication E. CAUTLEY MD/ IN MEMORIUM.REFLECTIONIS MIRABILIS/ KENNETHI MACKINTOSHII, stamped L&Co/ CYMRIC, hallmarked Birmingham 1901
7.8cm x 6.5cm
£500-800
444
JESSIE MARION KING (1875-1949) FOR LIBERTY & CO.
BUCKLE, 1907
silver and enamel, stamped L&Co, hallmarked Birmingham 1907
7.5cm x 5.4cm
£300-500
445
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO.
NECKLACE, CIRCA 1902
model 8009, gold, with moonstone cabochons and baroque pearls, later tooled leather box gilt printed LIBERTY & Co. LTD REGENT ST LONDON
42cm long
Literature: Arwas V. Art Nouveau in Britain from Mackintosh to Liberty: The Birth of a Style, Andreas Papadakis 2000, p.110, illustrated.
Martin S. Archibald Knox, ArtMedia 2001, p. 249 illustrated.
£1,500-2,000
446
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. BROOCH, CIRCA 1900-1904
silver and enamel, stamped L C & C LD/ SILVER, later tooled leather box gilt printed LIBERTY & Co. LTD REGENT ST LONDON
447
3cm high, 3.1cm wide
Literature: Martin, S. Archibald Knox, Artmedia 2001, p. 265, where similar models are illustrated
£500-700
448
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. BROOCH, CIRCA 1900-1904
model 1086, silver and enamel, stamped CYMRIC/ STERLING, later tooled leather box gilt printed LIBERTY & Co. LTD REGENT ST LONDON
2.7cm high, 2.8cm wide
Literature: Martin, S. Archibald Knox, Artmedia 2001, p. 260, where similar models are illustrated
£300-500
ARCHIBALD KNOX (1864-1933) FOR WILLIAM HAIR HASELER AND LIBERTY & CO. BROOCH, CIRCA 1900-1904
silver and enamel, stamped WHH/ SILVER, later tooled leather box gilt printed LIBERTY & Co. LTD REGENT ST LONDON
2.8cm high, 3.6cm wide
Literature: Martin, S. Archibald Knox, Artmedia 2001, p. 260, where a similar model is illustrated
£300-500
LIBERTY & CO.
FINE PAIR OF ‘THEBES NO. 1’ STOOLS, CIRCA 1890
mahogany, with close-nailed upholstered seats, one with enamelled label LIBERTY & CO., LONDON (2)
55cm wide, 56cm deep, 43cm high
Literature: Arwas V. Art Nouveau in Britain from Mackintosh to Liberty: The Birth of a Style, Andreas Papadakis 2000, p.140, where a similar example of this stool is illustrated. Bennett, D. Liberty’s Furniture, Woodbridge 2012, p. 96, pl. 4.13
£8,000-12,000
ATTRIBUTED
TO ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. ARMCHAIR, CIRCA 1905
oak, with drop-in upholstered seat
56.5cm wide, 110cm high, 49cm deep
Literature: Martin S. Archibald Knox, Artmedia 2001, p. 44, where the design for the carving on the splat of this chair appears on the cover of Book of Garden Ornaments, which Knox designed for Liberty & Co. in 1902-1904
£1,000-1,500
£600-800 450
451
LIBERTY & CO. OCCASIONAL TABLE, CIRCA 1910
mahogany, inset with Japanese with lacquered and glazed elm panel, bears ivorine label to base LIBERTY/ LONDON
48.5cm wide, 51.5cm high, 38.5cm deep
£300-500
452
LIBERTY & CO.
ARTS & CRAFTS
SIDEBOARD, CIRCA 1900
oak, glass and cast iron, bears enamel label
LIBERTY LONDON
231.5cm wide, 200cm high, 52.5cm deep
453
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO.
ARTS & CRAFTS NECKLACE, CIRCA 1904
model 8337, gold, blister pearl and motherof-pearl, etched jeweller’s mark 7884, clasp stamped 9C
total drop 22cm, chain length 37cm
Literature: Martin, Stephen Archibald Knox, ArtMedia 2001, p. 248
£1,000-1,500
454
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. COFFEE POT, CIRCA 1905
pewter and enamel, stamped “TUDRIC”/ “SOLKETS”/ No. 0194
14.5cm high
£300-500
456
CHARLES
RENNIE MACKINTOSH (1868-1928)
CLOISTERS, MONREALE, 1891
pencil and watercolour, inscribed lower left MONREALE
36.8cm x 16.5cm
Provenance: William Meldrum, and by descent to his son, James Meldrum Mrs Eva Meldrum, widow of James Meldrum
Private Collection, Glasgow
Exhibited: Glasgow Museums Mackintosh Watercolours, July 1978-January 1979, no. 15
Literature: Billcliffe R. Mackintosh Watercolours, Carter Nash Cameron 1978, p. 25 no. 15, p. 55 illus.
Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, p. 19, pl. 12 illus.
£8,000-12,000
Mackintosh travelled to Italy in the spring of 1891, having been awarded the Alexander Thomson Travelling Scholarship the previous year by the Glasgow Institute of Architects. As Roger Billcliffe notes, this seminal period in Mackintosh’s career revealed to the young artist that “ornament derived from nature can complement, rather than overwhelm, a building.”
In 1884, Mackintosh had enrolled in evening classes for architects at the Glasgow School of Art. Initially, his work— with its strict lines and minimal use of colour—was typical of his architectural training. As the decade progressed, however, and as he continued to observe and record buildings both in his immediate Glasgow surroundings and further afield, his output acquired a technical maturity befitting an artist. This evolution has puzzled scholars, particularly as Mackintosh received no sustained formal training in the field.
The four months Mackintosh spent in Italy during the spring and summer of 1891 saw him journeying from Naples to Sicily and then back to Milan, chronicling his route through drawings, paintings and sketches. On his return to Glasgow, he drew upon the façades and architectural details noted in his sketchbooks for numerous competition designs.
A stay in the Sicilian hilltop town of Monreale fell in the middle of Mackintosh’s Italian sojourn and was marked by a surprising amount of rain and a crossing from mainland Italy he complained made him ‘sick… as a dog’. On 14 April, Mackintosh recorded in his diary that he sketched the cloisters of the convent at Monreale. He was impressed by the beauty of the carved capitals, counting 112—each one different. The composition of his painting is carefully
considered: the architectural details of the Corinthian column in the foreground draw the viewer’s eye inward and then upward along the framing arch of the cloister to the central cathedral tower. In contrast to this orderly scheme, the terracotta rooftops jutting into the right-hand side of the painting remind the viewer of the wider town beyond this single vista.
It is Mackintosh’s rich and accomplished use of colour that truly elevates the work from an architectural study—akin to those in the companion guide to his trip, Ruskin’s The Stones of Venice—to a standalone artwork. Rather than using line to demarcate the stonework beneath the columns, he allows brown, ochre, and cobalt hues to coalesce, emulating how light interacts with an uneven, rocky surface.
Many of Mackintosh’s Italian works were included in the 1891 Glasgow School of Art Exhibition, an initiative masterminded by Fra Newbery to encourage students to continue working during the summer vacation. While the absence of catalogues from these early exhibitions prevents certainty that Cloisters, Monreale was included, Mackintosh’s talent was so evident from the works on display that the Glasgow Boy painter James Guthrie reportedly exclaimed, “Hang it, Newbery, the man ought to be an artist.”
This watercolour belonged to James Meldrum, having come from the collection of his father, William Meldrum— Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work at the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’s death, his widow, Eva, gifted the bulk of the William Meldrum Collection to the Mitchell Library, Glasgow.
CHARLES RENNIE MACKINTOSH (1868-1928)
CABINET FOR THE BLUE BEDROOM, HOUS’ HILL, 1904
oak, with brass handles and mother-of-pearl inlay
38cm wide, 168cm high, 33.6cm deep
Literature: Billcliffe, R. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp. 195-197, 1904.J period photograph of the Blue Bedroom illus.; pp. 207 and 208, 1904.65 ‘Design and layout of furniture for the Blue Bedroom’; 1904.67 ‘Cabinet for the Blue Bedroom, Hous’hill’; 1904.67 illus.
Arwas V. Art Nouveau in Britain from Mackintosh to Liberty: The Birth of a Style, Andreas Papadakis, 2000, p.41, where the pair to this cabinet is illustrated.
£15,000-20,000
In 1903–04, following the completion of their collaboration on the Willow Tearooms in Glasgow for the prominent patron Catherine Cranston, Charles Rennie Mackintosh was commissioned to redesign and refurnish her residence, Hous’hill, situated on the city’s outskirts. At this juncture in his career, Mackintosh was entering a particularly experimental phase, marked by his sustained engagement with innovative materials, textures, and forms, and by his exploration of how such contrasting elements might be integrated to create a coherent spatial environment. The designs developed at Hous’hill proved formative for Mackintosh’s subsequent furniture and interior projects, culminating in his major commission for the second phase of The Glasgow School of Art in 1910.
Prior to his work at Hous’hill, many of Mackintosh’s interiors were characterised by their restrained, white-painted schemes: elegant white furniture was set against luminous white spaces punctuated by coloured glass details or stylised stencilled roses. Although this aesthetic persisted in aspects of Hous’hill, the Blue Bedroom diverged from such established practice. Here, the furnishings were stained or waxed rather than painted, thereby articulating and disrupting the otherwise unremarkable geometry of the rectangular room. Decoration was employed sparingly: stylised organic motifs and the Glasgow rose appear only in limited instances, most notably in the stained-glass panels of a series of basket wall lights strategically positioned throughout the space.
The present cabinet, one of a pair created for the Blue Bedroom, exemplifies Mackintosh’s evolving preference for geometric abstraction and material subtlety. Rigid and rectilinear in form, the tall cabinet is distinguished by a sequence of vertical rectangular recesses intended for the storage of books and periodicals, their rhythm accentuated by the fine vertical graining of the timber. Ornament is restrained, confined primarily to the precise arrangement of cut-out squares and a panel of inlaid mother-of-pearl squares arranged in a grid of nine. A single curved stainedglass panel—originally inserted into the central alcove but now lost in this example—softened this geometric severity, demonstrating Mackintosh’s sensitivity to the interplay of linear and organic form. By staining the cabinet rather than painting it white, Mackintosh allowed the timber itself to become an integral component of its decoration. Contrasting textures of glass, brass, mother-of-pearl, and timber grain were orchestrated in harmony, producing an innovative design that achieves an elegant yet restrained level of ornamentation. Other examples of furniture in the bedroom pursued similar ideas, creating a visually striking interior scheme that would anticipate and shape some of Mackintosh’s later commissions.
The pair of bedside cabinets was executed by Francis Smith, one of Mackintosh’s regular cabinetmakers. While Mackintosh’s original plans positioned the cabinets immediately adjacent to either side of the bed, period photographs reveal that Cranston ultimately altered the layout, placing them slightly further apart and relocating the chairs that had originally been intended to flank them.
458
CHARLES RENNIE MACKINTOSH (1868-1928) FOR THE GLASGOW ARCHITECTURAL ASSOCIATION ‘CONVERSAZIONE PROGRAMME’ 1894
lithograph in black and green, on blue paper, presented in a later mount, designed for the Glasgow Architectural Association, held at Queens Rooms, 114 W Campbell Street, Glasgow, February 22, 1894, facsimile signature ‘CHAS. R. MACKINTOSH.’; printed by Carter & Pratt, 133 West Campbell Street, Glasgow 13.5cm x 39cm (mount size 18.7cm x 44.5cm)
Literature: Howarth T. Charles Rennie Mackintosh and The Modern Movement. Routledge and Kegan Paul 1952, pp. 17-18, fig. 3 illus. Neat T. Part Seen, Part Imagined: Meaning and Symbolism in the Work of Charles Rennie Mackintosh and Margaret Macdonald, Canongate 1994, illus. p. 37
For a similar work at auction see Christies, London, The Dr Thomas Howarth Collection: Important works by Charles Rennie Mackintosh, Margaret and Frances Macdonald and Herbert MacNair, 17th February 1994, lot 85
£2,000-3,000
Mackintosh seems to have been closely involved with the Glasgow Architectural Association during the early 1890s when he gave several lectures to its members. This programme is one of the earliest documented ‘Spook School’ designs. At the centre, the sun rises above a flattened horizon, with tall, stylised plants growing before it, while birds appear to emerge from the base, linking natural motifs to a sense of movement and vitality whilst spindly, skull-like forms on the edge of the work contrast with the central imagery. The precise meaning of these motifs remains open to interpretation, allowing the programme to function both as a decorative object and a vehicle for symbolic expression. The work demonstrates Mackintosh’s early interest in combining natural forms, formal balance, and artistic principles, and seems to convey his view of nature as a vital source of inspiration for architecture and design.
459
MARGARET MACDONALD MACKINTOSH (1865-1933)
OPHELIA, 1908
watercolour on vellum, signed and dated MARGARET
MACDONALD MACKINTOSH 1908, bears Jas. McClure & Son label verso
panel 19.5cm x 46.8cm (frame size 35.7cm x 64.7cm)
Sotheby’s, Glasgow Scottish and Sporting Paintings, Drawings and Watercolours, Wednesday 30th January 1985, lot 245
Private Collection, Glasgow
Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, p. 201, no. 234 illustrated.
Amelia S. Levetus Glasgow Artists in Vienna: Kunstschau Exhibition, Glasgow Herald, 29 May 1909, p. 11.
£30,000-50,000
Before her marriage to Charles Rennie Mackintosh, both in life and professionally, Margaret Macdonald had already long fostered an innovative creative partnership with her sister Frances Macdonald, in the years prior to the latter’s marriage to Herbert McNair.
Infamously ‘The Four’, or ‘Spook School’, astonished and confounded the British artworld in equal measure – whilst, it must be noted, simultaneously impressing their counterparts in Europe. The sisters’ ability to shock was compounded as much by their gender as their originality. The Glasgow School of Art where they studied under Fra Newbery was unique in its respect for the abilities of its female pupils. This departure from historical precedent coincided with the advent of the “New Woman” - who was educated, smoked and rode a bike (!) - as well as increasing momentum within the suffrage movement. Margaret and Frances were encouraged by a supportive family and allowed to follow their artistic path, with the pair even setting up their own design studio in Glasgow after graduation.
Their work was recognised (with accompanying ripples of wonder and consternation from their critics) for the maturity and strength of its aesthetic from a very early stage. Highly unusually for the time, they began painting the female nude from as early as the 1890s. More controversially still, they subverted its traditional representations. Contemporary reviews describe their figures on a spectrum ranging from “spectral, hideous and lean”, to “fearfully, wonderfully and weirdly “new”.
This stunning 1908 watercolour on vellum by Margaret Macdonald Mackintosh is a highly interesting case when considering the contexts in which she and her sister were working. Titled ‘Ophelia’ on its old gallery label verso, it also bears the address of her studio at 45 Glebe Place, Chelsea where she worked from 1915 to 1923. It may be that the picture was also exhibited at the Kunstschau in Vienna in 1909 titled the “Dead Princess”. An article in the Glasgow Herald of the same year commented “…the “Dead Princess” is a work of ethereal beauty, and at the same time an earnest work of art. Such art is indeed a revelation”.
One of course can make a ready comparison to John Everett Millais’ 1852 oil of the same name, a romanticised representation of Shakespeare’s young noblewoman driven to madness, who ultimately drowns herself. Artists typically choose to illustrate the moment she finds peace in death. The tragedy of Ophelia’s story can be said to lie in her lack of agency in the face of dominating men. It is certainly possible that Macdonald Mackintosh was examining such themes, but we must remember that the crux of the work of ‘The Four’ was, in Mackintosh’s words, “the indefinable side of art”, and interpretation is therefore seldom a straightforward exercise.
‘Ophelia’ does make for a more poetic title than ‘Dead Princess’, but this alternative title does also speak to the nature of Macdonald Mackintosh’s oeuvre. ‘The Four’ were Symbolists, born of the aesthetic movement which was characterised by a “sensual morbidity”, as Janis Helland (author of ‘The Studios of Frances and Margaret Macdonald’,
published Manchester University press, 1996), succinctly puts it. Margaret and Frances were unafraid to approach weighty subject matter in a decorative fashion, with beauty transforming all. Poetry, pre-Christian spirituality and the metaphysical intermingle within their dream-like artistic aesthetic.
Similar explorations of the theme of the sleeping / deceased female form abound in both artist’s work, from Frances’ ‘Sleeping Princess’ of c.1895, to a later work by Margaret of 1913, ‘The Pool of Silence’, created the year prior to Charles and Margaret’s exodus from Glasgow, pushed out as they were by oppositional ideologies and relentless hostility towards their artistic values. It is also interpreted as a meditation on the death of her mother that year.
The supine form is almost as common a design trope within their paintings as the elongated vertical form for which they are so famous. Figures recur, laid out like Egyptian sarcophagi, carved tombs to medieval queens, or elemental Celtic wisps. Much of the sister’s aesthetic exploration of the female form can be read as a rejection of - and repost even - to the idealised sensuality of the Pre-Raphaelite ‘type’. Their women are something altogether different, “destroying a relationship with either the Pre-Raphaelite beauty, the Victorian maiden, or the fin-de-siecle femme fatale”, to again borrow Janice Helland’s apt phrasing. Any sexuality is latent at most, and more readily perceivable as remote or unreachable. Their female archetype is to be read on a metaphysical level, as an arcane force of the natural world, with physical death being but part of the regenerative cycle of all life.
In this work, the waters around the figure may well represent these swirling forces of life and death. Her hair tendrils around her, cocoonlike, womb-like even, and poised for metamorphosis. Reflections and grasses in the water are masterfully rendered, placing the figure in an infinite and formless space. The piece is intrinsically melancholic in tone, heightened by a tragic chorus of ghostly cherubic faces which hover above the sitter’s head. Atmospherically, it is replete with “the symbolist tendency to incorporate a haunting silence”, as Helland notes.
This quiet, exquisite work showcases the artist’s skill across process, form and content; an ability shared by her collaborators in ‘The Four’ and arguably unmatched by their contemporary peers. Their skill, sophistication and originality are now rightly celebrated on an international scale. ‘Ophelia’ is a wonderful illustration of how the complexity of their iconography has the power to intrigue even to this day.
The label verso is from James McClure & Son, a fine art dealers based in Glasgow, and has the dealer’s full details as a header; and the typewritten text reading “Watercolour on Vellum/ ‘Ophelia’/ by/ Margaret Macdonald Mackintosh/ 2 Cedar Studios,/ 45 Glebe Place, Chelsea, S. . .”
460
CHARLES RENNIE MACKINTOSH (1868-1928)
GROUP OF SPOONS FOR MISS CRANSTON’S TEAROOMS, GLASGOW, CIRCA 1920
silver plate, comprising a DESSERT SPOON WITH TRIFID END, CIRCA 1905, later engraved C.D., stamped to revers MISS CRANSTON’S, 18.3cm; together with a PAIR OF SUNDAE SPOONS, 15.5cm long; a PAIR OF TEASPOONS, 13cm long; a PAIR OF PRESERVE SPOONS, 15.2cm long, each with stamped marks for Cooper Brothers, Sheffield; together with an associated PAIR OF SAUCE LADLES, silver, stamped for Adie Brothers Ltd., hallmarked Birmingham 1934, 14.2cm long (8)
Literature: Rudoe J. Decorative Arts 1850-1950, A Catalogue of the British Museum Collection, page 211, plate 66 for illustration of a matching dessert spoon.
The pairs of spoons are not stamped ‘Miss Cranston’s’ and may have been commissioned by Miss Cranston as replacement spoons for her tearooms.
£1,000-1,500
462
CHARLES RENNIE
MACKINTOSH (1868-1928)
KNIFE AND FORK FOR MISS CRANSTON’S TEAROOMS, CIRCA 1900
ebonised wood, steel and plated steel, the knife blade marked MISS CRANSTON’S (2)
knife 71cm long, fork 16.5cm long
Literature: Howarth T. Charles Rennie Mackintosh and the Modern Movement, London, 1952, pl. 51 where similar examples illustrated
£600-800
CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS TEASPOON, CIRCA 1900
electroplate, stamped to the reverse MISS CRANSTON’S 12.8cm long
£300-500
463
464
CHARLES RENNIE MACKINTOSH (1868-1928)
EASEL FOR GLASGOW SCHOOL OF ART, CIRCA 1910
stained pine, oak, with later peg supports
82.5cm wide, 192cm high (closed), 65cm deep
£1,500-2,000
CHARLES RENNIE MACKINTOSH (1868-1928)
EASEL FOR GLAGSOW SCHOOL OF ART, CIRCA 1910
stained and over-painted pine 78cm wide, 238cm high, 66cm deep
Literature: Billcliffe R. Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs, Moffatt 2009, pp. 258-9, 1910.10 illus.
£1,000-1,500
HONEYMAN, KEPPIE & MACKINTOSH, GLASGOW
SECTION OF RAILING FOR 518 SAUCHIEHALL STREET, GLASGOW, 1903-4
wrought steel
176.7cm wide, 113cm high, 4cm deep
Literature: www.mackintosh-architecture.gla.ac.uk
£1,000-1,500
This section of wrought iron railing was originally part of the interior fittings at 518 Sauchiehall Street, Glasgow, designed by Honeyman, Keppie & Mackintosh in 1903-4 for the photographers T. & R. Annan & Sons. The curvilinear Glasgow Style railings are the most striking feature of the interior, and which run between the columns in front of the lift and stairs. Although completely different in style from the unexecuted lift enclosure designed by Charle Rennie Mackintosh in May 1903 for 137–143 Sauchiehall Street, the railings appear to be contemporary with the building and so presumably designed by the firm for the interior scheme. Mackintosh also appears to have had some involvement as a drawing of the Sauchiehall Street elevation is thought to be in his hand. The job-book entry suggests the railings were supplied by A. & P. Steven as part of their contract for the lifts. Also involved in the project was George Walton who supplied decorating and furnishings.
466
GEORGE WALTON (1867-1933)
THREE-FOLD FIRESCREEN, CIRCA 1900
oak, brass, with stained opalescent and leaded glass
central fold 57.4cm wide, 96cm high, side folds each 28.5cm wide, 91.5cm high, brass feet 22.5cm deep
Provenance: Designed and made for H. & D. Barclay, 245 St. Vincent Street, Glasgow Private Collection
Exhibited: On loan to Brighton Museum and Art Gallery, 20th century design gallery
Literature: V&A Archive of Design: George Walton papers (AAD/2004/7 ), where a line drawing for this firescreen titled ‘The Barclay Fire-Screen’ (AAD/2004/7/94) is held.
Moon, K. George Walton: Designer and Architect, White Cockade 1993, p. 113, pl. 148 where a panel demonstrating Waltons technique of incorporating glass and metal is illustrated.
£1,000-1,500
Hugh Barclay (1829–1892) and David Barclay (1846–1917) were Scottish architects who practiced from the 1870s into the early 20th century under the name H. & D. Barclay. While they specialised mainly in educational, municipal, and ecclesiastical buildings, they also contributed to Miss Cranston’s Tea Rooms on Argyle Street in 1897, with interiors and decorations designed by Charles Rennie Mackintosh and George Walton.
467
JESSIE MARION KING (1875-1949)
‘LITTLE BO-PEEP’ MUG, CIRCA 1940 painted and glazed earthenware, inscribed ‘LITTLE BO-/ PEEP’ and ‘AGNES’, painted artist’s mark and monogram
8cm high
£300-500
469
JESSIE MARION KING (1875-1949)
‘KIRKCUDBRIGHT A ROYAL BURGH’
468
HANNAH MOORE WALTON (1863-1940)
TWO FINGER BOWLS, CIRCA 1910 painted glass, signed with initials HW (2)
11.2cm diameter
Literature: Burkhauser J. ed. Glasgow Girls: Women in Art and Design 18801920, Edinburgh 1990, p. 166
Hannah Walton worked from the family home at 5 Belmont Terrace in Hillhead, Glasgow, where her sister Helen had established her studio in 1881. The sisters specialised in this type of painting on commercial glassware, and chose decorative subjects associated with water.
£300-500
A Book of Drawings with Letterpress by Jessie M. King. 1st edition, published by Gowans and Gray, London, 1934, 38 unnumbered pages, soft cover with glassine wrappers, signed and inscribed TO SISTER “GABRIEL”
FROM JESSIE M KING/ DECEMBER 1946, with rabbit and gate symbols
£200-300
470
JESSIE MARION KING (1875-1949)
‘QUEEN OF HEARTS’ BOWL, CIRCA 1940 painted and glazed earthenware, inscribed ‘THE QUEEN OF HEARTS SHE BAKED SOME TARTS ALL ON A SUMMER DAY’, painted artist’s mark and monogram 16cm diameter
£300-500
471
JESSIE MARION KING (19875-1949)
FOR THE BED AT KELMSCOTT
pen & ink, watercolour on vellum, signed lower right JESSIE M. KING
33cm x 30cm (frame size 37.5cm x 34cm)
Provenance: Jessie M. King, who gave this picture to her friend Mary Murray (nee Geikie)
Thence by family descent
£8,000-12,000
In William Morris’s room at Kelmscott Manor, the earlyseventeenth century carved oak bed has an embroidered valance and bed-hangings that were designed in 1891 by May Morris, his daughter, and worked by May with the help of Lily Yeats and Ellen Wright (two Morris & Co. embroiderers).
The poem ‘For the Bed at Kelmscott’ was written by William Morris for the project. May Morris also designed the bedcover, which was embroidered by Jane Morris, William Morris’s wife.
472 § ANNIE FRENCH (1872-1965)
RIGHT EAR, LEFT EAR, WHY DO YOU BURN? IF IT BE MINE OWN TRUE LOVE, BURN EAR, BURN
pen & ink, watercolour and bodycolour, signed lower right ANNIE FRENCH
26.5cm x 37cm (frame size 51.5cm x 61.5cm)
Provenance: Barclay
Lennie Fine Art, Glasgow Private Collection, Glasgow
£2,000-3,000
473 § ANNIE FRENCH (1872-1965)
WATERING THE FLOWERS
pen & ink, watercolour and bodycolour, signed lower right ANNIE FRENCH
25cm x 35.5cm (frame size 48.5cm x 58cm)
Provenance: Barclay
Lennie Fine Art, Glasgow Private Collection, Glasgow
£2,000-3,000
474 §
ANNIE FRENCH (1872-1965)
THE FIVE PRINCESSES
pen & ink, watercolour, bodycolour and gold paint, signed lower right
ANNIE FRENCH
25cm x 35.5cm (frame size 46cm x 56.5cm)
Provenance: Private Collection, Glasgow
Exhibited: Glasgow, Kelvingrove Art Gallery & Museum Glasgow Girls: Women in Art and Design 1880-1920, 24th August - 6 January 1991
Literature: Burkhauser J. Glasgow Girls: Women in Art and Design 1880-1920, Canongate 1990, p. 143, fig. 186 where this watercolour is illustrated.
£3,000-5,000
475
ERNEST ARCHIBALD TAYLOR (1874-1951)
LANDSCAPE WITH CHURCH
mixed media on paper
14.5cm x 20.7cm (frame size 29.5cm x 36cm)
Provenance: St. Andrew’s Fine Art, 1986
£300-500
476
ERNEST ARCHIBALD TAYLOR (1874-1951)
HIGH CORRIE, ARRAN
pen and ink, watercolour, unsigned, 27cm x 20cm (frame size 47cm x 39cm); and a companion by the same hand HIGH CORRIE, ARRAN, pen and ink, watercolour, unsigned, 27cm x 20cm (frame size 47cm x 39cm) (2)
£500-800
477
ELIZABETH MARY WATT (1886-1954)
THE MERMAID
ink and watercolour, signed lower right
ELIZABETH MARY WATT
24cm x 34cm (frame size 46cm x 55cm)
£500-700
480
ATTRIBUTED TO MARION HENDERSON WILSON (1869-1956)
GLASGOW SCHOOL BOX, CIRCA 1900
repoussé-decorated brass
21.5cm wide, 10.5cm high, 12cm deep
£300-500
481
478
MANNER OF MARY THEW GLASGOW STYLE PENDANT NECKLACE, CIRCA 1910
white metal, opal & pearl with yellow metal highlights, unmarked 7cm high
£400-600
479
ATTRIBUTED TO MARGARET GILMOUR (1860-1942)
CANDLE SCONCE, CIRCA 1900
repoussé- decorated brass
75cm high
£300-500
KATE W. THOMSON (D. 1932)
GLASGOW SCHOOL HAND MIRROR, CIRCA 1900
repoussé-decorated white metal, inset with enamel panel and bevelled mirror plate, signed with initials K.W.T. 37cm long
Kate Thomson was a metalworker and enameller who worked from 137, West George St., Glasgow. From 1906, she was a member of the Lady Artists’ Club. She exhibited in Glasgow and Edinburgh, and was praised in The Studio magazine in December 1907 for her ‘oxydised and enamelled’ tea caddy at the Walker Art Gallery in Liverpool.
£250-350
482
ATTRIBUTED TO MARGARET GILMOUR (1860-1942)
GLASGOW SCHOOL BLOTTER, CIRCA 1900
repoussé-decorated tin
29.5cm x 45cm
£300-500
483
ATTRIBUTED TO JOHN EDNIE (1876-1934) FOR SCOTTISH GUILD OF HANDICRAFTS
TABLE AND CHAIRS FOR MILLER AND LANGS, GLASGOW, CIRCA 1900
oak, and close-nailed upholstery, comprising; a CENTRE TABLE, 114.5cm diameter, 76cm high; together with FOUR MATCHING CHAIRS, 50.5cm wide, 106cm high, 49cm deep (5)
Literature: Kendrick H. Glasgow Interiors, Birlinn 2014, pp. 52-57
Although little known today, the former Millar and Lang premises on Darnley Street, Pollokshields, Glasgow, designed in 1901 by D.B. Dobson of Gordon and Dobson, contains one of the most significant examples of Art Nouveau interior decoration in Scotland. The building was commissioned by a printing firm that worked for, among others, Charles Rennie Mackintosh and Jessie M. King. While the exterior displays Glasgow Style with Mackintoshinfluenced details, the interiors and fittings are remarkable.
The Scottish Guild of Handicrafts was responsible for the light fittings, door furniture, and associated office furnishings, with James Craig & Co., cabinetmakers and neighbours of the Guild, producing much of the furniture. The designs suggest the hand of John Ednie, a Guild member, and demonstrate many characteristic features of his practice. The furniture, which is no longer in the building but clearly seen in contemporary photographs, included an oak refectory table, a large oak stationery cabinet, an upholstered sofa, and an octagonal oak table with four chairs.
Additional interior features include a stained-glass screen by W.G. Morton depicting nautical motifs, mosaics of nymphs and mermaids, and brass door furniture richly detailed in Art Nouveau style. These objects exemplify the integration of decorative arts within Glasgow’s Art Nouveau architecture.
£1,500-2,000
484
SCOTTISH GLASGOW SCHOOL
‘BUTTERFLY’ WALL
MIRROR, CIRCA 1900
repoussé-decorated brass, bevelled mirror plate
35cm x 77cm
£400-600
485
SCOTTISH ARTS & CRAFTS WALL MIRROR, CIRCA 1910
repoussé-decorated brass set with enamelled roundels and bevelled mirror plate 85cm x 41cm
£400-600
486
SCOTTISH GLASGOW SCHOOL
487
MARION HENDERSON WILSON (1869-1956)
GLASGOW SCHOOL PLANTER, CIRCA 1910
repoussé-decorated brass, signed MHW 28cm wide, 12cm high, 18cm deep
ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL MIRROR, CIRCA 1900 repoussé-decorated brass, mirror plate 48cm x 59cm
Literature: MacArthur, E. Mairi, Iona Celtic Art: The Work of Alexander and Euphemia Ritchie, Iona 2003, p. 36, pl. 6b
£500-700
500
ALEXANDER RITCHIE (1856-1941), IONA TWO CANDLE SCONCES, CIRCA 1920 repoussé-decorated brass (2) 26cm and 23cm high
£400-600
505
504
BENNO SCHOTZ (1891-1984)
MASK OF A YOUNG MAN, 1920 bronze, on wood plinth
35.5cm high overall
502
SCOTTISH SCHOOL, MANNER OF ANN MACBETH EMBROIDERED PANEL, CIRCA 1925
coloured silks on a silk satin ground, bears embroidered inscription THE BIRD OF TIME HAS BUT A LITTLE WAY TO FLY, AND LO! THE BIRD IS ON THE WING
28cm x 18.5cm (frame size 54.5cm x 45cm)
£400-600
Literature: Benno Schotz: Portrait Sculpture, Glasgow Art Gallery and Museum, 1978 exhibition catalogue, p.9, No.2, where the catalogue states, ‘This was the first work ever sold by him in an exhibition, and two bronzes were cast’.
A similar sculpture exhibited: Glasgow, Society of Painters and Sculptors, 1920; RSA, 1920; Dundee, 1935 (No. 15)
£300-500
MARGARET DE COURCY LEWTHWAITE DEWAR (1878 - 1959)
GLASGOW SCHOOL CASKET, 1917
painted and stained beech, painted to base DEC. LEWTHWAITE DEWAR. INVT. ET DEL. 1917, 18.7cm wide, 8cm high, 13cm deep; together with a GLASGOW SCHOOL BOX, painted and stained beech, bears monogram, 8.5cm wide, 4.8cm high, 6cm deep (2)
£400-600
503 § CHARLES D’ORVILLE PILKINGTON
JACKSON (1887-1973)
HEAD OF A WOMAN, 1924
marble, on wooden plinth, signed and dated in the marble PILKINGTON JACKSON/ 1924
36cm high, 48.5cm high (including base)
£800-1,200
507
506
MANNER OF SIR ROBERT LORIMER ARTS & CRAFTS DINING SUITE, CIRCA 1920 limed oak and upholstery, comprising, a DINING TABLE, 183cm long, 76cm high, 88cm deep; a SET OF SIX DINING CHAIRS, 48cm wide, 90.5cm high, 50cm deep (7)
£600-800
ROBERT LORIMER (1864-1929)
FIREPLACE SET, CIRCA 1900
steel, comprising a STAND, 59.8cm high; a POKER, 70.5cm long; ASH SHOVEL, 70.5cm long and COAL NIPPERS, 43cm long (4)
£800-1,200
508
AUSTRIAN
PAIR OF SECESSIONIST DISPLAY
CABINETS, CIRCA 1920
crossbanded mahogany, inlaid with ebonised and stained wood, glass (2) each 62cm wide, 194cm high, 34.5cm deep
£1,000-1,500
509
MANNER OF OTTO GUSSMANN JUGENDSTIL EMBROIDERED PANEL, CIRCA 1900
coloured silks on a linen ground 67.5cm x 62cm (frame size 74cm x 68.4cm)
Literature: Deutche Kunst und Dekoration, October 1900-March 1901, where an embroidery by Gussmann is illustrated
£400-600
511
LOETZ
VASE, CIRCA 1900
iridescent glass
26.3cm high
£600-800
510
LOETZ
VASE, CIRCA 1900
iridescent ruby glass
19cm high
£600-800
512
ATTRIBUTED TO WILHELM KRALIK SOHN ‘STRIEFEN UND FLECKEN’ VASE, CIRCA 1900
iridescent glass
26.8 cm high
£300-500
513
LOETZ
THREE VASES, CIRCA 1900
iridescent glass, to include a TALL GREEN GLASS VASE, 31cm high; a SHOULDERED BLUE GLASS VASE, 16cm high; and a SMALL GREEN GLASS VASE, 10cm high (3)
£500-800
515
ATTRIBUTED TO SUSI SINGER (1891-1955) FOR WIENER WERKSTÄTTE
CANDELABRUM, CIRCA 1925
painted and glazed terracotta, impressed WW/ MADE IN AUSTRIA/ 87
31.5cm high
Exhibited: London, Fischer Fine Art, Vienna Turn of the Century, Art and Design, November 1979-January 1980
£1,000-1,500
516
GOLDSCHEIDER
ART DECO BUST, CIRCA 1925 glazed terracotta
23.5cm high
£250-350
514
MANNER OF PAUL LANG
JUGENDSTIL EMBROIDERED PANEL, CIRCA 1900
coloured silks and gold thread on a linen ground, mounted on a later felt panel
66.5cm x 64.5cm (frame size 73cm x 71cm)
Literature: Deutche Kunst und Dekoration, October 1900-March 1901, where an embroidery by Paul Lang is illustrated
£400-600
517
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
£1,000-1,500
518
MICHAEL POWOLNY (1871-1954) FOR LOETZ
520
LOETZ
TWO VASES, CIRCA 1910
iridescent clear glass, comprising a GOURD VASE, 17.7cm high; and a FRILLED VASE, 19cm high (2)
£250-350
BOX & COVER, CIRCA 1920
cased orange and black glass 21cm high
£300-500
519
LOETZ
TWO VASES, CIRCA 1900
iridescent lemon glass, comprising a TAPERED VASE, 21cm high; and a SHELL VASE, 22cm long (2)
£300-500
521
MOSER & SÖHNE, KARLSBAD
TWO VASES, CIRCA 1920
ruby and amethyst glass (2)
15cm and 23.4cm
£300-500
522
GEORGES PIERRE (GIP), PARIS
ART NOUVEAU PENDANT, CIRCA 1900
carved horn, inscribed GIP
5.3cm x 6.2cm
£400-600
523
CONTINENTAL
ART NOUVEAU STICK STAND, CIRCA 1900 embossed copper, wood, tin 25.5cm square, 76.5cm high
£300-500
524 Y ÉMILE GALLÉ (1846-1904)
ART NOUVEAU CENTRE TABLE, CIRCA 1900 rosewood, walnut and marquetry specimen woods, marquetry signature GALLÉ
69.5cm long, 74cm high, 41.5cm deep
£300-500
525 Y
JOSEF LORENZL (1892-1950)
ART DECO FIGURE, CIRCA 1925
bronze and ivory, on onyx base, signed in the bronze LORENZL Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference UTW56J8Z.
23.8cm high
£500-700
526 §
JUAN CLARA (1875-1958)
CHILD ON A CHAIR AND CHILD ON A STOOL, CIRCA 1900
bronze, each signed, stamped foundry mark, one numbered 72 and the other numbered F68 (2)
14cm high and 15.2cm high (2)
The Collection of Gillian Raffles.
£600-800
527
KATZHÜTTE (PORZELLANFABRIK HERTWIG & CO.)
FIGURE OF A SKIER, CIRCA 1925
painted and glazed porcelain, with wood, metal and faux leather skis and pole, printed factory mark H41 figure 28cm high
£300-500
528
LOUIS RICHÉ (1877-1949)
ART DECO MANTEL CLOCK, CIRCA 1935
the twin train movement with silvered dial striking on a bell, the case in glass, chrome, brass onyx and black slate, surmounted by patinated bronze bears signed RICHÉ BRONZE
57.5cm wide, 38cm high, 13cm deep
£600-800
DEMÉTRE CHIPARUS (1886-1947)
DIANA, CIRCA 1925
patinated spelter, on a composite stone base, signed on base D H CHIPARUS
60cm wide, 56.5 high, 12.5cm deep (including base)
£1,500-2,000
DEMÉTRE CHIPARUS (1886-1947)
ACCIDENT DE CHASSE, CIRCA 1925 patinated and cold-painted bronze, marble base, signed in cast D. H. CHIPARUS, applied plaque engraved ACCIDENT DE CHASSE, PAR D. H. CHIPARUS (RÉCOMPENSÉ AU SALON)
25cm high, 41cm wide, 17.9cm deep
531 ‡
DEMETRE H. CHIPARUS (1886-1947)
‘MESSENGER OF LOVE’, CIRCA 1920
gilt bronze, on black marble base, signed in cast D. H. CHIPARUS
27.5cm high
Literature: Shayo A. Chiparus Master of Art Deco, Antique Collector’s Club 2019, p. 256, fig. 172, where a similar example is illustrated.
£1,000-1,500
532 §
PIERRE LE FAGUAYS (1892-1962)
‘GIRL WITH HOOPS’, CIRCA 1925 patinated bronze, marble, stamped foundry mark LE VERRIER to the base and inscribed FAYRAL, 31.5cm high including base; together with ‘GIRL WITH A HOOP’ by PIERRE LE FAGUAYS, patinated spelter, marble, signed to the base FAYRAL, 46cm high including base (2)
Provenance: Collection of Donald and Eleanor Taffner, New York Private Collection, Glasgow
Literature: Ayroles, V., Décorchemont - François Décorchemont, maitre de la pate de verre 18801971, Paris, 2006, p. 238, model 51 (variant design illustrated)
£1,500-2,000
535
GALLÉ
PAYSAGE DE MONTAGNE
VASE, CIRCA 1908-20 glass, overlaid and acidetched, cameo GALLÉ 32.5cm high
£1,000-1,500
François Décorchemont studied at the École nationale des arts décoratifs in Paris and from 1909 focussed his attention on working and experimenting with glass. He became a master of pâte de verre. The technique involved making a paste from crushed glass coloured and metallic oxides that were then cast in moulds. The works are rich in colour, with some translucency and often have matt finishes.
537
TIFFANY STUDIOS, NEW YORK
‘PINE NEEDLE’ PATTERN PEN AND PEN WIPER & HOLDER, CIRCA 1900
gilt bronze and glass, the wiper holder stamped TIFFANY STUDIOS/ NEW YORK/ 186 (2)
PAIR OF UNDULATIONS CHAMPAGNE COOLERS, DESIGNED 1933
white metal, stamped CHRISTOFLE 30 (2) 20.8cm high
The design was created for the First Class Dining Room and Bar of the SS Normandie.
£1,000-1,500
541
CHARLES SCHNEIDER (1881-1953) FOR SCHNEIDER GLASSWORKS
‘PERLIÈRES’ LE VERRE FRANCAIS VASE, CIRCA 1925
acid-etched glass, signed LE VERRE FRANCAIS
25cm high
£400-600
538
TIFFANY STUDIOS, NEW YORK PAPERWEIGHT, CIRCA 1910
bronze, with ‘turtle back’ glass panel 20.5cm x 17.5cm
£400-600
539
JEAN PAUL MILET (1870-1950) FOR SÈVRES
PAIR OF COVERED VASES, CIRCA 1925
glazed ceramic with patinated bronze mounts, printed mark (4)
37.5cm high
£1,000-1,500
542Y
GASTON BIGARD (1883-1962)
ART DECO DINANDERIE BOX & COVER, CIRCA 1925
decorated metal, ivory, signed to cover G. BIGARD, and marked to base 543/249
21cm wide
Sold in compliance with UK Government and APHA regulations, with (nontransferable) exemption registration reference ETWP5RX7.
£250-350
543‡ § PIERRE LE FAGUAYS (1892-1962) DANCER WITH THYRSUS silvered and gilt bronze, Portor marble base, engraved LE FAGUAYS ETLING PARIS 27cm high
£1,800-2,200
544 ‡
EDGAR BRANDT (1880-1960)
SEATED GAZELLES PAIR OF BOOKENDS, CIRCA 1925
cast and wrought iron, stamped E. BRANDT (2)
17.7cm high
£3,000-5,000
545
EDGAR BRANDT (1880-1960)
‘SIMPLICITÉ’ CONSOLE TABLE, CIRCA 1925
wrought steel, marble (2)
150.5cm wide, 87.5cm high, 45.5cm deep
Edgar Brandt was an acclaimed Art Deco designer working in metal producing both private and public works. He celebrated the past but was also thoroughly modern. He understood traditional materials and chose to explore their potential. Besides using hand-tools, he also relied on machines. Brandt set up a workshop in 1901 and by 1925 was exhibiting to the world at the Exposition in Paris.
£3,000-5,000
546
ENCYLOPÉDIE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNE
CIRCA 1925
Paris: Office Central d’Editions et de Librairie. First edition, printed on verge d’Arches, 12 volumes, 4to, original half japon, marbled sides, patterned endpapers, spines lettered and decorated in red and black, with heliogravure plates, some with added colour (12 volumes)
The official catalogue for the Exposition internationale des arts décoratifs et industriels modernes (International Exhibition of Modern Decorative and Industrial Arts), held at Paris in 1925.
£2,500-3,500
547 §
MAURICE GENSOLI (1892-1972) FOR SÈVRES
VASE AND COVER, CIRCA 1925
glazed stoneware, incised M. Gensoli, printed Sevres mark 36cm high
Maurice Gensoli (1892-1972) worked at Sèvres from 1921 until his retirement in 1959. Having begun as a decorator, he was promoted to director for design. Under his leadership the firm embraced the influence of Cubism. Gensoli frequently produced covered vases in high-fired stoneware and displayed his mastery in handling a subtle muted glaze palette. He designed ceramic fountains for the French ocean liners Normandie and Liberte, and in recognition of his achievements was made a Knight of the Legion of Honour and then in 1952 he was promoted to Officer of the Legion of Honour.
£3,000-5,000
F.L. GRIGGS : A COTSWOLD LEGACY
To explore the life and work of F. L. Griggs is to step into the Cotswold Arts and Crafts Movement of the early 20th century and be immersed in a community of creative innovation that maintained a deep romanticism and respect for the past.
Griggs’s upbringing instilled in him lifelong loves of both art and the English countryside. Born in Hitchin in 1876, Griggs described an idyllic childhood of ‘golden days’ in which his mother and teachers encouraged him to develop his obvious talent. Aged 21 he trained for two years under architect and draughtsman Charles Edward Mallows and it is to this formative experience that his crisp rendering of buildings owes a debt.
Griggs’s first significant commission was to provide illustrations for the ‘Highways and Byways’ series, a topographical guide to Britain by region. Whilst often overlooked, this work ‘infused with poetic sense’ later informed the etchings for which he is so celebrated. In 1903 when illustrating ‘Oxford and the Cotswolds’ Griggs first visited Chipping Campden and having fallen in love with the town, in October 1904 he settled there permanently. In 1905 he moved to Dover’s House on Campden High Street and lived there until 1930. Griggs was driven to preserve all that was good in Campden. In 1926 Dover’s Hill, which overlooked the whole of Campden from the West, was put up for sale. Griggs and the historian G. M. Trevelyan bought Dover’s Hill for £4000, saving it from hotel development. In 1929 they presented it to the National Trust.
The Market Hall, Chipping Campden
It was in Chipping Campden that Griggs flourished, both personally and professionally. In 1912 he became a Catholic, solidifying his longtime spiritual convictions and adopting his baptismal name ‘Maur’. Secondly in 1922 he married Nina Muir, his love for whom Griggs exalted as ‘Too great a gift’. During this period, he rediscovered working in the medium of etching, as, despite having produced sixteen etchings from 1896 to 1903, he was later so unimpressed with his efforts that he destroyed any examples he encountered. As art historian Raymond Lister asserts, there is no doubt that his later etchings showcase ‘complete mastery both of technique and of composition, each of which had been only partially mastered before’. Depicting both real-world and imagined scenes, at the heart of his work sits a deep spirituality and an idealisation of Gothic and Medieval England.
Parallel to these significant life events were artistic and professional connections set to define Griggs and his oeuvre. At the start of the twentieth century Chipping Campden was a bustling hub of the Arts and Crafts Movement and therefore Griggs’s move to the town facilitated him meeting key individuals who became his closest friends
and confidants, including Paul Woodroffe, a stained-glass designer and fellow Catholic who had been living there from 1904. Charles Ashbee’s Guild of Handicraft workshops had recently relocated to Chipping Campden in 1902. Cotswold School architects and furniture designers Ernest Gimson, Ernest and Sidney Barnsley were all working in the South Cotswolds. Griggs worked with Gimson from 1917 until his death in 1919, collaborating on several projects that remained unbuilt, including the Stonyhurst War Memorial. Nina Griggs later described Gimson as being someone for whom Griggs ‘had great affection and respect’, indeed in Griggs’s home, ‘everything was Gimson or Barnsley’.
The genuine closeness and meeting of minds amongst the Cotswold School designers can be glimpsed best in correspondence from the 1980s between Nina Griggs and Max Burrough, an early researcher and writer on Gimson and the Barnsleys. Nina recalls how following Gimson’s death they visited Emily Gimson ‘whenever we could’, often for extended periods. She further recollects her husband staying with Norman Jewson and his wife Mary, Ernest Barnsley’s daughter. Norman Jewson, like Griggs, had an architectural background and was an eager apostle of Gimson and Barnsley. Moreover, they had a shared passion in the Society for the Protection of Ancient Buildings, of which they were both members. Indeed, Griggs’s famous etching ‘Owlpen Manor’ depicts the house Jewson purchased in 1925 and restored, rescuing it from a
Portrait of Nina Griggs, by Sir William Reid Dick (1878-1961)
Dover’s House, Chipping Campden
tumbledown fate. He had to sell it the following year, having rescued it out of sheer generosity. In his dedication Griggs praises how his friend ‘saved this ancient house from ruin’, perhaps not unlike what Griggs was to do with the derelict barn which was to become New Dover’s House.
Griggs also befriended ceramicists Alfred and Louise Powell and the woodcarver William Simmonds and his wife Eve who had moved to the Cotswolds in 1919 and lived within walking distance of the Gimsons’ house. Nina in her letters to Burrough reminisces of Sunday afternoon strolls ‘down hill through a wood and meadow’ to have tea there, presumably whilst she was staying with Emily Gimson. Most thrilling however were the annual Christmas puppet parties, conducted in the barn which also served as William’s workshop. Nina gleefully remembers being ‘sat on chairs and cushions…all in darkness the curtains parted’ the performances revealing ‘a magic world of make believe come true.’
Griggs was an incredibly convivial and engaged member of the community, as one of his daughters Barbara later recalled: ‘nothing delighted him more than a gathering of his friends… for talk and laughter and boisterous fun’, as well as ‘local cricket matches, tennis parties…evenings of music at Dover’s
House’. So various were his interests and busy his schedule, that when someone suggested he do less he enthusiastically answered ‘I can’t help it. I must plan my life as though it would last for ever’.
His was not a life confined to this Cotswold halcyon existence however, being elected to the Council of the Royal Society of Painter-Etchers and of the Society of Graphic Fine Art. He exhibited his etchings first at the Twenty-One Gallery in London from 1912 to 1920 before transferring to publishing through Colnaghi, with whom he remained for the rest of his life. The first decade of the Colnaghi affiliation constituted the pinnacle of Griggs’s career, as his popularity and sales soared; etchings ‘Sarras’, ‘Potters’ Bow’, and ‘Castor’ all hail from this period.
In 1931 he was one of the first etchers to be elected to full membership of the Royal Academy. Following bouts of illhealth over the last few years of his life Griggs died on 7th June 1938.
The following works all come from the collection of F.L. Griggs and his wife, Nina Griggs, and by family descent. We are grateful to Annette Carruthers for her help in cataloguing these lots.
Island House, Chipping Campden
Griggs’s depiction of Owlpen Manor in Gloucestershire is one of his most striking images. The house was purchased in 1925 by his friend the architect Norman Jewson, who subsequently undertook a sensitive restoration of the property. Originally built in 1515, the house is notable for having sheltered Queen Margaret during her flight from the Battle of Tewkesbury. Griggs, quoting Tennyson, described the manor as a “haunt of ancient peace,” and in a letter of November 1924 remarked: “I have dreamt of it, and of a rendering that might capture some of that wonderful wistfulness and beauty.”
Nina Griggs’s sister Lily was married to Harry Horsfield and they lived at Broad Campden. Nina met F.L. Griggs through this relationship.
550
FREDERICK LANDSEER MAUR GRIGGS (1876-1938)
POTTER’S BOW, 1924
Etching, 23cm x 16.5cm (frame size 39.5cm x 31.5cm)
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 33, vii/vii
£400-600
549
FREDERICK LANDSEER
MAUR GRIGGS (1876-1938)
OWLPEN MANOR, 1930
Etching, signed in pencil lower right F.L. GRIGGS, initialled and dated in the plate F.L.G./ 1930, inscribed by the artist verso OWLPEN MANOR/ORIGINAL
ETCHING/ BY F.L. GRIGGS R.A., further inscribed to the reverse PROPERTY OF H.T. HORSFIELD
19cm x 23.5cm (frame size 44.5cm x 52.5xm)
Provenance: F.L. Griggs, and by family descent
Literature: Comstock F.A. A Gothic
Vision: F. L. Griggs and His Work Massachusetts: Boston Public Library, 1966, no. 46, iii/iii
Northrop Moore J. F.L. Griggs,1876-1938: The Architecture of Dreams, Oxford University Press 2000, p. 141
£1,500-2,000
551
FREDERICK LANDSEER MAUR GRIGGS (1876-1938)
TATTERSHALL, 1930
Etching, signed in pencil lower right F.L. GRIGGS, inscribed by the artist verso TATTERSHALL/ ORIGINAL ETCHING/ F.L. GRIGGS R.A.
18cm x 26cm (frame size 38.5cm x 45cm)
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 44, iii/iv
£300-500
553
FREDERICK LANDSEER MAUR GRIGGS (1876-1938)
RAGDALE HALL, 1931
Drypoint and etching, initialled and dated in the plate F.L.G. 1931, signed in pencil lower right
17.3cm x 25cm (frame size 38.5cm x 45.5cm)
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 45, v/v
£400-600
552
FREDERICK LANDSEER MAUR GRIGGS (1876-1938)
SARRAS, 1926-28
Etching, signed in pencil lower right, initialled and dated in the plate F.L.G./ 1926-28
19.3cm x 28.2cm (frame size 40cm x 47.5cm)
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 35, viii/viii
£300-500
554
FREDERICK LANDSEER MAUR GRIGGS (1876-1938)
COCKAYNE, 1936-37
Etching, signed in the plate lower right FLG, inscribed by the artist verso COCKAYNE/ ORIGINAL ETCHING BY F.L. GRIGGS R.A.
18cm x 27cm (frame size 39cm x 46.3cm)
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 55, vi/vi
£400-600
556
FREDERICK LANDSEER MAUR GRIGGS (1876-1938)
ANGLIA PERDITA, 1921-25
Etching, signed in pencil lower right F.L. GRIGGS, indistinctly inscribed verso 23cm x 16cm (frame size 39.5cm x 30.5cm)
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 28, v/v
£400-600
557
FREDERICK LANDSEER
MAUR GRIGGS (1876-1938)
CASTOR, 1927
Etching, signed in pencil lower right F.L. GRIGGS, signed and dated in the plate FLG-1927, inscribed to margin 30-7, unframed
13.5cm x 11.8cm
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 38, vi/vi
£250-350
555
FREDERICK LANDSEER
MAUR GRIGGS (1876-1938)
MEMORY OF CLAVERING, 1934
Etching, signed in pencil lower right F.L. GRIGGS, signed in the plate FLG 1934, unframed 14.8cm x 23.5cm
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 51, iv/iv
£800-1,200
558
FREDERICK LANDSEER MAUR GRIGGS (1876-1938)
PALACE FARM, 1922
Etching, signed in pencil lower right F.L.GRIGGS, inscribed in the margin PALACE FARM, unframed 12.7cm x 17.5cm
Provenance: F.L. Griggs, and by family descent
Comstock 1966, no. 25, ii/iii
£250-350
559
FREDERICK LANDSEER MAUR GRIGGS (1876-1938)
ORIGINAL CARVED WOODBLOCK, CIRCA 1915
stained wood, carved with initials and indistinctly dated lower right FLG/ 191* 15cm x 11.6cm
Provenance: F.L. Griggs, and by family descent
£300-500
The current group appears to have been destined for the Highways and Byways series however may not have been used. The Highways and Byways series, consisting of 36 regional guidebooks published by Macmillan between 1898 and 1948, combined descriptions of historic sites, local traditions, folklore, flora, and fauna with illustrations by a number of leading artists. F. L. Griggs contributed a notable body of work to the series, particularly admired for his careful attention to architectural detail. Other illustrators included Arthur B. Connor, Nelly Erichsen, Joseph McCullough, Edmund Hort New, Joseph Pennell, Hugh Thomson, David Young Cameron, and Stanley Roy Badmin. Each volume was also supplied with fold-out maps, enhancing both its visual appeal and practical use.
560
FREDERICK LANDSEER MAUR GRIGGS (18761938)
FOUR ELECTROTYPE
PRINTING BLOCKS, CIRCA 1906-23 cast metal, wood, including DAME JULIANA’S GATEWAY, (1916, Comstock 1160), signed and dated in the metal FLG/ 1915, 15cm x 11.7cm; NORTH ARCH OF ST JAMES’S CHURCH (created 1905, Comstock 448), signed and dated in the metal FLG/ 1905-23, 13cm x 13.4cm; and COTTAGES AT WESTINGTON (1915, Comstock 1042), signed and dated in the metal FLG/ 1915, 11cm x 13.5cm; together with THE OLD HOUSE AT HOME (1918, Comstock 1172), signed and dated in the metal FLG/ 1918, 14.6cm x 11.5cm (4)
Provenance: F.L. Griggs, and by family descent
£300-500
561
562
ATTRIBUTED TO THE GUILD OF HANDICRAFT
ARTS & CRAFTS ORGAN
STOOL, CIRCA 1930
oak, with woven hide seat
48cm wide, 48cm high, 39.5cm deep
Provenance: F.L. Griggs, and by family descent
£300-500
FREDERICK LANDSEER MAUR GRIGGS (1876-1938) THE BEATITUDES print on laid paper, bears label verso THE BEATITUDES/ PRINTED IN LEASBOURNE TYPE/ DESIGNED BY F.L. GRIGGS/ PRINTED BY GRYFFON PUBLICATIONS, unframed the sheet 53cm x 37.8cm
Provenance: F.L. Griggs, and by family descent
£200-300
Mary Greensted (nee Comino) comments in her 1980 publication Gimson and the Barnsleys “F. L. M. Griggs (also) commissioned an oak dresser, from Gimson, for his house at Chipping Campden. This piece was designed with great subtlety, giving an overall impression of simplicity whilst avoiding all the pitfalls of heaviness and clumsiness inherent in this type of traditional ‘cottage’ furniture. This was achieved partly through the variations in the outline - the dresser has a slight bow-front whilst the upper part has a shallow break-front - partly through the quality of the wood and the workmanship, particularly noticeable in the mitred and cushioned shaping of the cupboard doors, and partly through the vitality of the gouged decoration”.
This fine dresser is well recorded in several records held at The Wilson in Cheltenham, one a finished drawing and the others tracings, showing different details.
The job book entry on page 35 states ‘Oak sideboard for F. L. Griggs’. It was made by Peter Waals himself from June 1917 to Jan 1918 with some input from apprentices and the price paid was £70.8.0.
563
ERNEST GIMSON (1864-1919)
LARGE DRESSER, CIRCA 1917
oak, with cut steel hinges
230.5cm wide, 221cm high, 66cm deep
Provenance: Commissioned by F.L. Griggs and made in the workshops at Daneway House, Sapperton. Then by family descent
Literature: Lethaby W. R.; Powell A. H.; Griggs, F.L. Ernest Gimson; His Life & Work, London 1924, p. 41 and pl. 21, where the working drawing for this piece, ‘A Large Dresser’, is illustrated.
Comino M. Gimson and the Barnsleys: Wonderful Furniture of a Commonplace Kind, Evans Brothers Ltd 1980, p.153, fig. 119 where this piece is illustrated. Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, p.226
The Wilson, Cheltenham record nos. 1941.222.277, 1941.222.669 and 1941.222.677
£15,000-20,000
564
FREDERICK LANDSEER MAUR GRIGGS (1876-1938) SARRAS
watercolour, initialled lower left F.L.G., inscribed verso SARRAS/ F.L. GRIGGS RA
14cm x 18.5cm (frame size 23.5cm x 28cm)
Provenance: F.L. Griggs, and by family descent
Literature: Comstock F.A. A Gothic
Vision: F. L. Griggs and His Work, Massachusetts: Boston Public Library, 1966
This fine watercolour of Sarras envisions the Arthurian Grail city as a Gothic, mystical sanctuary. One of four such watercolours, it complements Griggs’s celebrated etchings Sarras and Lanterns of Sarras. Together, these works reveal Griggs’s enduring fascination with Malory’s Le Morte d’Arthur and the sacred symbolism of place.
£3,000-5,000
565
ERNEST GIMSON (1864-1919)
CHEST OF DRAWERS, CIRCA 1915 oak
94cm wide, 84cm high, 50cm deep
Provenance: F.L. Griggs, and by family descent
£4,000-6,000
566 Y MARGARET SMITH (FL.1906-1914) AND F.L. GRIGGS (1876-1938)
PORTRAIT MINIATURE OF LADY
CYNTHIA ASQUITH
watercolour on ivory, within gilt brass frame 7cm x 5.3cm (frame size 7.6cm x 6cm)
Provenance: F.L. Griggs, and by family descent
Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference GSELTRNY.
£300-500
Lady Cynthia Asquith (née Charteris) (1887-1960) was born at Clouds House, Wiltshire and was the daughter of the 11th Earl of Wemyss and Mary Constance Wyndham, a leading figure of the elite intellectual circle known as The Souls. Surrounded by literary and political brilliance, Cynthia befriended and worked with writers like D.H. Lawrence, L.P. Hartley, and J.M. Barrie, serving as Barrie’s secretary. A versatile author, she produced children’s books, novels, memoirs, and chilling short stories, gaining renown as editor of The Ghost Book anthologies. Her story “The Follower” (1947) became a BBC Radio classic. In 1910, she married Herbert Asquith, son of the Prime Minister.
567 §
NORMAN JEWSON (1884-1975)
SPRINGTIME AT SAPPERTON
watercolour, bears artist’s label verso 13cm x 18.5cm (frame size 21cm x 27cm)
Provenance: F.L. Griggs, and by family descent
£300-500
568 §
NORMAN JEWSON (1884-1975) BROAD AVENUE, CIRENCESTER PARK
watercolour
13cm x 16.5cm (frame size 18.5cm x 22.5cm)
Provenance: F.L. Griggs, and by family descent
£300-500
569
ERNEST GIMSON (1864-1919) AND ERNEST
BARNSLEY (1863-1926)
GATE LEGGED TABLE, 1902
oak
91cm diameter (open), 22cm deep (closed), 76.5cm high
Provenance: F.L. Griggs, and by family descent
Literature: Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, p. 102, pl. 99 where it is photographed in one of the three showrooms at Daneway House circa 1905.
This interesting table could be an early piece designed by Gimson with Ernest Barnsley. There is a design dated 31 August 1902 (The Wilson, Cheltenham, 1941.222.398) which bears very close similarity to the present lot and an early photo of the Daneway showroom in 1905 shows a similar table, possibly this example.
It may be that the table was acquired on Gimson’s death as part of workshop stock, after Emily Gimson’s death or at the Ernest Barnsley sale in 1966.
£2,000-3,000
570 Y
ERNEST GIMSON (1864-1919)
DRESSING MIRROR, 1910
mahogany, inlaid with holly and rosewood, brass
40cm wide, 63cm high, 26.5cm deep
Provenance: F.L. Griggs, and by family descent
£1,500-2,000
571 § WILLIAM GEORGE SIMMONDS (1876–1968) MUSIC
carved limewood, with painted embellishments, incised to base F.L.G. FROM W.G.S.
30cm high
Provenance: F.L. Griggs, and by family descent
£1,000-1,500
572
ERNEST GIMSON (1864-1919)
PAIR OF LADDERBACK
CHAIRS, CIRCA 1910
ash, with rush seats (2) 45cm wide, 97cm high, 40cm deep
Provenance: F.L. Griggs, and by family descent
£400-600
573
GRACE BARNSLEY (1896-1975)
TEA SERVICE, CIRCA 1920 painted and glazed Wedgwood earthenware, comprising a TEAPOT & COVER, 12cm high; a LARGE MILK JUG, 10.7cm high; a SMALL MILK JUG, 6.7cm high; a SUGAR BOWL, 8cm diameter; and TWO CUPS AND SAUCERS, each with painted monogram GB/ 208; together with a PAIR OF SERVING BOWLS, painted and glazed Wedgwood earthenware, each with painted monogram GB, and impressed Wedgwood marks, 17cm diameter (10)
Literature: Carruthers A. and Greensted M. Simplicity or Splendour, Cheltenham 1999, p. 116
£300-500
574
FREDERICK LANDSEER MAUR GRIGGS (1876-1938) (DESIGNER) AND NINA BLANCHE GRIGGS (1899-1988) (EMBROIDERER)
FRAMED EMBROIDERY, CIRCA 1925
coloured silks on an unbleached linen ground, framed 43.5cm x 40cm (frame size 51.5cm x 49cm)
Provenance: F.L. Griggs, and by family descent
Literature: Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, pp. 286-7, pls. 273 and 274; p. 304, pl. 295 This design may have been inspired by Gimson’s designs for embroidery which demonstrate a similar aesthetic to the current lot.
£500-700 575
ERNEST GIMSON (1864-1919)
COFFER, CIRCA 1904
elm, with steel hinges and nails
65cm wide, 45cm high, 38.5cm deep
Provenance: F.L. Griggs, and by family descent
£2,000-3,000
The design of this coffer is related to two designs held at The Wilson, Cheltenham (1941.222.571 and 574). 574 is dated 28 April 1904 and the workshop made another related piece for Robert Weir Schultz which is dated 1903 (sold Law Fine Art sale 2005, lot 320). Another related chest, held at Leicester Museums (Carruthers A. Ernest Gimson and the Cotswold Group of Craftsmen, Leicester City Museums Service, 2007, F. 14) was probably acquired by Harry Peach in 1919 when he bought some of the old stock from Gimson’s estate. Another design for an ‘oak chest and bench’ of 1912 demonstrates further characteristics found in this lot (The Wilson 1941.222.407).
EDWARD BARNSLEY (1900-1987)
WALL MIRROR, 1963
inlaid walnut, stamped to rear BARNSLEY
43cm diameter
Provenance: Commissioned from Edward Barnsley by Arthur Mitchell
A gift to Nina Griggs, and by family descent
The Barnsley job book states that the mirror originally cost £42
£400-600
577
EDWARD BARNSLEY (1900-1987)
WARDROBE, 1963
walnut, brass handles
106.5cm wide, 177cm high, 45cm deep
Provenance: Commissioned from Edward Barnsley by Arthur Mitchell
A gift to Nina Griggs, and by family descent
£1,000-1,500
578 §
NORMAN JEWSON (1884-1975)
UPPER DORVAL HOUSE, SAPPERTON
watercolour, signed with initials and indistinctly dated lower right N. J. 19**
20cm x 26cm (frame size 37.5 x 42.7cm)
Provenance: F.L. Griggs, and by family descent
In 1902, Ernest Gimson and brothers Ernest and Sidney Barnsley settled in Sapperton. Each built nearby houses including Upper Dorval House designed and built by Ernest Barnsley. The house today remains the least altered, retaining many original features.
£700-900
EDWARD BARNSLEY FURNITURE
Arthur Mitchell (1873-1965), whose father Henry founded the Smethwick brewery that would become Mitchells & Butlers, was a great patron of Cotswold School craftsmen. He was also a collector of prints, and his collection is now held at the Ashmolean, Oxford. In a letter to Nina, kept in the Barnsley records and dated 12th October 1963, Edward Barnsley writes “(I) had a talk with Arthur about the furniture, and he may be writing to you himself, but he knows that I am writing to explain that he feels that he must not include a further item in the way of the little desk. He did not fully appreciate present-day costs, and we have rather run above what he had in his mind.. which is nevertheless a generous gift in all conscience! So, we are left with these items: the chest, the wardrobe, the table and the little bookshelves above it, and a chair and the mirror over the chest of drawers. And all are well in hand except for the bookshelves which are not started.” Mitchell was 90 in 1963, and it may be that this gift was in return for help with collecting prints by F.L. Griggs over the years, of which he had a large holding.
580
EDWARD BARNSLEY (1900-1987)
BOWFRONT CHEST OF DRAWERS, 1963
walnut, with bronze handles, stamped to top drawer BARNSLEY
68.5cm wide, 105.5cm high, 38cm deep
Provenance: Commissioned from Edward Barnsley by Arthur Mitchell
A gift to Nina Griggs, and by family descent
£1,000-1,500
579 §
NORMAN JEWSON (1884-1975)
ST KENELM’S CHURCH, SAPPERTON
watercolour, initialled and dated lower left N.J. 1964
15cm x 22.7cm (frame size 29cm x 36.5cm)
Provenance: F.L. Griggs, and by family descent
The graveyard at St Kenelm’s Church includes the graves of Ernest Gimson, Ernest and Sidney Barnsley and the eminent printer and colleague of William Morris, Emery Walker.
£400-600
581 §
NORMAN JEWSON (1884-1975)
MOUNT SORACTE FROM CIVITA CASTELLANA
watercolour, signed with initials and dated lower right N.J. 1952, inscribed lower left MT SORACTE FROM CIVITA CASTELLANA, 22cm x 15cm (frame size 40cm x 31.5cm); together with two further watercolours by the same hand; MOCAINA. THE CHURCH, signed with initials and dated lower right N.J. 1952, 17.5cm x 23.5cm (frame size 32cm x 38cm); A STREET IN SARAJEVO, signed with initials and dated lower right N.J. 1961, 18.5cm x 12cm (frame size 33.5cm x 26cm) (3)
Provenance: F.L. Griggs, and by family descent
£600-800
583
EDWARD BARNSLEY (1900-1987)
PAIR OF CHAIRS, 1963
walnut, with drop-in upholstered seats, one stamped to the seat rail BARNSLEY (2)
40.5cm wide, 83cm high, 44cm deep
Provenance: Commissioned from Edward Barnsley by Arthur Mitchell
A gift to Nina Griggs, and by family descent
£300-500
584
EDWARD BARNSLEY (1900-1987)
TWO-TIER LOW TABLE, 1963
walnut, stamped BARNSLEY
51.4cm wide, 47cm high, 61.3cm deep
Provenance: Commissioned from Edward Barnsley by Arthur Mitchell
A gift to Nina Griggs, and by family descent
£300-500
EDWARD BARNSLEY (1900-1987)
WALL SHELVES, 1963
walnut, stamped to rear BARNSLEY
53cm wide, 40cm high, 15.5cm deep
Provenance: Commissioned from Edward Barnsley by Arthur Mitchell
A gift to Nina Griggs, and by family descent
585
ERNEST GIMSON (1864-1919)
TOILET MIRROR, CIRCA 1910
oak, with mirrored plate and bronzed fittings
39.5cm wide, 64cm high, 26.5cm deep
£700-900
586
PETER WAALS (1870-1937)
TWO-TIER TABLE, CIRCA 1930 walnut
60cm diameter, 53.5cm high
Provenance: With Liberty & Co., Regent Street, London
John Minoprio
Lyon & Turnbull, Edinburgh The Minoprio Collection, 11 January 2022, Lot 14
Private Collection
Literature: Rogers J.C. Modern English Furniture, Country Life, London, 1930, p. 28, where a similar table by Waals is illustrated at Rodmarton Manor near Cirencester.
£1,000-1,500
587
MANNER OF ERNEST GIMSON
PAIR OF ARTS & CRAFTS FIRE
DOGS, CIRCA 1920
brass and wrought iron (2)
61cm high, 29cm wide, 37cm deep
£200-400
588
PETER WAALS (1870-1937)
ARTS & CRAFTS BOOKCASE, CIRCA 1925
oak and glass, the interior with four adjustable shelves
211.5cm wide, 107cm high, 47.5cm deep
Provenance: The Cotswold Gallery, 59 Frith Street, Soho Square, London
Mr A. J. Finberg, purchased November 2nd 1923
Herbert Finberg
Taranman Gallery, London
Private Collection
£3,000-5,000
589
Alexander Joseph Finberg (1866-1939) worked as an illustrator for The Graphic and the Illustrated London News, and later as an art critic for newspapers such as the Manchester Guardian and the Saturday Review. In 1905, he was commissioned by the trustees of the National Gallery to arrange and catalogue the Turner Bequest, rediscovering a number of canvases and publishing the Complete Inventory of the Drawings of the Turner Bequest (1909). His son, Herbert Finberg (1900-1974), established the Alcuin Press in a barn at Chipping Campden, Gloucestershire, before turning to academic work. He later became Head of the Department of English Local History at the University of Leicester, serving as Reader and subsequently Professor from 1952 until his retirement in 1965.
ATTRIBUTED TO ERNEST GIMSON (1864-1919)
STATIONERY BOX, CIRCA 1915
pollarded oak, inlaid with holly and ebony, coromandel wood
26.8cm wide, 20.9cm high, 16cm deep
£1,200-1,800
590
ERNEST GIMSON (1864-1919)
ARMCHAIR, CIRCA 1910
elm, with rush seat
67cm wide, 123cm high, 50cm deep
The Wilson in Cheltenham holds a Gimson design for a fireside chair (1971.61.6. ) with similar arms and turnings under the arms as the current lot.
£700-900
591
ANTHONY MINOPRIO (1900–1988) (DESIGNER), PETER WAALS (1870-1937) (MAKER)
WARDROBE, CIRCA 1935
walnut, with silver plate escutcheon plates, engraved with initials AM, the shelved interior with hanging space and two lower drawers
111cm wide, 178.8cm high, 48.2cm deep
Provenance: Commissioned from Peter Waals by Anthony Minoprio
John Minoprio
Lyon & Turnbull, Edinburgh The Minoprio Collection, 11 January 2022, Lot 2
Private Collection
£2,000-3,000
592
ERNEST GIMSON (1864-1919)
SET OF FOUR CHAIRS, CIRCA 1910
oak, with rush seats (4)
46.5cm wide, 105.5cm high, 40cm deep
£1,000-1,500
593
ERNEST GIMSON (1864-1919) SINGLE BED, CIRCA 1910
oak with original side boards, later pine base and mattress
92cm wide, 107cm high, 206cm long (mattress 197cm long)
Literature: Comino M. (Ed.) Gimson and the Barnsleys: Wonderful Furniture of a Commonplace Kind, Evans Brothers Ltd 1980 p.168, fig. 129. Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, p.220, pl. 202 where a drawing for a similar bed is illustrated.
£800-1,200
594
COTSWOLD SCHOOL
ARTS & CRAFTS STRUT MIRROR, CIRCA 1920
walnut frame, bevelled mirror plate and needlework embroidery
61cm x 40.5cm
Paul Reeves, London Private Collection
£1,000-1,500
595
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
£700-900
596
LOUISE POWELL (1865-1956) FOR WEDGWOOD
ARTS & CRAFTS VASE, 1920 polychrome and silver painted earthenware, painted artists cypher and date, impressed WEDGWOOD
23.2cm high
£600-800
597
ATTRIBUTED TO ARTHUR W. SIMPSON OF KENDAL (1857-1922)
ARTS & CRAFTS LOW DROPLEAF TABLE, CIRCA 1920 oak
24cm wide (closed), 92.5cm (open), 61cm high, 61.5cm deep
£400-600
598
ARTHUR W. SIMPSON OF KENDAL (1857-1922)
ARTS & CRAFTS WALL-MOUNTED BOOKSHELF
CABINET, CIRCA 1910
mahogany, with hinged dust protectors and bronze handles by Rathbone & Co.
147.5cm wide, 92cm high, 27cm deep
£1,500-2,000
599
ATTRIBUTED TO PETER WAALS (1870-1937)
SIDE TABLE, CIRCA 1930
oak
50cm wide, 71cm high, 37cm deep
£500-800
601
600
ATTRIBUTED TO E.G. PUNNETT FOR WILLIAM BIRCH, HIGH WYCOMBE
ARTS & CRAFTS TUB CHAIR, CIRCA 1900
inlaid oak, with upholstered seat
48cm wide, 79.5cm high, 45cm deep
£300-500
COTSWOLD SCHOOL, AFTER ERNEST GIMSON
CENTRE TABLE, CIRCA 1930
oak
89cm diameter, 76.5cm high
£400-600
602
GORDON RUSSELL (1892-1980) BOOKCASE, CIRCA 1930
oak
90.5cm long, 81cm high, 38cm deep
Literature: The Studio, 93 (1927), p. 319 for a bookcase of this design
Myerson J. Gordon Russell Designer of Furniture, London, 1992, p. 53 where another example is shown in a cottage interior.
£600-800
603
ARTHUR ROMNEY GREEN (1872-1945) COTSWOLD SCHOOL DRESSING CHEST, CIRCA 1920
oak, with brass fittings
122.5cm wide, 179.5cm high, 47.5cm deep
£400-600
604
ARTHUR ROMNEY GREEN (1872-1945)
ARTS & CRAFTS CABINET ON STAND, CIRCA 1920 mahogany, with glazed panels
101cm wide, 214cm high, 30cm deep
£400-600
605
HUGH BIRKETT (1919-2002)
ARTS & CRAFTS BOOKCASE CABINET, CIRCA 1960
walnut, with glazed doors
89cm wide, 155cm high, 32.5cm deep
£1,000-1,500
607
606
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
KIDNEY-SHAPED TRAY, CIRCA 1950
oak, with two carved mouse signatures
46cm wide
£200-400
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
PAIR OF BOOKENDS, 1950S
oak, with carved mouse signature (2)
15.5cm high
£400-600
608
ATTRIBUTED TO ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
CORNER CABINET, CIRCA 1930
oak, shelved interior with lower sliding tray
79cm wide, 77cm high,
46.5cm deep
£300-500
609
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
MANTEL CLOCK, CIRCA 1935
610
oak, with carved mouse signature, the single train French movement with enamel dial 31cm wide, 22cm high, 9.2cm deep
£1,500-2,500
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
CHEESEBOARD, CIRCA 1950
oak, with carved mouse signature 37cm long
£400-600
611
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
PAIR OF BOOKENDS, CIRCA 1970
oak, with carved mouse signature (2) 15cm high
£250-350
612
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
BREADBOARD, 1950S
oak, with carved mouse signature, 30.5cm wide; together with a CHEESEBOARD, oak, with carved mouse signature, 18.7cm wide (2)
£300-500
613
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
KIDNEY-SHAPED STOOL, CIRCA 1950
oak, with carved mouse signature 36.5cm wide, 45cm high, 29cm deep
£300-500
614 § CLARE SHERIDAN (1885-1970)
BUST OF A WOMAN, 1949 bronze, signed in the bronze and dated 1949
42cm high
£600-800
Clare Sheridan was a cousin of Sir Winston Churchill whom she embarrassed by her wild behaviour and belief in free love. She married in 1910 and had three children, one of whom died in 1914. Grief-stricken, she modelled an angel for her child’s grave and discovered a talent for sculpture. After the death of her husband in the First World War, she began exhibiting her portrait sculptures, including one of Churchill, created while he painted her. An admirer of communism, she travelled in secret to the Soviet Union in 1920. There she sculpted Lenin and Trotsky, later publishing her diary of the trip. She then went to Mexico and America, where she settled, becoming friends with Charlie Chaplin. Next, she turned to journalism, interviewing senior European figures for the American press. Her second trip to Russia, in 1923, proved disillusioning. She took her children to live first in Turkey and then on the edge of the Sahara in Algeria. After the Second World War she became a Roman Catholic. She continued to sculpt and to write her memoirs.
615
DAISY MAKEIG-JONES (1881–1945) FOR WEDGWOOD ‘GARDEN OF PARADISE (VARIATION I)’ FAIRYLAND LUSTRE LILY TRAY, CIRCA 1925
lustre-glazed earthenware, printed and painted in gilt and coloured enamels, printed factory stamp and no. Z4968
27.7cm diameter
Literature: des Fontaines U. Wedgwood Fairyland Lustre, p. 125, fig. 44 where this design is illustrated.
£1,000-1,500
616
SID
121cm wide, 57.5cm high, 43.5cm deep
Sid Pollard was an early apprentice of Robert ‘Mouseman’ Thompson.
£1,000-1,500
POLLARD BAGBY BLANKET BOX, CIRCA 1960 oak
618
DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD ‘POPLAR TREES’ FAIRYLAND FLAME-LUSTRE FOOTED
BOWL, CIRCA 1925
617
lustre-glazed earthenware, printed and painted in gilt and coloured enamels to the exterior with ‘Poplar Trees’; to the interior with ‘Woodland Bridge’; and to the centre roundel with ‘Mermaid’ pattern, with four printed artist’s monogram marks to the interior, printed factory marks to base, painted Z5360 29.5cm diameter
£2,000-3,000
619
H. MORRIS & CO., GLASGOW
ART DECO TWIN-PEDESTAL DESK, CIRCA 1930
oak, with polished burr wood top and bronze trim and handles, stamped to rear 361/ 362, bears metal maker’s label to inside of drawer
107.5cm wide, 79cm high, 29cm deep
£800-1,200
ROWLEY GALLERY
WALL MIRROR, CIRCA 1920
painted oak frame, with bevel mirror plate and embroidered silk work panel
110.5cm x 64cm
£400-600
620 ‡ MOORCROFT POTTERY
‘POMEGRANATE’ GINGER JAR AND COVER, CIRCA 1940
glazed pottery, green painted WM monogram 14.8cm high
£300-500
621
KEITH MURRAY (1892-1981) FOR WEDGWOOD VASE, MODEL 3802, CIRCA 1935
glazed earthenware, printed WEDGWOOD/ MADE IN ENGLAND with facsimile signature 22cm high
£300-500
622
PHILIP TILDEN (1887-1956) AND AMBROSE HEAL (1872-1959) FOR HEAL & SON MINIATURE FURNITURE SET, CIRCA 1910
green-painted oak and rush, comprising a TABLE, 44.5cm long, 24.5cm high, 29cm deep; and TWO CHAIRS, each with drop-in rush seats, 15cm wide, 33cm high, 14.5cm deep (3) Cadbury family
£400-600
623
KEITH MURRAY (1892-1981) FOR WEDGWOOD TWO VASES, CIRCA 1935
glazed earthenware, comprising a VASE, MODEL 3805, printed KM/ WEDGWOOD/ MADE IN ENGLAND, 28.2cm high; a VASE, MODEL 3842, printed KM/ WEDGWOOD OF ETRURIA & BARLASTON, 23cm high (2)
£400-600
624 §
SIR CLOUGH WILLIAMS-ELLIS (1883-1978)
PLAN AND ELEVATION FOR LITTLE NEWLANDS, 1925 hand-coloured print, with pencil annotation, inscribed LITTLE NEWLANDS BY J. ST. LOE STRACHEY ESQ/ CLOUGH WILLIAM(SIC)-ELLIS ARCHITECT 22 EBURY
STREET SW1 18-12-25, 55cm x 58cm (frame size 64.7cm x 84.8cm; together with ‘HARROW HILL HOUSE’ (PREVIOUSLY ‘LITTLE NEWLANDS’) by ETHELBERT WHITE (1891–1972), watercolour, signed lower right ETHELBERT WHITE, 36cm x 52cm (frame size 57.5cm x 72.5cm) (2)
£600-1,000
AGNES PINDER DAVIS (1895-1973) FOR JAMES TEMPLETON & CO. LTD
James Templeton & Co. Ltd were tasked with the interior decoration of the Queen Mary and commissioned the artist Duncan Grant to design a carpet. However, his design was rejected as too modern and Agnes Pinder Davis was selected as his replacement. While this carpet was for a cabin, Davis was also responsible for designing the main lounge carpet. She herself was an interior designer, who also worked for Royal Doulton and Crown Staffordshire on ceramic wares, and designed a number of book covers. The other ocean liners she was involved with working on were the Queen Elizabeth, Mauretania II and Caronia. SS Normandie vs RMS Queen Mary was one of the greatest shipping rivalries of all time. The Normandie went into service in 1935 and made a record-breaking crossing of the Atlantic powered by turbo electric transmission. The distinctive bow was emphasised by Mouran in the publicity posters he was commissioned to design.
The Queen Mary, acclaimed for being the largest passenger vessel ever built, entered service the year after the Normandie then quickly secured the title for fastest crossing of the Atlantic. The French made alterations to the Normandie and the Blue Riband was reclaimed in 1937, but this was short lived. The Queen Mary resecured it the following year and held the record until 1952, largely due to the interruption of the Second World War.
£800-1,200
626
BRITISH
THREE HANGING LIGHTS, CIRCA 1930
chromed metal and frosted glass (3)
largest 56.5cm high, 35.5cm diameter
£1,000-1,500
627
HEAL & SON
WALL CLOCK, CIRCA 1930
the twin train movement striking on a coiled gong, within oak case, bears inset ivorine maker’s label HEAL & SON LTD LONDON W 31cm wide, 63cm high, 15cm deep
£300-500
628
AMBROSE HEAL (1872-1959) FOR HEAL & SON
ARTS & CRAFTS ‘304’ BUREAU, CIRCA 1898
oak, with iron fittings, stamped to the fall HEAL & SON LONDON
60.2cm wide, 126cm high, 43cm deep
Literature: Heal O. S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.166 where a drawing of this scarce model is illustrated.
£800-1,200
629
DONEGAL
ART DECO CARPET, CIRCA 1930
hand-tufted wool
123.5cm x 97cm
£500-700
630
MANNER OF HEAL & SON
ARTS & CRAFTS CENTRE TABLE, CIRCA 1920 oak
106.5cm diameter, 73cm high
£500-700
632
WILLIAM JOHN MARRINER (1881-1967) FOR FULHAM POTTERY
GROUP OF ALBER WARE ‘FMA’ FLOWER VASES, DESIGNED 1936-7 black-glazed earthenware, comprising a FMA2 VASE, impressed FMA2, 44cm across; a PAIR OF FMA3 VASES, one impressed FMA3 and printed THE POTTERY/ FULHAM, 30.5cm across; together with a PAIR OF FMA4 VASES, both impressed FMA4, 23cm across (5) £300-500
631
WILLIAM JOHN MARRINER (1881-1967) FOR FULHAM POTTERY
GROUP OF ALBER WARE ‘FMC’ AND ‘FMA’ FLOWER VASES, DESIGNED 1936-7
dove grey and celadon-glazed earthenware, comprising a FMC1 VASE, impressed and incised FULHAM POTTERY LONDON/ FMA1, 55cm wide; a FMA2 VASE, impressed FMA2, printed THE POTTERY/ FULHAM, 43cm wide; a FMA3 VASE, impressed FMA3, printed THE POTTERY/ FULHAM, 31.5cm wide; a FM4 VASE, impressed FMA4, printed THE POTTERY/ FULHAM, 23.5cm wide; and a FMC4 VASE, impressed FMA4, printed THE POTTERY/ FULHAM, 23cm wide (5)
Literature: Peart T. The Fulham Pottery 1932–1965: A return to ‘artistic’ production, DAS Journal 32, pp. 100125.
£500-700
633
HEAL & SON NO. 7 OR ‘LETCHWORTH’ DINING TABLE, CIRCA 1920
oak, inset ivorine makers label under top HEAL & SON/ LONDON 185cm long, 75.5cm high, 76cm deep
Literature: Heal O.S. Sir Ambrose Heal and the Heal Cabinet Factory 18971939, Unicorn 2014, p. 184 illustrated £600-800
634
WILLIAM JOHN MARRINER (1881-1967) FOR FULHAM POTTERY
GROUP OF ALBER WARE ‘FMA’ FLOWER VASES, DESIGNED 1936-7
white-glazed and unglazed earthenware, comprising an UNGLAZED FMA2 VASE, glazed to the interior, impressed and incised FULHAM POTTERY
LONDON/ FMA2, 43cm wide; and GLAZED FMA2 and FMA3 VASES, printed marks THE POTTERY/ FULHAM, 42cm and 31.5cm wide; together with a BESWICK FLOWER VASE, impressed BESWICK ENGLAND 1187, 33cm wide; a WEDGWOOD FLOWER VASE, printed and impressed maker’s marks, 26cm wide; and a GOUDA FLOWER VASE, printed maker’s marks, 21.5cm wide (6)
£300-500
635
WILLIAM JOHN MARRINER (1881-1967) FOR FULHAM POTTERY
GROUP OF ALBER WARE ‘FMC’ FLOWER VASES, DESIGNED 1936-7
white-glazed and unglazed earthenware, comprising TWO UNGLAZED FMC4 AND FMC5 VASES, glazed to the interior, impressed and incised FULHAM POTTERY LONDON/ FMC4 and FMC5, 42cm and 30cm wide; a GLAZED FMC2 VASE, printed THE POTTERY/ FULHAM, 43cm wide; and a smaller GLAZED FMC4 VASE, 23 wide, printed THE POTTERY/ FULHAM (4)
£300-500
636
WILLIAM JOHN MARRINER (1881-1967) FOR FULHAM POTTERY GROUP OF ALBER WARE ‘FMC’ FLOWER VASES, DESIGNED 1936-7
black and white glazed earthenware, comprising TWO FMC2 VASES, moulded FMC2, 44cm wide; a FMC3 VASE, impressed FMC3, printed marks THE POTTERY/ FULHAM, 31.5cm wide; together with TWO FMC4 VASES, moulded FMC4 and THE POTTERY/ FULHAM, 23cm wide (5)
£300-500
In the mid-1930s, Constance Spry’s floristry company gained prominence for its innovative, asymmetrical arrangements using both exotic flowers and local materials. Her designs required wide-mouthed, neutral-coloured vases, prompting her assistant Florence Standfast to create bespoke papier-mâché and ceramic forms for commercial production. These early vases, characterized by matt surfaces and generous proportions, influenced the subsequent development of ‘Alber Ware’ at Fulham Pottery. Responding to rising demand from Flower Decorations Ltd, the Pottery adapted press-moulding techniques to produce a durable, kiln-stable range. Introduced in 1937, Alber Ware drew on classical and decorative precedents but prioritized manufacturability, stability, and minimal finishing, distinguishing it from Standfast’s original designs. The similarity to Spry’s vases facilitated adoption by amateur flower arrangers, while wider availability and lower cost ensured commercial success. Alber Ware remained in production until 1962, exemplifying how Spry’s aesthetic and practical requirements catalysed an enduring British ceramic line.
638 §
JULIUS B. STAFFORD BAKER (1904–1988)
TWENTY FOUR HOUR SUITE NO. 1/ ANOTHER DAWN
woodcut print, inscribed lower left TWENTY FOUR HOUR
SUITE NO. 1/ ANOTHER DAWN, ARTIST’S PROOF, signed and dated lower right JULIUS B. STAFFORD BAKER, 58
45cm x 91cm (frame size 68.5cm x 114cm)
£300-500
637 §
JULIUS B. STAFFORD BAKER (1904–1988)
TWENTY FOUR HOUR SUITE NO. 4/ MOON RISE
woodcut print, inscribed lower left TWENTY HOUR
SUITE NO. 4/ MOON RISE, with artist’s proof, signed and dated lower right JULIUS B. STAFFORD BAKER, 58
44.5cm x 89cm (frame size 67cm x 112cm)
£300-500
Julius B. Stafford Baker (1904–1988) was a British painter, draughtsman, and printmaker born in Leigh-on-Sea, Essex. His father, also named Julius, created the Tiger Tim comic strip for the children’s publication The Rainbow. Baker later assumed responsibility for the strip while independently developing his skills as a painter. His interest in aviation began during his employment as a messenger for the Royal Flying Corps in 1918. During the Second World War, he served in the Royal Air Force, initially attached to a radar unit and subsequently as an intelligence officer posted overseas.
The War Artists’ Advisory Committee acquired a substantial number of his depictions of aircraft, many of which entered public collections such as the Imperial War Museum, the British Museum, and the Victoria and Albert Museum. Following the war, Baker continued to work as a children’s illustrator and exhibited at the Royal Academy. In 1956, he was awarded the Giles Bequest Prize for printmaking at the Victoria and Albert Museum.
639 §
JULIUS B. STAFFORD BAKER (1904–1988)
TWENTY FOUR HOUR SUITE NO. 3/ SUNSET
woodcut print, inscribed lower left TWENTY FOUR HOUR SUIT NO. 3/ SUNSET, ARTIST’S PROOF, signed and dated lower right JULIUS B. STAFFORD BAKER, 58
45cm x 92cm (frame size 68cm x 115cm)
£300-500
640 ANGELO OSTUNI (1904-1981)
LOW TABLE, CIRCA 1950
brass, patinated steel, glass
93cm wide, 46.5cm high, 47.5cm deep
£300-500
644
MANNER OF ANDRÉ ARBUS
PAIR OF LOW TABLES, CIRCA 1940 cherrywood and glass (2) 84cm diameter, 56cm high
£600-800
641
ARNOLD KROG (1836-1931) FOR ROYAL COPENHAGEN VASE, CIRCA 1900
glazed and gilt embellished porcelain, stamped maker’s marks, CT/ SJX/ 2932/ 5780
36cm high
£300-500
642
TIBOR REICH (1916-1996)
PRINTED PANEL FOR COVENTRY CATHEDRAL, 1967
printed cotton, printed inscription to selvedge ‘Coventry Cathedral 5 year anniversary 1962-1967/a commemorative printed tapestry designed by Tibor Reich’, later applied to a wooden frame, printed signature lower left ‘Tibor Reich 1967’ frame 115.5cm x 61cm
£300-500
643 §
JOHN PIPER (1903-1992) FOR SANDERSON
FOUR PIECES OF ‘ARUNDEL’ PATTERN FABRIC, CIRCA 1960 printed ‘Sanderlin’ fabric (satinised cotton), marked to selvedge ‘ARUNDEL/ AN ORIGINAL SCREEN PRINT BY SANDERSON’ (4) each 215cm x 294cm
Literature: Martin S. John Piper: The Fabric of Modernism, Pallant House 2016, p. 26, figs. 32 and 33
£1,000-1,500
646 §
NORMAN GRANT (1943 - 2024)
GROUP OF JEWELLERY, CIRCA 1970-1990
645 §
NORMAN GRANT (1943-2024)
THREE PENDANTS, 1970S
silver and enamel, comprising a FISH PENDANT, stamped NG, hallmarked Edinburgh 1973-4, 4cm x 5cm; a RECTANGLUAR ABSTRACT
PENDANT, stamped NG, hallmarked Edinburgh 1973-4, 7.8cm x 2.3cm; and a FLORAL PENDANT, stamped NG/ 925, 3.2cm diameter (3)
£300-500
silver, comprising a BRACELET, with enamelled panels, stamped NG, rubbed hallmarks, approx. 19cm long; a PAIR OF EARRINGS, stamped NG/ SILVER, 4cm drop; a PENDANT NECKLACE, set with black cabochon stone, indistinctly stamped and hallmarked Edinburgh 1986, pendant 4.5cm wide; a PENDANT NECKLACE, set with blue cabochon stone, stamped NG, pendant 4.3cm wide (4)
£400-600
648 §
NORMAN GRANT (1943-2024)
BRACELET, 1973
silver and enamel, stamped NG, hallmarked Edinburgh 1973, within original box with printed inscription DESIGNED AND MADE/ IN SCOTLAND BY/ NORMAN GRANT D.A.,19cm long, together with; a RING, silver, stamped N.G. hallmarked Edinburgh 1975, size J; and a PAIR OF EARRINGS, white metal, unmarked and with two spare lobe fittings (6)
£400-600
647 §
NORMAN GRANT (1943-2024)
GROUP OF JEWELLERY, 1970S
silver, comprising a PENDANT NECKLACE, set with enamels, stamped NG, hallmarked Edinburgh 1973-4, 7.5cm high; another PENDANT NECKLACE, set with enamels, stamped *G, 5cm wide; a BROOCH, white metal and enamel, unmarked, 7cm diameter; and a PILL BOX, set with enamels, stamped NG, editioned 47/250, hallmarked Edinburgh 1972, 4.5cm diameter, within original branded box (4)
£400-600
649 §
NORMAN GRANT (1943-2024)
‘MICROSCOPIC PLANT CROSS SECTION’ SERIES BRACELET, 1973
silver and enamel, stamped NG, hallmarked Edinburgh 1973, within original box with printed inscription DESIGNED AND MADE/ IN SCOTLAND BY/ NORMAN GRANT D.A.
18.5cm long
Provenance: Purchased from Highland Home Industries, 94 George Street, Edinburgh on 4th September 1975 for £27.20
£600-800
652 §
TIM STEAD (1952-2000)
SCULPTURE PIECE, 1989
burr elm, incised elm, gold filler, brass, signed and dated TIM STEAD 1989/ 47/ 72
pencil and watercolour, signed lower right 56cm x 46cm (frame size 66.5cm x 56.5cm)
£300-500
653
DAVID LINLEY FIRE SURROUND, CONTEMPORARY inlaid sycamore
internal 98.5cm x 64cm; external 132cm long, 129cm high, 20cm deep
£1,000-1,500
654
DAVID LINLEY
PAIR OF ‘MAX’ ARMCHAIRS, CONTEMPORARY
walnut, with leather upholstery, each with fabric label, and stamped LINLEY (2)
76.5cm wide, 64.5cm high, 69cm deep
£800-1,200
GEORGES JULES VICTOR CLAIRIN (1843-1919) PORTRAIT OF SUZANNE LALIQUE, c.1913 [DETAIL] oil on canvas, framed and signed Á Suzanne Lalique son ami G. Clairin, applied plaque CLAIRIN Georges 1843-1919 140 x 80cm, 165 x 104.5cm framed £10,000-15,000 + fees
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 £800,000, plus 20% from £800,001 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:// www.defra.gov.uk/ahvla-en/importsexports/cites
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 Stripe).
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.
