Decorative Arts sale catalogue for Lyon & Turnbull by Mike Bascombe

EDINBURGH Decorative Arts

Wednesday 10th November 2010 33 Broughton Place Edinburgh

Decorative Arts Design from 1860 Wednesday 10th November 2010 11am Sale Number LT299

Viewing Sunday 7th November 2010 2pm - 5pm Monday 8th November 2010 10am - 5pm Tuesday 9th November 2010 10am - 5pm Morning of Sale from 9am Specialist John Mackie john.mackie@lyonandturnbull.com +44 (0)131 557 8844

Catalogue: £10 BUYERS’ PREMIUM 25% up to £25,000 20% thereafter. VAT will be charged on the premium at the rate imposed by law. *17.5% VAT chargeable on the lot itself †5% import VAT on the lot §Droit de Suite (artists’ resale rights) applies (see our Terms and Conditions of Sale and Information for Buyers).

ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

LY O N & T U R N B U L L Important information for buyers

Buying at Auction

Under this legislation, we are

Electrical Goods

By telephone

This sale is subject to our standard

required to collect a royalty payment

Lots that were once operated by

Bids submitted by telephone must

Terms and Conditions of Sale. If you

for all qualifying works of art, where

mains electricity are bought entirely

be confirmed in writing.

have not bought at auction before

the artist is still living. This royalty

at the buyer’s risk. They are offered

we will be delighted to advise you.

will be charged to the buyer on the

for sale for display or historical

Telephone bidding

Estimates

hammer price and in addition to the

purposes and may not comply with

buyers premium. It will not apply to

current regulations.

works where the hammer price is

Bidding

available entirely at our discretion

At the Sale

and at the bidder’s risk. All

Estimates are printed below each lot and do not include the buyer’s premium. The sale will be conducted in pounds sterling. Dimensions Dimensions are for guidance only; it is the buyer’s responsibility to ensure that they are correct.

less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the

Buyer’s Premium

Design and Artists Copyright Society

The buyer shall pay the hammer

(‘DACS’) and no handling costs or

price together with a premium

additional fees are retained by the

thereon.

auctioneer. Resale royalties are not

Antiques, Jewellery & Silver and

subject to VAT.

Pictures (Not Fine Sales) 17.5% All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law. (see our Terms and Conditions of Sale). VAT The symbol * by a lot number indicates that VAT is payable by the purchaser at the standard rate on the hammer price. The symbol † by a lot number indicates that the lot has been temporarily imported from outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price and the buyer’s premium. No VAT is payable on the hammer price or premium for books bought at auction. 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.

Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk Damage and Restoration Occasionally when a lot has suffered extensive damage and/or restoration it is indicated in the catalogue. This is mentioned entirely at our discretion for the benefit of buyers. Where there is no mention of damage and/or restoration this should not be taken to mean that there is none. It is the buyer’s responsibility to ensure that the condition of lots is to their satisfaction (see our Terms and Conditions of Sale). Condition Reports If potential buyers are unable to inspect lots in person our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only and all lots are sold ‘as found’ (see our standard Terms and Conditions of Sale).

If you are unable to attend the sale we can normally arrange for you to bid on the telephone. This service is

To bid at the sale all potential

telephone bids must be confirmed in

buyers must be registered with us

writing, listing the relevant lots and

on or before the day of sale. We will

appropriate number to be called. We

need proof of identification and

recommend that a covering bid is

residence, and may require a bank

also left in the event that we are

reference. Potential buyers must

unable to make the call. We cannot

collect a bidding number before the

guarantee that lines will be

sale begins, and show that number

available, or that we will be able to

if successful in purchasing a lot.

call you on the day, but will

Please ensure that the auctioneer

endeavour to undertake such bids to

repeats the number correctly when

the best of our abilities.

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 nontransferable. If you have purchased a lot you may take your bidding

Methods of Payment Goods purchased will not be released until we have received full payment. Cash Cash payments can be made at the accounts desk during or after a sale. Cheque

number to the accounts department

Cheques should be made payable to

and receive an invoice immediately.

Lyon and Turnbull Ltd. We reserve

If you have not been successful

the right to wait until cheques have

please leave the number at the

been cleared by our bankers before

Registration or Reception desks. In writing Bid forms are available at the sale and at the back of the catalogue. These should be submitted in person, by post, or by fax as soon as

releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice.

possible prior to the sale and we will

Switch or Credit Cards

bid on your behalf up to the limit

Payment can be made by Switch,

indicated. In the event of receiving

Mastercard or Visa cards. There is a

two identical bids the first one received will take precedence. They

surcharge on credit card payments. Collection

must be received at the very latest

It is the buyer’s responsibility to

at least an hour before the sale. We

ascertain collection procedures,

will do our utmost to execute these

particularly if the sale is not being

bids but we offer this service entirely

held at our main saleroom.

at the bidder’s risk.

LY O N & T U R N B U L L Decorative Arts

Scottish Glass 1 LB344/4 MONART LARGE GLASS VASE, SHAPE, 1930s the shouldered baluster body with green spirally ribbing and aventurine inclusions 28cm high

£400-600

2 EAA282/17 MONART CIRCULAR GLASS BOWL, AF SHAPE, 1930s with lime green striped and purple and yellow swirling inclusions, bears original paper label 21.5cm diameter

£150-250

19cm high

4 EY847/2 MONART LARGE CASED GLASS VASE, 1930s the ovoid mottled green body, with mottled yellow and aventurine inclusions to the neck

£200-300

30cm high

5 EAB47/5 MONART SMALL GLASS VASE, SHAPE XD, 1930s of swollen cylindrical form, the rare red glass body with swirling amethyst and aventurine inclusions to the rim

£200-300

12cm high

3 EZ518/2 MONART GLASS VASE, SHAPE A, 1930s of ovoid form, the green body with swirling band and blue and aventurine inclusions to the rim

£150-250

6 EAB47/6 MONART GLASS VASE, 1930s of ovoid form with cylindrical neck, the blue body with amethyst and aventurine inclusions to the rim, 16cm high; and a MONART GLASS VASE, SHAPE OE, of tapering form, the pale blue body with amethyst and aventurine inclusions to the rim, 19.5cm high (2) £150-200

LY O N & T U R N B U L L Decorative Arts

7 EAB47/4 MONART GLASS VASE, RA SHAPE, 1930s the rare red glass body with swirling amethyst and aventurine inclusions to the rim 17.5cm high

£250-400

8 LB344/5 MONART RARE GLASS VASE, SHAPE UB VIII, 1930s the ovoid red glass body with mottled yellow inclusions to the rim 23cm high

£500-700

9 EAB47/9 MONART GLASS VASE, SHAPE IF, 1930s of squat baluster form, the blue body with aventurine inclusions to the rim, 14cm high; and a MONART GLASS VASE, SHAPE RA, the pink body with amethyst and aventurine inclusions to the rim, 12.5cm high (2) £100-200

10 EAB47/10 MONART GLASS VASE, SHAPE IC, 1930s of tapering form, the mottled yellow and orange body with green, umber and aventurine inclusions 21cm high

£150-200

11 EAA613/4 MONART COLLECTION OF GLASSWARES, 1930s comprising a FOOTED BOWL, EH SHAPE, with mottled green body and orange and aventurine inclusions to the rim, 32cm diameter; a FLARING VASE, EH SHAPE, with pale mauve body with swirling amethyst and aventurine inclusions to the rim, 15cm high; and FOUR OTHER MONART PIECES (6)

12 EAA282/19 MONART GLASS BOWL, IG SHAPE, 1930s the clear glass body with green and white spiderweb decoration and with bubble inclusions to the rim 29cm diameter

£200-300

£300-400

LY O N & T U R N B U L L Decorative Arts

13 EAA282/24 MONART THREE GLASS VASES, CIRCA 1930 To include a BALUSTER VASE, FA SHAPE, with a mottled orange and yellow body with green inclusions to the rim, 17cm high; a BOTTLE VASE, IA SHAPE, with a mottled orange and yellow body with amethyst inclusions to the rim, 20cm high; a TAPERING VASE, D SHAPE, with a mottled orange and yellow body, 25cm high (3)

16 EAA282/16 VASART COLLECTION OF GLASSWARES, CIRCA 1950 comprising a BOWL, of circular form with orange swirling inclusions, 25cm diameter another BOWL, with spider-web inclusions, 19cm diameter, a cylindrical VASE, with pink and orange swirling inclusions, 24cm high and three further VASART BOWLS (5)

£200-300

17 EAA282/15A MONART GLASS VASE, UE SHAPE, 1930s the yellow and orange body with blue, green and amethyst pulled inclusions to the neck, 17.5cm high; also a MONART GLASS PLATE, YE SHAPE, with mica and orange swirling inclusions, 19.5cm diameter; and also a SMALL MONART BOWL; ZH SHAPE ASHTRAY and a Y SHAPE BOWL each in corresponding colourways (5)

14 EAA282/21 MONART OVOID GLASS VASE, 1930s the mottled pink body with amethyst and aventurine inclusions to the rim, 22cm high; a MONART GLASS BOWL, UB SHAPE with pink spider-web decoration and mica inclusions to the rim 33cm diameter and a another MONART GLASS BOWL, IG SHAPE, with pink and aventurine inclusions, bears paper label 25.5cm diameter £200-300 15 EAA282/18 MONART GLASS LAMP BASE, LD SHAPE, 1930s the orange body with amethyst inclusions to the neck 38cm high

£100-200

£150-250

£200-300

£200-300 20 EAA282/12 PERTH GLASS GLASS TABLE LAMP, 1950s the tapering cylindrical yellow body with multicoloured inclusions on a spreading base 26cm high; a FRILLED BOWL, 26cm diameter; a STRATHERN CIRCULAR BOWL, 15cm diameter; and two small VASES each with yellow bodies and multicoloured inclusions (5) £200-300

18 EAA282/15 MONART GLASS VASE, FA SHAPE, 1930s the orange and yellow body with green amethyst and aventurine inclusions to the rim, 24cm high; also a MONART OJ GLASS VASE, 12cm high; and a MONART A GLASS VASE, 10cm high each with similar colourways (3) £200-300

19 EAA282/10 MONART COLLECTION OF GLASS WARES, 1930s comprising an OVOID GLASS VASE, pink with amethyst and aventurine inclusions, 12.5cm high; an OVOID GLASS VASE, pale blue with amethyst and aventurine inclusions, 12cm high; two SMALL GLASS VASES, one pink and one blue, a DESSERT BOWL, with radiating striped design in green and purple, 18.5cm diameter; and a MATCHING PLATE (6)

LY O N & T U R N B U L L Decorative Arts

21 EAA282/3 MONART GLASS BOWL, KD SHAPE, 1930s the green body with all over bubble and aventurine inclusions 24cm diameter

£200-300

22 EAA282/11 VASART COLLECTION OF GLASSWARES, 1950s to include a CIRCULAR BOWL with mottled blue, yellow and red inclusions, acid-etched mark, 23cm diameter; a BEAKER VASE with mottled blue, amethyst and aventurine inclusions, acid-etched mark, 19.5cm high; two VASART FRILLED BOWLS; a VASART POSY VASE; a STRATHEARN FRILLED BOWL in blue glass, 30cm diameter and a STRATHEARN VASE in blue glass with aventurine inclusions, 20cm high (8)

23 EAA282/9 MONART THREE GLASS VESSELS, 1930s comprising a VASE, RA SHAPE, the mottled blue body with amethyst and aventurine inclusions to the rim, 12cm high; a BOWL, UB SHAPE, in a similar colourway, 24.5cm diameter; and another BOWL, XA SHAPE, with folded rim, with mustard yellow swirling inclusions and a purple rim, 25cm diameter (3) £100-200

24 EAA282/2 MONART GLASS VASE, HF SHAPE, 1930s the green body with amethyst and aventurine inclusions to the rim, 17cm high; also a MONART GLASS VASE, N SHAPE, the green body with amethyst and aventurine inclusions to the rim, 16cm high; also a MONART GLASS POWDER JAR AND COVER, OB SHAPE, the green body with amethyst and aventurine inclusions to the rim, 11cm high (3) £200-300

£100-200

LY O N & T U R N B U L L Decorative Arts

25 EAA282/5 MONART GLASS TABLE LAMP, 1930s the mushroom shade with white, yellow and amethyst swirling inclusions raised above an ovoid corresponding base (fitted for electricity) 36cm high

£300-500

26 EAA282/4 MONART TAPERED GLASS VASE, 1930s the clear glass body with green and white, bubble and aventurine striped inclusions 23cm high

£150-250

27 EAA282/8A MONART GLASS VASE, 1930s the mottled blue body with swirling turquoise inclusions to the rim, 16cm high; also a MONART CIRCULAR BOWL the blue and turquoise body with mica inclusions, 19cm diameter; and a smaler MONART BOWL with paleblue and turquoise inclusions, 15cm diameter (3) £150-250

28 EAA282/8 MONART GLASS VASE, CC SHAPE, 1930s the green and turquoise body with swirling amethyst and aventurine inclusions 22cm high

£120-180

29 EAA282/7 VASART GLASS TABLE LAMP, 1950s the pink shade of tapered cylindrical form with multicoloured inclusions on a spreading base, 24cm high; also a VASART FRILLED VASE with pink body with amethyst and aventurine inclusions to the rim, etched mark 25cm high; and two VASART BOWLS each with pink swirling inclusions, etched mark 20cm diameter (4) £200-300

30 EAA282/6 VASART COLLECTION OF GLASS WARES, 1950s comprising a large circular bowl, a posy basket, a twinhandled dish, an ovoid posy bowl, a flared bowl, each with pink and jade-green mottled bodies (5) bowl, 27cm diameter

£80-120

LY O N & T U R N B U L L Decorative Arts

31 EAA282/1B MONART SHALLOW CIRCULAR GLASS BOWL, 1930s the red body with amethyst and aventurine inclusions to the rim 28cm diameter

£150-250

32 EAA282/1A MONART GLASS VASE, TB SHAPE, 1930s the red body with amethyst and aventurine inclusions to the rim

33 EAA282/1 MONART GLASS VASE, TB SHAPE, 1930s the red body with amethyst and aventurine inclusions to the rim

16.5cm high

16cm high

34 EAA540/5 PETER HOLMES PRESENTATION GLASS SWORD, 1970s the clear glass blade and hilt with cranberry and mauve striped handle, ‘PH’ cane mark

£150-250

84cm long

£200-300

LY O N & T U R N B U L L Decorative Arts

Art Glass 35 EAA509/2 MOSER GLASS BOWL, CIRCA 1900 decorated with applied cranberry pad with wheel carved petals and allover engraved and floral design, signed on underside ‘Moser Karlsbad’ 17cm across

£200-300

36 EY784/6 JOSEF HOFFMANN (ATTRIBUTED TO) ENAMELLED GLASS VASE, CIRCA 1910 the flared blue glass body painted in gilt and coloured enamels with a frieze of stylised flowers 19.5cm high

£400-600

37 EY784/8 JOSEF HOFFMANN (ATRIBUTED TO) PAIR OF GLASSES, CIRCA 1910 each clear glass body with flared rim, raised on a fluted base, 14.5cm high; and a JOSEF HOFFMANN (MANNER OF) SET OF FIVE LIQUEUR GLASSES, each with pale green glass bowls and slender clear glass stems with spreading foot (7) £150-250

38 EAA480/3 AUSTRIAN SCHOOL SECESSIONIST GLASS VASE, CIRCA 1910 of stepped cylindrical form, the ruby dipped body, acid etched with stylised foliage 16.5cm high

£300-500

39 EY784/3 MOSER, KARLSBAD PAIR OF ‘ALEXANDRIT’ GLASS CANDLESTICKS, CIRCA 1910 each of pale blue glass the circular flared nozzles above tapering column with ribbed band on broad spreading foot, etched mark ‘Moser/ Bohemia/ Alexandrit’ (2) 30.5cm high

£200-300

40 EAA537/1 PALME KONIG PAIR OF BRONZE MOUNTED IRIDESCENT GLASS VASES, CIRCA 1900 each green glass vase of shaped bottle form, with iridescent wash and latticed patterning, held in a bronze frame cast as stylised fruiting whiplash foliage, (one vase lacking one handle) (2) 42cm high

£350-450

LY O N & T U R N B U L L Decorative Arts

41 EAA585/2 LOETZ IRIDESCENT GLASS VASE, CIRCA 1900 the ruby glass body of bottle form applied with waved pattern in a peacock iridescence 20.5cm high

£2,000-3,000

42 EAB142/2 DAUM GLASS BOTTLE VASE, CIRCA 1910 with double gourd body and slender neck, overlaid with yellow, blue and brown enamels, etched mark ‘Daum Nancy’ 16cm high

43 EAB142/3 DAUM TWIN-HANDLED GLASS VASE, CIRCA 1910 the handles with etched silver floral and foliate overlay, the blue glass body with mottled inclusions, etched mark ‘Daum Nancy’ with Cross of Lorraine

£200-300

16cm high

£250-350

LY O N & T U R N B U L L Decorative Arts

44 LB386/1 DAUM ACID ETCHED AMBER GLASS VASE, CIRCA 1925 with geometric design, wheel etched mark ‘Daum Nancy France with Cross of Lorraine 51.5cm high

£1,000-1,500

45 LB386/2 DAUM WHEEL-CARVED CAMEO GLASS VASE, CIRCA 1910 with floral decoration, wheeletched mark ‘Daum Nancy’ and with Cross of Lorraine 60cm high

£2,000-3,000

LY O N & T U R N B U L L Decorative Arts

46 EAA509/5 TIFFANY & CO. ‘FAVRILE’ GLASS VASE, CIRCA 1910 of baluster form with applied pulled prunts, covered in a peacock iridescence, bears maker’s label, engraved mark ‘72173/ L.C.T.’

47 EAB142/4 TIFFANY STUDIOS ‘FAVRILE’ GLASS VASE, CIRCA 1900 the vase of ribbed trumpet form on a gilt-bronze base with blue enamelled festoons, stamped marks ‘Louis C. Tiffany Furnaces Inc./ 156’

8cm high

43cm high

£200-300

£600-900

48 EAA341/1 TIFFANY STUDIOS ‘FAVRILE’ GLASS FLOWER VASE, CIRCA 1900 the trumpet shaped vase with amber iridescence mounted on a green and gold-coloured enamelled base, stamped marks ‘Louis C. Tiffany Furnaces Inc/ 151’ 32.5cm high

£500-800

LY O N & T U R N B U L L Decorative Arts

49 EAA509/6 LALIQUE ‘PINSONS’ OPALESCENT GLASS VASE, INTRODUCED 1930 moulded with a frieze of perched birds amidst cherries with broad flaring rim, stencilled etched mark ‘R. Lalique France’ 19cm high

£800-1,200

50 EAA528/5 LALIQUE ‘RAMPILLON’, OPALESCENT GLASS VASE, INTRODUCED 1927 no. 991, decorated with lozenge shaped prunts on a floral and foliate ground, traces of original blue staining, stencil etched mark, ‘R. Lalique France’ 13cm high

£300-500

51 EAA976/21 LALIQUE ‘MILAN’ GREEN GLASS VASE, CREATED 1929 no. 1025, converted to a lamp, cracked and riveted, bears etched script mark ‘R. Lalique France No. 1025’ vase, 28cm high

52 EAA349A/15 LALIQUE ‘GUI’ OPALESCENT GLASS BOWL, INTRODUCED 1921 no. 3324, moulded with fruiting mistletoe, wheel etched mark ‘R. Lalique France’, script etched mark ‘No. 3324’

53 EAA297/2 LALIQUE ‘PRIMEVERES’, OPALESCENT GLASS BOWL of circular form moulded with flowers, traces of original blue staining, moulded mark ‘R. Lalique’, wheel etched mark ‘France’ (lacking cover)

£300-500

20cm diameter

16cm diameter

£200-300

£150-250

LY O N & T U R N B U L L Decorative Arts

54 EAA349A/16 LALIQUE ‘SOUCIS’ OPALESCENT GLASS VASE, INTRODUCED 1930 no. 1039, moulded with a band of flowers, original blue staining, script mark ‘R. Lalique, France’ 18cm high

£400-600

55 EAA349A/14 LALIQUE ‘RAMPILLON’, OPALESCENT GLASS VASE, INTRODUCED 1927 no. 991, decorated with lozenge shaped prunts on a floral and foliate ground, original sepia staining, wheel etched mark, ‘R. Lalique France’ 13cm high

£300-500

56 EAA241/1 LALIQUE ‘DANAIDES’ OPALESCENT GLASS VASE (NO. 972), INTRODUCED 1932 moulded with a frieze of naked maidens pouring water from urns, ground foot rim, wheel etched mark ‘R. Lalique, France’ and etched script mark ‘No. 972’, chipped to base rim 18cm high

£500-700

LY O N & T U R N B U L L Decorative Arts

57 EAA480/4 SABINO, PARIS ‘DOUBLE SUZANNE’ OPALESCENT GLASS LAMP, CIRCA 1930 moulded with opposed female figures, with attached light fitting 21.5cm high

£1,200-1,800

58 EAA282/22 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) THREE IKORA GLASS VESSELS, 1930s to include a bowl and cover with radiating ruby and yellow inclusions, 17cm high; a baluster glass vase with red and ruby trailed inclusions, 19cm high and a similar smaller vase, 9.5cm high; also a Czech glass vase of tapering cylindrical form with mica, blue and yellow spider web inclusions, 25cm high (4). £80-120

59 EZ582/24 JAMES POWELL & SONS, LONDON WHITEFRIARS OPALESCENT GLASS TAZZA, CIRCA 1890 the frilled bowl on scrolling wrought iron tripod base

60 EZ859/5 KEITH MURRAY FOR STEVENS AND WILLIAMS PAIR OF GREEN GLASS VASES, 1930s each of ribbed baluster form (2)

13cm diameter

30cm high

£100-200

£200-300

61 EY784/74B CLYNE FARQUHARSON FOR JOHN WALSH WALSH THREE CUT GLASS VASES, LATE 1930s one of shouldered form with cut bands of leafy tendrils and ribbed decoration to the rim, 25cm high; another similar vase of squat baluster form, 20cm high; and a flared vase with stylised foliate banding, 21cm high, each with etched signature mark (3) £100-200

LY O N & T U R N B U L L Decorative Arts

62 EAA537/3 SAM HERMAN FREEFORM GLASS VASE, DATED 1971 the green glass body with trailed lustre decoration, etched mark ‘Samuel J Herman/ 1971’

63 EAA480/11 SAM HERMAN FREEFORM GLASS VASE, DATED 1972 the clear and red glass body with trailing inclusions, etched mark ‘Samuel J Herman 1972’

21cm high

11cm high

£250-350

£150-250

64 EAA478/1 THOMAS WEBB & SONS CUT CRYSTAL BOWL, 1950s of circular lobed form, each lobe etched with an African or North American wild animal, etched mark ‘Webb/ Made in England’

65 EAA285/3 EDVIN ÖHRSTRÖM FOR ORREFORS ‘ARIEL’ GLASS BOWL, 1950s decorated with geometric inclusions, etched mark ‘Orrefors/ Ariel FU 1424/ Edvin Öhrström’

33cm diameter

13cm across

£200-300

66 EAA282/23 NAZING GLASS THREE VASES, LATE 20TH CENTURY Each of trumpet form, one with blue and white pulled decoration, 34cm high; amber and white pulled decoration, 15cm high; red and white mottled decoration, 16cm high (3) £80-120 67-69 No lots

LY O N & T U R N B U L L Decorative Arts

British Ceramics 70 EAC70/1 WEMYSS WARE RARE BUTTON, CIRCA 1900 painted with a ring of violets, impressed mark 3.2cm diameter

£800-1,200

71 EAA497/1 WEMYSS PAIR OF SMALL PIG FIGURES, CIRCA 1900 each with black sponged decoration on a white ground, impressed mark ‘Wemyss Ware/ R.H. & S.’, puce T. Goode & Co retailer’s marks (2) 16.5cm long

£1,200-1,800

72 EAB393/112 JESSIE MARION KING CERAMIC MUG, 1920s painted with a frieze depicting a girl at her sums with seven dancing figures and the inscription ‘Seven Times Seven are Seven’, painted initials, rabbit and green gate marks 6.5cm high Provenance: The Estate of the Late Jean Gordon Welsh

£300-500

LY O N & T U R N B U L L Decorative Arts

73 EAA989/5 WEDGWOOD AESTHETIC MOVEMENT PART TEA SERVICE, CIRCA 1870 comprising a teapot and cover, a teapot stand; a sugar bowl and cover and a milk jug, each moulded with bamboo on a pink ground, impressed marks (4) teapot 19cm high

£200-300

74 EAA556/1 ELIZABETH AMOUR FOR BOUGH SHOULDERED VASE, 1920s painted with irises, painted marks, ‘E.A/ Bough/ LX’ and ‘18/54’

75 EZ582/29 CHRISTOPHER DRESSER WATCOMBE TERRACOTTA HOT WATER JUG, CIRCA 1875 with plated mounts, printed marks

76 EZ582/33 CHRISTOPHER DRESSER ‘OLD HALL’ EWER, CIRCA 1880 printed marks

23.5cm high

£80-120

27cm high

£150-200

£200-300

34cm high

77 EAA386/1 FOLEY ‘INTARSIO’ POLITICIAN TEAPOT AND COVER, CIRCA 1900 printed with a caricature of William Gladstone, painted and printed marks no. 3358 12cm high

£200-300

LY O N & T U R N B U L L Decorative Arts

78 EAA409/4 AESTHETIC MOVEMENT FRAMED TILE, CIRCA 1880 painted as the head in profile of a girl in a red cap, blossom ground, within oak frame tile 15.5cm square

£300-500

79 EAA556/2 SCOTTISH POTTERY COLLECTION OF WARES, 1920s comprising a MAK’ MERRY MILK JUG, decorated with herbaceous flowers, painted mark, 12cm high; a MAK’ MERRY MUSTARD POT AND COVER, decorated with a band of blossom, painted mark, 6cm high; an ELIZABETH MARY WATT DISH, painted with flowers, painted initials, 14cm across; and an ELIZABETH MARY WATT COFFEE CAN AND SAUCER, decorated with abstract plant forms, painted initials (4) £100-200

80 EAA613/5 SCOTTISH POTTERY COLLECTION OF WARES Comprising a mixed tea service by Mary A Ramsay, Strathyre, including teapot (lid lacking), cup and saucer, plate, two milk jugs, and a self-coloured vase painter marks; a pair of pin dishes painted by Stump Longniddry, decorated with a floral design, painter marks, 10.5cm diameter; a coffee can and saucer decorated by Elizabeth Mary Watt in an abstract foliate design, painter marks; and a handpainted footed punch bowl (12) £150-250

81 EAA587/2 WEDGWOOD EARTHENWARE TAZZA, CIRCA 1880 transfer printed with a Christmas scene and inscribed ‘December’, indistinct impressed mark, painted mark ‘c/ 1725/ 6’

82 EZ582/31 C. H. BRANNAM LARGE TERRACOTTA SCRAFFITO JUG, DATED 1890 decorated in coloured enamels with a crouching rodent on a leafy branch, reserved on a pale cream ground, incised marks

23cm diameter

35cm high

£150-250

£200-300 83 EAA585/8 CARLO MANZONI LARGE TERRACOTTA PLATE, DATED 1898 decorated with an angel playing pipes, incised marks to reverse 34cm diameter

£400-600

LY O N & T U R N B U L L Decorative Arts

84 EAA585/3 JOHN MOYR SMITH FOR MINTON ‘OLD TESTAMENT’, SET OF SIX FRAMED TILES, CIRCA 1870 printed in blue on white, framed (6) 15cm square

£500-700

85 EAB47/15 MINTONS SECESSIONIST VASE, CIRCA 1900 of tapering form decorated with stylised foliage on a red ground, printed and impressed marks no. 1

86 EZ322/1 BRETBY ART POTTERY PAIR OF LARGE CAT FIGURES, CIRCA 1900 each in seated pose with inset glass eyes and black glaze, impressed marks ‘Bretby/ England’, no.2405 (2)

14cm high

33cm high

£100-200

£200-300

87 EAA531/1 NELSON DAWSON AT CHISWICK MALL EARTHENWARE VASE, DATED 1917 of baluster form with applied coat of arms in relief, covered in a buff glaze with green glaze to the interior, incised marks to base ‘Nelson Dawson/ Chiswick Mall/ W/ 1917’ 17cm high

88 EAC40/2 BERNARD MOORE CIRCULAR BOWL, CIRCA 1920 decorated in ruby red to the interior with a band of mistletoe and to the exterior with the inscription ‘Behold I bring you tidings of great joy’, painted marks to base ‘Bernard Moore’ 26cm diameter

£200-300

£100-200

LY O N & T U R N B U L L Decorative Arts

89 EAA349A/1 FRED PASSENGER FOR WILLIAM DE MORGAN MERTON ABBEY PERIOD TWINHANDLED FAIENCE VASE, 1880s of ovoid form, decorated in a ‘Persian’ style with peacocks on a floral and foliate ground, impressed Merton Abbey maker’s mark, bears painted initials ‘F.P’ 29.5cm high

£4,000-6,000

90 EAA349A/2 CHARLES PASSENGER FOR WILLIAM DE MORGAN LARGE MERTON ABBEY PERIOD FAIENCE CHARGER, 1880s of circular moulded form with central domed boss decorated in a ‘Persian’ style with a griffin, enclosed by bands of entwined flowers, griffins and serpents, the reverse with concentric and leafy bands, bears painted initials ‘C.P.’, small rim chip 45.8cm diameter

£3,000-5,000

LY O N & T U R N B U L L Decorative Arts

91 EAA480/7 WILLIAM DE MORGAN CIRCULAR CHARGER, CIRCA 1900 painted with a landscape to the bowl, enclosed by a frieze of deer amongst foliage and decorated to the reverse with concentric bands and snakes 30.5cm diameter

£400-600

92 EAA480/8 WILLIAM DE MORGAN LUSTRE VASE, CIRCA 1900 of swollen cylindrical form, painted with panels of stylised snakes and foliage 17.5cm high

£500-700

93 EZ869/5 WILLIAM DE MORGAN SANDS END PERIOD IZNIK TILE, CIRCA 1890 with allover foliate design, impressed mark, 15.5cm square; and an Iznik style tile, with similar foliate decoration, impressed ‘Devon Fires’ mark, 15.5cm square (2) £200-300

94 EAA480/12 WILLIAM DE MORGAN CERAMIC TILE, CIRCA 1900 decorated with Iznik flowerhead, impressed Sands End mark, 15.5cm square; also an ART NOUVEAU TILE, decorated in tube line with a stylised floral motif, 15cm square (2) £200-300

LY O N & T U R N B U L L Decorative Arts

95 EAA509/9 LESLIE HARRADINE FOR ROYAL DOULTON ‘LIDO LADY’ FIGURE, CIRCA 1930 painted and printed factory marks, HN1220

98 EAA582/7 ROYAL DOULTON STONEWARE JARDINIERE, CIRCA 1910 decorated with a frieze of stylised plant forms, impressed factory marks

18cm high

20.5cm high

£300-500

£100-200

96 EAC62/1 DOULTON, LAMBETH LARGE STONEWARE VASE CIRCA 1890 of shouldered tapering form with everted rim, incised with a central band of leaves and trellis and enclosed by trailing foliate bands impressed and incised marks

99 EAC97/3 GILBERT BAYES FOR DOULTON LAMBETH ‘THE BIRTH OF PRINTING 1476’, A TWIN BRANCH CANDELABRA, PRODUCED 1935 glazed in green, printed mark 19cm high

£150-250

33cm high

£300-500 97 EAB47/14 FLORRIE JONES FOR ROYAL DOULTON STONEWARE VASE, CIRCA 1910 of shouldered form decorated with a frieze of fruiting vines, printed and impressed marks, incised monogram ‘F.J.’ 33.5cm high

£150-250

100 EAA582/9 ROYAL DOULTON PAIR OF WALL PLAQUES, CIRCA 1920 each painted in blue on white, one depicting two children by a tree, the other of two little girls in frilled bonnets, printed factory marks, 24cm tall; A ROYAL DOULTON LOBED VASE, painted blue on white with a girl picking flowers, printed marks, 11cm high; and A PAIR OF CROWN DEVON LUSTRINE FIELDINGS VASES AND ASSOCIATED BOWL (5) £200-300

101 EZ526/2 CHARLES NOKE AND HARRY FENTON FOR ROYAL DOULTON ‘THE PIED PIPER’, LARGE SERIESWARE JUG, CIRCA 1934 limited edition 536/600, moulded in relief, moulded signatures to body, printed mark and inscriptions to base, comes with original certificate signed by Charles Noke 26cm high

£300-500

104 EZ488/19 WILLIAM MOORCROFT FOR JAMES MACINTYRE & CO ‘POPPIES’ GESSO FAIENCE HOT WATER JUG, CIRCA 1900 printed mark 14.5cm high

£100-200 105 EAA509/7 MOORCROFT ‘PANSIES’ CIRCULAR BOWL, CIRCA 1915 decorated with a pansy on a deep blue ground, impressed factory marks, signed in blue 31cm diameter

102 EZ526/1 ROYAL DOULTON “THE M.F.H. PRESENTATION JUG”, CIRCA 1930 limited edition 230/500, moulded in relief, printed marks 32.5cm high

£200-300

£200-300 106 EAA509/4 MOORCROFT ‘SPRING FLOWERS’ LAMP BASE, MID 20TH CENTURY of bottle form, impressed factory marks, bears paper label 34cm high

103 EAA329/5 WILLIAM MOORCROFT FOR JAMES MACINTYRE & CO LTD ‘GESSO FAIENCE’ BOWL, CIRCA 1890 decorated with panels of flowers, silver plated band to the rim, printed marks, initialled in blue ‘W.M. des.’

£300-500

25cm diameter

£150-250

LY O N & T U R N B U L L Decorative Arts

107 EAC16/1 WILLIAM MOORCROFT FOR J. MACINTYRE & CO PAIR OF ‘FLORIANWARE’ VASES, CIRCA 1900 each of bottle form, decorated in blue and white with cornflowers, incised signature, printed factory marks, painted mark M743 (2) 28cm high

£1,000-1,500

108 EZ845/5 WILLIAM MOORCROFT FOR J. MACINTYRE & CO ‘PANSIES’ FRILLED BOWL, CIRCA 1910 printed factory and retailer’s marks, signed in green 20.5cm diameter

£300-500

109 EAA584/1 MOORCROFT ‘MOONLIT BLUE’ BOTTLE VASE, CIRCA 1925 impressed marks, signed in blue 20cm high

£600-800

LY O N & T U R N B U L L Decorative Arts

110 EY969/6 MOORCROFT ‘POMEGRANATE’ SHOULDERED VASE, CIRCA 1930 of tapering form, impressed factory marks, signed in green 33cm high

£500-700

111 EAA509/3 MOORCROFT FLAMBE VASE, CIRCA 1920 of squat baluster form, decorated with cornflowers, impressed marks, signed in blue 10.5cm high

£300-500

112 EZ711/2 MOORCROFT ‘LEAF AND BERRY’ PATTERN FLAMBE BOWL, 1930s of circular form, impressed marks, initialled in blue 21.5cm diameter

£300-500

LY O N & T U R N B U L L Decorative Arts

113 EAC15/1 MOORCROFT FOR LIBERTY & CO ‘FLAMMINIAN’ MINIATURE BOTTLE VASE, CIRCA 1915 glazed in green, bears incised signature and printed mark 11cm high

£100-200 114 EAC15/1A MOORCROFT ‘ORCHIDS’ BOTTLE VASE, CIRCA 1930 impressed marks, bears paper label, 15.5cm high; also a PAIR OF MOORCROFT POSY VASES, Clematis pattern, each with impressed marks, one bearing paper label, 7cm high (3) £200-300

116 EZ397/1 MOORCROFT ‘POMEGRANATE’ BOTTLE VASE, CIRCA 1930 impressed factory marks, signed in green (chip to rim), 27cm high; and a MOORCROFT VASE, of shouldered ovoid form with cylindrical neck, decorated in the Pomegranate pattern, impressed mark, signed in green (minor hairline to rim), 14cm high (2) £300-400 117 EZ711/1 MOORCROFT ‘POMEGRANATE’ PATTERN BOWL, 1930s of circular footed form, impressed marks, signed in blue

120 EAB393/110 MOORCROFT ‘SUNFLOWERS’ SQUAT BALUSTER TABLE LAMP, 1990s impressed factory marks 21cm high Provenance: The Estate of the Late Jean Gordon Welsh

£100-200 121 EAB393/100 MOORCROFT ‘MAGNOLIA’ BALUSTER TABLE LAMP, 1990s impressed factory marks, 33cm high; and a MOORCROFT TABLE LAMP, decorated with lemons and perched birds, impressed marks, 20cm high (2)

18.5cm diameter

Provenance: The Estate of the Late Jean Gordon Welsh

£200-300

13cm and 9cm high

118 EAC5/1 MOORCROFT ‘HIBISCUS’ CIRCULAR BOWL, 1940s impressed factory marks, initialled in green, bears paper label

£100-150

23.5cm diameter

122 EAB393/99 MOORCROFT ‘BUTTERCUP’ COLUMN TABLE LAMP, 1990s impressed marks, 21cm high; a MOORCROFT PIN DISH, also in Buttercup pattern, impressed marks, 12cm diameter; and a ‘FINCHES’ MOORCROFT COLUMN TABLE LAMP, impressed marks, 21cm high (3)

115 EZ488/50 MOORCROFT ‘POMEGRANATE’ VASE AND PRESERVE JAR AND COVER , CIRCA 1930 the baluster vase with impressed marks, the jar with plated mounts, impressed marks, initialled in green (2)

£100-200 119 EAB393/174 MOORCROFT ‘FRESIAS’ BALUSTER TABLE LAMP, 1970s with stained wood base 33cm high Provenance: The Estate of the Late Jean Gordon Welsh

£150-250

Provenance: The Estate of the Late Jean Gordon Welsh

£200-300 123-125 Spare lots

LY O N & T U R N B U L L Decorative Arts

126 EAA409/1 C.E. CUNDALL FOR PILKINGTONS LUSTRE JAR AND COVER, DATED 1911 decorated with a frieze of running beasts on a floral and foliate ground, bears inscription to the rim, ‘Omnia Bonos Viros Decent’, impressed and painted marks to base (2) 30.5cm high Note: ‘Omnia Bonos Viros Decent’ translates as ‘All things are becoming in good men’

£1,000-1,500

127 EAC40/1 RICHARD JOYCE FOR PILKINGTONS ROYAL LANCASTRIAN CIRCULAR LUSTRE BOWL, CIRCA 1920 moulded in relief and painted with a longboat in full sail, impressed factory marks, painted monogram, incised mark ‘Joyce’

128 EAA957/9 RICHARD JOYCE FOR PILKINGTONS TWIN HANDLED LUSTRE BOWL ON STAND, DATED 1911 the circular bowl decorated with a foliate band on a ruby red ground with feathered lustre wash, impressed marks no. 2219, painted monogram

26.5cm diameter

31cm across

£200-300

LY O N & T U R N B U L L Decorative Arts

129 EAA409/6 RICHARD JOYCE FOR PILKINGTONS LUSTRE JAR, DATED 1910 decorated with a frieze of swimming fish, impressed factory marks, 2791, painted monogram and date marks 8cm high

£250-350

130 EAA409/5 C.E. CUNDALL FOR PILKINGTONS LUSTRE BOTTLE VASE, DATED 1908 decorated with spiral foliate bands, impressed factory marks, no 2364, painted monogram and date marks 18cm high

£200-300

131 EAA409/7 GORDON FORSYTH FOR PILKINGTONS SHOULDRED LUSTRE VASE, DATED 1907 decorated with a frieze of carnations, impressed factory marks, painted monogram and date marks 12.5cm high

£200-300

132 EAA586/1 WILLIAM S. MYCOCK FOR PILKINGTONS BALUSTER LUSTRE VASE, DATED 1911 decorated with a latticed design of flowering foliage within entwined entrelac borders, impressed factory marks with painted artist’s monogram 21.5cm high

£700-900 133 EAA586/2 WILLIAM S. MYCOCK FOR PILKINGTONS LUSTRE BOTTLE VASE, DATED 1913 decorated with a design of trailing and flowering foliage with entwined entrelac border, impressed factory marks with painted artist’s monogram 20cm high

£700-900 134 EAA409/3 WILLIAM S. MYCOCK FOR PILKINGTONS SHOULDERED LUSTRE VASE, DATED 1913 decorated with fruiting vines, impressed and painted marks, bears monogram and date mark, re-glued chip to foot rim 21cm high

£300-500

135 EAA586/3 WILLIAM S. MYCOCK FOR PILKINGTONS ROYAL LANCASTRIAN OVOID VASE, DATED 1936 decorated with an incised design of geese flying through reeds in blue and green on a buff ground, impressed factory mark, incised artist’s monogram and date mark 17cm high

137 EAA409/11 PILKINGTONS SHOULDERED VASE, CIRCA 1910 moulded with a frieze of flowering nasturtiums, impressed factory marks, indistinctly dated 21m high

£250-400

22cm high

138 EAA409/12 PILKINGTONS COLLECTION OF WARES, EARLY 20TH CENTURY to include a twin handled tazza (chip), three small bottle vases in blue and red glazes; a circular serving bowl, orange glaze; a lobed vase, orange glaze; a small lustre dish by Dorothy Dacre (chip); and three other Pilkingtons wares (10)

£300-500

£300-500 136 EAA586/4 WILLIAM S. MYCOCK FOR PILKINGTONS BOTTLE VASE, DATED 1913 decorated with a frieze of lions rampant with entwined entrelac border, impressed factory marks with painted artist’s monogram

139 EAA409/2 PILKINGTONS LARGE JAR AND COVER, CIRCA 1910 covered in a jade green glaze, impressed marks, no. 2229 44cm high

£250-350 140 EAA409/8 PILKINGTONS ROYAL LANCASTRIAN SHOULDERED VASE, CIRCA 1920 with lobed moulding, covered in a mottled indigo glaze, impressed factory marks, 21.5cm high; a PILKINGTONS ROYAL LANCASTRIAN OVOID VASE, covered in an indigo blue glaze, impressed marks, 15cm high; and a small PILKINGTONS ROYAL LANCASTRIAN BOWL, decorated in an indigo glaze, impressed marks, 11cm diameter (3) £150-200

LY O N & T U R N B U L L Decorative Arts

141 EAA349/2 CARLTON WARE ‘CHINALAND’ PATTERN BALUSTER VASE, 1920s printed and painted in gilt and coloured enamels with a Chinoiserie scene, painted and printed marks, no. 3623 26cm high

£300-500

142 EAA989/3 CARLTON WARE ‘PARADISE BIRD & TREE WITH CLOUD’ PATTERN PAIR OF VASES, 1920s each of cylindrical form, printed and painted in gilt and coloured enamels, painted and printed marks, 3143 (2) 20.5cm high

£250-350

143 EAC56/4 CARLTON WARE ‘VERT ROYALE’ CHARGER, 1930s printed and painted in gilt and coloured enamels with heron by a tree on a green ground, printed marks, 36.5cm diameter; also a CARLTON WARE DRESSING TABLE SET, comprising a canted rectangular TRAY, 36cm across; a PAIR OF CHAMBERSTICKS, 10.5cm across; and a PIN DISH AND COVER, 8cm across, each with printed marks (5) £300-500

144 EZ518/3 CARLTON WARE ‘SPANGLE TREE’ SANDWICH PLATE, 1930s printed and painted in gilt and coloured enamels, printed and painted marks no. 4163 32.5cm across

£100-200 145 EAA322/1 CLARICE CLIFF ‘BOBBINS’ PATTERN PLATE, 1930s Bizarre range, decorated on a Cafe-au-Lait ground, printed marks 25.5cm diameter

£200-300

146 EAA582/16 CLARICE CLIFF COLLECTION OF WARES, 1930s comprising a CIRCULAR PLATE, decorated in the Rodanthe pattern, 23cm diameter; a MILK JUG, decorated in the Nasturtium pattern, 8cm high; a PRESERVE JAR AND MATCHED COVER, decorated in the Coral Firs pattern, 7.5m high; a PRESERVE JAR AND COVER, moulded as an orange, with floral-moulded handle, 8cm high; and a PRESERVE JAR AND COVER, painted with flowers, 8cm high, each with printed factory marks (5) £200-300

LY O N & T U R N B U L L Decorative Arts

147 EY784/65 CLARICE CLIFF EXTENSIVE ‘SECRETS’ DINNER SERVICE comprising 8 dinner plates; 8 fish plates; 8 side plates; a gravy boat; a large oval serving dish, 43cm across; two smaller oval serving dishes; a ‘Biarritz’ vegetable dish and cover, 19cm across; and a pair of ‘Biarritz’ sauce dishes and covers, each with original ladle, 15.5cm across, painted in coloured enamels, printed factory marks (31 pieces) £800-1,200

148 EY784/63 CLARICE CLIFF ‘POPLAR’ JARDINIERE painted in coloured enamels, printed factory marks

149 EY784/55 CLARICE CLIFF ‘RED GARDENIA’ GEOMETRIC JUG painted in coloured enamels, printed factory marks

20cm high

17.5cm high

£300-400

£200-300

LY O N & T U R N B U L L Decorative Arts

150 EY784/15 CLARICE CLIFF ‘NEWLYN’, LYNTON SUGAR SIFTER painted in coloured enamels, printed factory marks (minor restoration) 12.5cm high

£100-200

151 EY812/1 CLARICE CLIFF ‘FARMHOUSE’ SANDWICH PLATE, 1930s decorated in coloured enamels, printed factory marks 25cm diameter

£200-300

152 EY784/51 CLARICE CLIFF ‘DELICIA’ MOULDED AND STREAKED BALUSTER VASE covered in streaked coloured enamels, printed factory marks, 24cm high; and a CLARICE CLIFF ‘DELICIA’ THREE TREE SPILL VASE GROUP, printed marks, 11cm high (2) £200-300

153 EY784/39 CLARICE CLIFF ‘LILY’ FOOTED BOWL of circular form with paw feet, painted in coloured enamels, printed factory marks

154 EY784/136 CLARICE CLIFF ‘MY GARDEN’ PAIR OF JUGS each with moulded floral handles, printed, impressed and painted marks (2)

31.5cm diameter

23cm high

£300-400

£100-200

155 EY784/137 DOLLY CLIFF FOR WILKINSONS ‘DAHLIA’ WASHSET, CIRCA 1928 decorated with flowers and a lattice design and comprising a ewer, basin, toothbrush beaker and soap dish, printed marks 940, ewer, 25cm high; and a SHORTER & SONS ‘AZTEC’ PATTERN JUG, designed by Mabel Leigh, 18.5cm high (2) £200-300 156-159 No lots

LY O N & T U R N B U L L Decorative Arts

160 LB350/21 FURNIVALS LTD TRENTHAMS PATTERN WASHSET, CIRCA 1920 comprising a ewer and basin; a chamber pot; a sponge dish and drainer; a slop pail cover and a soap dish, each printed and painted with stylised flowering foliate frieze, printed marks (8) ewer, 28cm high basin, 37cm diameter

£150-250 161 EY784/100B POOLE POTTERY LARGE VASE, 1930s painted with banded decoration in shades of brown and umber, unglazed, impressed Carter, Stabler, Adams mark 34cm high

£200-300 162 EAA582/15 SUSIE COOPER FOR GRAYS POTTERY ‘CUBIST’ PRESERVE JAR AND COVER, 1930s printed mark, 10 high; a CROWN DEVON PRESERVE JAR AND COVER, printed and painted in gilt and coloured enamels with stylised flowers, printed marks, 8m high; and a SHELLEY PRESERVE JAR AND COVER, with concentric banded decoration, printed mark, 10 high (3)

163 EAA316/1 CHARLOTTE RHEAD FOR CROWN DUCAL LARGE CIRCULAR CHARGER, 1930s decorated with a band of colourful flowers, painted and printed marks, no 4040 44.5cm diameter

£200-300 164 EY784/75 KEITH MURRAY FOR WEDGWOOD PAIR OF BLACK BASALT BOWLS, 1930s of circular form with facetted rims, printed and impressed marks (2) 23.5cm diameter

£200-300 165 EY784/140 KEITH MURRAY FOR WEDGWOOD NEAR PAIR OF CIRCULAR BOWLS, 1940s each with cylindrical foot and banded decoration, celadon glaze, 27.5cm diameter; and a KEITH MURRAY VASE, also Wedgwood, with banded decoration and celadon glaze, 20.5cm high, all with printed and impressed marks (3)

166 EY784/71 KEITH MURRAY FOR WEDGWOOD ‘MOONSTONE’ DINNER SERVICE comprising 5 dinner plates; 6 side plates; a fish plate and a soup plate; three graduated oval serving dishes, largest 42cm across; 4 twin-handled soup bowls and stands, a vegetable dish and cover, 29cm across; 2 sauce boats, covers and stands, 190cm across, each with fluted decoration, glazed in white with applied silver banding, printed marks; together with KEITH MURRAY FOR WEDGWOOD ‘MOONSTONE’ DINNER SERVICE, comprising 6 dinner plates; 6 fish plates; 6 side plates; three graduated oval serving dishes, largest 37cm across; 6 twin-handled soup bowls and stands, a vegetable dish and cover, 29cm across; a sauce boat, cover and stand, 190cm across, each with fluted decoration, glazed in celadon green, printed marks (qty) £100-200

£100-200

£150-200

LY O N & T U R N B U L L Decorative Arts

167 EAA509/8 ERIC RAVILIOUS FOR WEDGWOOD CORONATION MUG, DATED 1953 to commemorate the Coronation of Queen Elizabeth II, printed factory marks 10cm high

£200-300

168 EZ859/6 ERIC RAVILIOUS FOR WEDGWOOD LIMITED EDITION ‘BOAT RACE DAY’ BOWL, DATED 1975 93/200, printed marks 31cm diameter Note: This bowl is one of a limited edition of 200 produced by Wedgwood in 1975 to from the original design commissioned in 1938.

£800-1,200

169 EAA492/1 SCOTTIE WILSON OVAL SERVING DISH, 1960s painted in yellow and black with stylised tree and foliage with perching birds and swimming fish, signed ‘Scottie’ 35.5cm across

£300-400

LY O N & T U R N B U L L Decorative Arts

170 EAC72/2 SHOJI HAMADA FOR LEACH POTTERY OVOID VASE, 1920s covered in a bronzed glaze, impressed potter’s and Leach Pottery seals, chips 17.5cm high

£300-500 171 EAA574/1 GLYN COLLEDGE FOR DENBY COLLECTION OF WARES, CIRCA 1960s ten jugs of baluster form with foliate and floral decoration in assorted sizes, each bears printed factory mark and painted artist’s signature, and two lamp bases with foliate and floral decoration (12) Note: Glyn Colledge (1922 - 2000) took over the running of the handdecorated stonewares department at Denby from his father, Albert, in 1950. The established Danesby Ware range was renamed Glyn Ware to mark the occasion. A new range, Glyndebourne, was introduced in the 1960s. Very early pieces had the Colledge signature incised, but this was replaced by an applied signature due to firing difficulties. Glyn would hold the piece above his head in his right hand and sign it by brush with his left. By the 1970s the signature disappeared altogether. Colledge was influenced by Donald Gilbert, but his own influence in the post-war years was considerable and he is probably Denby’s best known designer.

£200-300

172 EAA574/3 GLYN COLLEDGE FOR DENBY COLLECTION OF WARES, CIRCA 1960s collection of ten dishes with foliate and floral decoration, in assorted sizes, each bears the printed factory mark and the painted artist’s signature, and one bowl with foliate and floral decoration, bearing the painted artist’s signature, and two small dishes with foliate and floral decoration, one bearing the printed factory mark and painted artist’s signature and one bearing the printed factory mark (13) £200-300 173 EAA574/2 GLYN COLLEDGE FOR DENBY COLLECTION OF WARES, CIRCA 1960s a collection of thirteen mugs with foliate and floral decoration in assorted sizes and shapes, each bears printed factory mark and painted artist’s signature, and a vase in baluster form, complete with two handles, bearing the printed factory mark and embossed with the letter ‘H’ (14) £200-300

174 EAA870/18 PAUL ZUNTERSTEIN (ATTRIBUTED TO) STONEWARE VESSEL, 1960s blue glazed bottle form modelled with a female form, 44cm high; also a STONEWARE SQUAT BALUSTER VASE, 25cm high; and a FREEFORM VASE with glazed panels, 37cm high (3) Note: Paul Zunterstein (1921-1968) arrived in Scotland from Austria in 1938 to study sculpture at the Glasgow School of Art (1946-1950). Later he taught there, and exhibited at the RSA and the RGIFA from 1950 to 1968.

£100-200 175 EAA537/2 ROBERT FOURNIER LARGE STONEWARE MOONFLASK, 1970s of flattened ovoid form, with white splash decoration, impressed seal mark

177 EZ237/58 STUDIO POTTERY THREE LARGE STONEWARE JUGS, CONTEMPORARY covered in cream, treacle and buff glazes, impressed seal marks, 37cm high; together with a TEAPOT AND SUGAR BOWL, 21cm and 26.5cm high; a FLAGON AND STOPPER, the stopper attached to the body with a chain, the body covered in a crackle glaze, impressed seal marks ‘RK’ and ‘90’, 18cm high; and a STONEWARE JUG, covered in a mottled green and blue glazes, impressed seal mark, 23cm high (7) 37cm high

£150-250 178-179 No lots

36cm high

£150-250 176 EAA499/9 RICHARD BATTERHAM LARGE STONEWARE VASE, LATE 20TH CENTURY of shouldered tapering form, covered with green and treacle glazes 64cm high

£150-250

LY O N & T U R N B U L L Decorative Arts

Continental Ceramics 180 EZ569/2 LAJOS MACK (ATTRIBUTED) FOR ZSOLNAY LARGE SCULPTURAL VASE, CIRCA 1900 eosin glazed earthenware, moulded with the figure of a maiden, moulded factory seal and impressed number 3945 43.5cm high

£1,000-1,500

181 EAA585/5 CLEMENT MASSIER TWIN HANDLED LUSTRE VASE, CIRCA 1890 painted with an allover floral and foliate design, painted mark ‘C.M’ 29cm high

£600-800

LY O N & T U R N B U L L Decorative Arts

182 EAA489/1 ROZENBERG JAR AND COVER, CIRCA 1900 painted with stylised Art Nouveau flowers on a blue and brown ground, painted factory marks and monogram to base, ‘Rozenberg/ DenHaag/ 994’

183 EAA489/1A ROZENBERG JAR AND COVER, CIRCA 1900 painted with stylised Art Nouveau flowers on a blue ground, painted factory marks and monogram to base ‘Rozenberg/ DenHaag/ 094’

23cm high

£250-400

23cm high

£250-400

184 EAC72/1 CLEMENT MASSIER LARGE JARDINIERE, CIRCA 1900 of cylindrical form with tapered base, the sides decorated with lugs, the whole covered in a sang de boeuf glaze, impressed factory marks 42cm diameter

£400-600

LY O N & T U R N B U L L Decorative Arts

185 EAA480/10 OTTO ECKMANN FOR VILLEROY & BOCH CERAMIC TILE, CIRCA 1900 decorated with stylised foxes heads, moulded factory marks 14.5cm square

£300-400

186 EAA582/4 MAX EMANUEL & CO. MOSANIC POTTERY EWER, CIRCA 1910 of squat bottle form, decorated in relief and painted in gilt and lustres with leafy tendrils, the neck forming an everted leafy rim, printed and impressed factory marks 24.5cm high

£100-200

187 EAA480/9 MAX ESSER FOR MEISSEN BLANC DE CHINE PORCELAIN OWL FIGURE, 1920s marked with crossed swords in underglaze blue, incised mark A1252 9cm high

£300-400 188 EAA578/1 ROOKWOOD POTTERY (STYLE OF) EARTHENWARE VASE, CIRCA 1910 of swollen cylindrical form, painted with a river scene, unmarked 32cm high

£200-300

189 EAA585/12 AUSTRIAN SCHOOL THREE PIECE COFFEE SERVICE, CIRCA 1920 comprising a teapot and cover, a teacup and saucer and a sugar bowl and cover, each painted with green. orange and black striped decoration on a white ground, impressed factory mark (3) teapot, 20cm high

£200-300 190 EAA585/10 MAX FRITZ FOR ROSENTHAL PORCELAIN FIGURE OF A LEOPARD, 1940s impressed marks ‘M.H. Fritz/ 965’ and printed factory marks 43cm long

£400-600

191 EAA599/3 GUNNAR NYLAND FOR NYLAND & KREBS STONEWARE ASHTRAY, CIRCA 1929/30 The well moulded with an otter in relief, with a cherrycoloured glaze dappled with dark blue, marked with smoking kiln and ‘NYLAND & KREBS’ impressed, 5cm high, 13cm long; EVA STAEHRNIELSON FOR SAXBO, STONEWARE VASE, circa 1932/37, brown hare’s fur glaze by Natalie Krebs, marked with smoking kiln and ‘SAXBO’ impressed, 12cm high, 11cm deep; SAXBO, STONEWARE BOWL, circa 1937/45, rim inverted towards the well with a yellow glaze by Natalie Krebs, marked with the zodiacal symbol for

Cancer and ‘DANMARK’, 6cm high, 6cm deep; and SAXBO, STONEWARE VASE, circa 1937/45, in the form of a cylinder gently tapering towards the top, the sides incised with vertical lines, covered with a blue glaze by Natalie Krebs, marked with the zodiacal symbol for Cancer, ‘SAXBO’ and ‘DENMARK’ impressed, 8cm high, 6cm deep £200-300

LY O N & T U R N B U L L Decorative Arts

192 EAA534/3 CARL SCHMIDT FOR ROOKWOOD SOFT PORCELAIN BALUSTER VASE, DATED 1923 decorated with irises, iris glaze, impressed factory mark and artist’s monogram, also marked ‘XX111/ 2545C/ P’, minor glaze chip to rim 26cm high

£200-300

193 EZ869/4 CANTAGALLI FAIENCE TEAPOT AND COVER, CIRCA 1900 painted blue on white with bands of foliage, the spout modelled as the head of a sea beast, painted cockrel mark 18cm high

£200-300

194 EAA585/9 ART DECO PORCELAIN FIGURE GROUP, CIRCA 1930 modelled as a lady with her dog, blanc de chine, minor restorations 26cm high

£200-300

195 EAC62/2 GOEBEL PAIR OF BOOKENDS, 1930s modelled as a male and female bather, impressed marks, 15cm high; an ITALIAN 1950s JUG, enamelled with street scene, 22.5cm high (2) £150-250

196 EAB193/7 GOEBEL CERAMIC FIGURE OF A GIRL, CIRCA 1920 with arms outstretched, impressed factory marks, 34cm high; and a ROYAL DUX FIGURE, of a girl in a frilled dress, printed and impressed marks, 126/24, 20.5cm high (2)

197 EAB47/16 FRENCH ART DECO CUBIST ELEPHANT FIGURE, 1930s covered in a dark green lustre glaze, 21cm high; and another, smaller, 15.5cm high (2) £100-200

£150-250

LY O N & T U R N B U L L Decorative Arts

199 198

198 EAA599/7 SAXBO STONEWARE VASE, CIRCA 1951/61 thrown by Edith Sonne-Bruun and covered with ‘Jungle’ glaze, marked with the zodiacal symbol for Cancer within a circle, ‘SAXBO’ and ‘DENMARK’ impressed, and signed ‘Sonne’ 27cm high, 18.5cm deep

£80-120

201 200

203 202

199 EAA599/4 EVA STAEHR-NIELSEN FOR SAXBO STONEWARE VASE, CIRCA 1951/68 covered with a dark brown hare’s fur glaze by Natalie Krebs, and modelled with three enfolding leaf forms, marked with zodiacal symbol for Cancer within a circle, ‘SAXBO’ and ‘DENMARK’ impressed, and incised with artist’s signature ‘E.St.N.’

200 EAA599/14 GUNNAR NYLUND FOR RÖRSTRAND STONEWARE VASE, CIRCA 1950 ovoid body with a short neck and flared mouth, covered with ‘Marino’, a matt crystalline glaze of white/yellow crystals on a greyish blue ground, marked ‘R’ between three crowns, ‘SWEDEN’, and ‘G.N.’, all incised

201 EAA599/12 GUNNAR NYLUND FOR RÖRSTRAND STONEWARE VASE, CIRCA 1942 arrowhead form on a raised foot, covered with ‘Pergamenta’, a matt crystalline glaze of white crystals on a cream ground; incised decoration on foot, marked with ‘RÖRSTRAND’, ‘R’ between three crowns, and ‘NYLUND’, all incised

29cm high, 13.5cm deep

23cm high, 19cm deep

23cm high, 21cm deep

£200-300

£80-120

£100-200

LY O N & T U R N B U L L Decorative Arts

202 EAA599/10 EVA STAEHR-NIELSEN FOR ROYAL COPENHAGEN STONEWARE VASE, CIRCA 1968/72 mallet shaped with round body, the neck paddled square in section, glazed matt black and decorated with rectangular areas of sgraffito hatchings arranged in bands round body and neck, printed with factory mark and painted with three wavy lines and artist’s signature, ‘E.St.N.’ 19cm high, 13.5cm deep

£80-120 203 EAA599/11 TOBO STONEWARE VASE, CIRCA 1950 made by Ingrid and Erich Triller, globular form with high shoulder and short neck, glazed matt blue, marked with Triller rebus and ‘Tobo’, painted 16.5cm high, 15cm deep

£150-250 204 EAA599/13 GUNNAR NYLUND FOR RÖRSTRAND STONEWARE VASE, CIRCA 1942 arrowhead form on a raised foot, covered with ‘Mimosa’, a matt crystalline glaze of yellow crystals on a russet ground, incised decoration on foot, marked ‘RÖRSTRAND’, ‘R’ between three crowns and ‘NYLUND’, all incised

205 EAA599/5 EVA STAEHR-NIELSEN FOR SAXBO STONEWARE BOTTLE, CIRCA 1951/68 bulbous form, lightly paddled on two opposite sides, with a short neck and a collar at the mouth, covered with a brown glaze streaked with black, called ‘Markmus’ (‘Fieldmouse’), by Natalie Krebs, marked with zodiacal symbol for Cancer within a circle, ‘SAXBO’ and ‘DENMARK’ impressed and incised with artist’s signature ‘E.St.N.’ 11cm high, 11cm long

£200-300 206 EAA599/6 EVA STAEHR-NIELSEN FOR SAXBO STONEWARE VASE, CIRCA 1951/68 the body paddled into a cube, with a short neck and a slightly flared mouth, covered with a russet, black and yellow glaze called ‘Jungle’ by Natalie Krebs, marked with a zodiacal symbol for Cancer within a circle, ‘SAXBO’ and ‘DENMARK’ impressed and incised with artist’s signature ‘E.St.N.’

207 EAA599/8 GERD BOGELUND FOR ROYAL COPENHAGEN STONEWARE BOWL, CIRCA 1955 the outside incised with a ‘wheat ear’ pattern and covered with an olive-green glaze breaking to black, the inside with a temmoku glaze, marked ‘DENMARK’ and date code for 1955, printed, and three wavy lines and artist’s signature ‘gb’, painted 16cm high, 27cm deep

£80-120 208 EAA599/9 ROYAL COPENHAGEN STONEWARE BOWL, CIRCA 1960 made by Nils Thorsson, modelled with a ring of raised swellings and ribs over which the temmoku glaze gives the appearance of tulips, marked with three wavy lines and signed with the artist’s monogram, painted 6cm high, 22cm deep

£80-120

209 EAA599/15 GUSTAVSBERG STONEWARE JAR, CIRCA 1962 made by Berndt Friberg, the straight-sided body on a stepped foot with the shoulder curving upwards to a short neck and flared mouth, the body incised with a basket-weave pattern, covered with a dark olivegreen glaze, the foot glazed brown, marked ‘Friberg’, ‘G’ with a hand, and ‘d’ (date code for 1962), all incised with marker’s paper label attached 28cm high, 20cm deep

£150-250 210 EAA599/16 SVEND LINDHART CERAMIC SCULPTURE, CIRCA 1944 moulded model of the head and neck of hart on a cube plinth the front of which is decorated with mistletoe modelled in relief, the whole covered with a red glaze, marked on the base with ‘SL’ in monogram above three birds in flight and ‘DENMARK’, all impressed, and on the back of the plinth ‘SV. LINDHART. 1944’ impressed in the mould

13cm high, 12cm long

34cm high

£200-300

£200-300 211-213 No lots

15.5cm high, 12cm deep

£100-200

LY O N & T U R N B U L L Decorative Arts

Silver and Jewellery 214 EAA534/2 COLLECTION OF JEWELLERY to include a BERNARD INSTONE RING, stamped SILVER B.I for Bernard Instone, with decorative scrolling border; a BROOCH stamped HVOLRIS SMYKKET, also of scroll design, decorated with two stylised animal heads and punched circular borders; and another BROOCH stamped indistinctly, designed as a winged beaked creature eating a frog (3) £100-200 215 EAA482/2 SILVER AND ENAMEL PENDANT NECKLACE, DATED 1970 maker’s mark PM, the pendant of lobed swivelling design, decorated to the front with red, orange and purple enamel, the reverse with blue, purple and red enamel, suspended from a curved bar and fancy flat link chain, hallmarked London 1970 Length from back to tip of pedant 40cm

£200-300

216 EAA482/3 MODERN SILVER TORQUE, 1960 maker’s mark JF, the torque form necklace with detachable pendant, composed of asymmetric scrolls surmounting a threerow abacus, hallmarked Birmingham 1960 Length from back to tip of pendant 19.2cm

£200-300

219 EAA551/1 GUSTAV DAHLGREN & CO. MODERN SWEDISH SILVER BANGLE, 1970 stamped with maker’s mark, Malmo city mark, Swedish triple crown stamp, S in a hexagon and U9 for 1970, designed as a plain curved band, with central hinged waisted panel with planished finish, flanked by curved and tapering motifs, 61g Diameter 6.4cm, length of front

217 EAA534/4 NORMAN GRANT 9CT GOLD AMETHYST SET PENDANT WITH CHAIN, 1986 the scroll form pendant surmounted by two flowerheads and suspending a claw set pear cut amethyst drop, with plain suspension hoop, suspended from a fine belcher link chain, with hinged circular clasp stamped 375, hallmarked for Edinburgh 1986

6.8cm

£150-250

Lengths: pendant 4.4cm (including

220 EAA551/3 UNI DAVID-ANDERSEN NORWEGIAN SILVER AND ENAMELLED BROOCH, 1960s stamped UNI D-A NORWAY 925 S STERLING, of open geometric design, composed of deep blue and black enamelled rectangular motifs, interspersed by smaller polished silver similarly shaped motifs

suspension hoop); chain 43cm

5.8cm x 2.8cm

£180-220

Note: Entitled ‘Silverklang’ (Sound of Silver), this brooch was designed as part of The Silver Series, launched as a collection in 1966. The collection sought to radically reshape traditional Norwegian enamel jewellery, which typically was covered with enamel all over the surface. The new designs featured enamelled decoration alongside the polished metal surface. The series consisted of fifteen items of jewellery by three designers including Bjorn Sigurd Ostern and Marianne Berg as well as Uni DavidAndersen.

218 EAA551/2 NIELS ERIK FROM THREE MODERN GEM SET RINGS each stamped FROM 925 S and set with a high-domed cabochon to an open circular or tapered square surround (3) £200-300

£150-250

221 EAA534/6 W. G. CONNELL, LONDON ARTS & CRAFTS SILVER TWIN-HANDLED DISH, 1900 with green glass liner, hallmarked London 1900 12.5cm across

£100-150 222 EAA528/8A OMAR RAMSDEN SILVER LONG SPOON, 1930 the hammered tear-shaped bowl with square stepped tapering handle and scrollwork terminal, hallmarked London 1930 18cm long

£200-300 223 EAA400/15 GEORGE ELLIOT-GATE, KESWICK PLANISHED SILVER BOWL, 1964 the simple hemispherical bowl with planished finish and scalloped rim, hallmarked Edinburgh 1964 11.5cm diameter

£120-180 224 EAA400/1 CONTINENTAL ART NOUVEAU EDWARDIAN PIERCED BOWL, 1901 the bowl with pierced and embossed displayed flower head and scalloped rim, with later mottled green glass liner, George Bedingham, London import marks 1901 14cm diameter

£200-300 44

LY O N & T U R N B U L L Decorative Arts

225 EAA480/14 ARCHIBALD KNOX FOR LIBERTY & CO. ‘CYMRIC’ SILVER DISH, 1902 of dished circular form, with three applied lugs, each with heart terminals, the rim with reciprocal heart piercings, hallmarked Birmingham 1902 16cm across

£800-1,200

226 EZ331A/1 ALBERT EDWARD JONES FOR G. L. CONNELL SILVER TWIN-HANDLED COMPORT, 1908 with allover beaten finish, the bowl of elliptical form pierced to the ends and with tapering handles, raised on spreading square section base with riveted decoration, stamped maker’s marks, hallmarks for Birmingham 1908 32cm wide

£300-500

LY O N & T U R N B U L L Decorative Arts

227 EAA400/12 GEORG JENSEN SILVER BEAKER, CIRCA 1904-1929 of simple form with flared rim and on panelled foot, with engraved initial C&N flanked by 1904 - 1929, stamped marks, 8.5cm high; together with a modern Danish chamber stick (2) £150-250

230 EAA556/3 CHRISTOPHER DRESSER FOR HUKIN AND HEATH ELECTROPLATE TOAST RACK, CIRCA 1890 with articulated dividers on domed base with bun feet, stamped marks ‘H & H 2555’, 12cm high; also Halen Widar, Christopher Dresser: A Pioneer of Modern Design, Phaidon 1993 (2) £300-500

228 EAA548/4 KAI BOJESEN PIERCED BON BON DISH, CIRCA 1913 the shaped oval outline with part beaded rim and simple integral handles, the base pierced with simple interlace design, raised on four ball feet 15.5cm wide

£120-180 229 EAA482/1 CHARLES RENNIE MACKINTOSH FOR MISS CRANSTON’S TEAROOMS SILVER PLATE TEASPOON, CIRCA 1905 with oval bowl and trefoil finial, indistinct stamped mark ‘Miss Cranston’s’ 12.5cm long

£150-250

231 EAA543/5 ASEER HOLM - AALBORG, DENMARK THREE PIECE BACHELORS TEA SET, CIRCA 1900 comprising tea pot, milk jug and covered twin handled sugar bowl, each with shaped baluster bodies with stylised plant motifs; on a matched tray by the same maker of shaped rectangular outline with simple linear borders and decoration (4) teapot 14.5cm high

£700-900

233 EY997/1 CHRISTOPHER DRESSER (MANNER OF) FOR HUKIN & HEATH (JOHN THOMAS HEATH & JOHN HARTSHORNE MIDDLETON) SILVER MOUNTED GLASS WINE CARAFE, DATED 1887 the square dimpled glass body cut allover with facets, the collar with a cylindrical lidded mount and spout and with angular handle in textured silver, hallmarks for 1897 16cm high

£300-500 234 EZ582/8 CHRISTOPHER DRESSER (MANNER OF) ELECTROPLATED BUTTER DISH, CIRCA 1880 the ebonised wood handles and with accompanying butter knife, stamped marks (2) 16cm diameter

£100-150

232 EZ582/15 CHRISTOPHER DRESSER FOR HUKIN & HEATH ELECTROPLATED KETTLE ON STAND, CIRCA 1880 stamped marks 2110 (2)

235 EZ582/13 CHRISTOPHER DRESSER FOR ELKINGTONS THREE PIECE ELECTROPLATED TEA SERVICE, CIRCA 1865 silver plate, stamped marks ‘Elkington & Co. 16578’

21.5cm high

teapot 21.5cm high

£100-200

Note: A drawing of the teapot for this set appears in Dresser’s notebook. Literature: See ‘Christopher Dresser Metalwork: The Andrew McIntosh Patrick Collection’ in these rooms, 19th April 2005, lot 44.

£200-300

LY O N & T U R N B U L L Decorative Arts

236 LB304/8 MARGARET GILMOUR SILVERED BRASS AND ENAMEL WALL SCONCE, CIRCA 1910 repousse decorated with two owls on a branch and with stylised plant forms, with two applied candle sconces, bears monogram 74cm high, 31.5cm wide

£2,000-3,000

237 EZ582/3 CHRISTOPHER DRESSER (STYLE OF) THREE PIECE SILVER PLATED TEA SERVICE, CIRCA 1880 by Walker & Hall, Sheffield, comprising a teapot, sugar bowl and milk jug, each with ribbed decoration, stamped marks (3) teapot, 7cm high

£150-250 238 EY565/3 WURTTEMBERGISCHE METALLWARENFABRIK (WMF) ART NOUVEAU ELECTROPLATED VASE, CIRCA 1900 of baluster form with twin handles formed as tendril, the body embossed with flowering poppies, stamped marks 29.5cm high

£100-200

LY O N & T U R N B U L L Decorative Arts

Other Metals 239 EZ859/2 TALWIN MORRIS (MANNER OF) GLASGOW STYLE COPPER FRAMED WALL MIRROR, CIRCA 1900 the rectangular mirrored plate enclosed by frame, repoussé decorated with foliage and set with three blue enamel roundels cast as roses 51.5cm x 79.5cm

£3,000-5,000

240 LB379/1 DE COURCEY LEWTHWAITE DEWER (MANNER OF) COPPER AND ENAMEL FRAMED COLLECTION BAG, CIRCA 1920 the circular frame with four lugs, each with enamelled winged figure enclosing inscription ‘Freely give freely ye have received’ 18cm diameter

£200-300

241 EAC46/3 GLASGOW STYLE BRASS CHARGER, CIRCA 1920 of circular form, repoussé decorated with Celtic knotwork

242 EAA494/1 GLASGOW STYLE BRASS PLANTER, CIRCA 1920 of square section, repoussé decorated with stylised roses

49cm diameter

£100-200

25.5cm across

243 EZ582/6 CHRISTOPHER DRESSER BRASS SPIRIT KETTLE ON STAND, CIRCA 1890 the scrolled handle over bulbous body, also with scroll handle on base with scrolled supports 24.5cm high

£100-200

LY O N & T U R N B U L L Decorative Arts

244 EZ607/96 TIFFANY STUDIOS ‘PNE NEEDLE’ PATTERN STATIONERY BOX, CIRCA 1910 gilt metal with Favrile glass panels, stamped marks ‘Tiffany Studios/ New York/ 830’ 23.5cm across

£300-400

245 EZ582/18 THOMAS OR HENRY JECKYLL (ATTRIBUTED TO) PAIR OF CAST IRON FIRE DOGS, CIRCA 1880 each cast with central bird roundel within ribbed geometric supports on plinth bases, registration marks (2)

247 EZ582/17 BIRMINGHAM GUILD OF HANDICRAFT COPPER COFFEE POT, CIRCA 1900 with domed lid and tapering body, stamped maker’s mark 23cm high

249 EZ582/41 THORNTON & DOWNER COPPER AND WROUGHT IRON PLANTER, CIRCA 1920 of cylindrical form with twin handles and repoussé faux rivet decoration, decorative wrought iron strapwork

£100-150

40cm wide, 26.5cm high

251 EZ711/5 ART NOUVEAU COPPER AND BRASS BISCUIT BOX, CIRCA 1910 embossed with panels of whiplash foliage, the lid set with a Ruskin cabochon, stamped marks ‘McVitie & Price/ London and Edinburgh’

£100-200

18cm across

21.5cm high, 16cm wide

65cm x 49cm

248 EAA480/6 C.F.A. VOYSEY (STYLE OF) FOR KESWICK SCHOOL OF INDUSTRIAL ARTS BRASS BELLOWS, CIRCA 1910 repoussé decorated with a heart-shaped panel enclosing the figure of a shepherd, the figure bent against the wind, stamped maker’s marks

£200-300

53cm long

£80-120 246 EZ582/11 NEWLYN STYLE COPPER WALL MIRROR, CIRCA 1890 the rectangular plate enclosed within elaborate frame, repoussé decorated with fruiting foliage

£250-350

£200-300 250 EAA484/3 THORNTON & DOWNER ARTS & CRAFTS WROUGHT STEEL FIRE IRONS, CIRCA 1920 comprising an ASH SHOVEL and PAIR OF COAL PINCERS, each with geometric decoration to the handles, 32cm and 41cm long; also an associated ARTS & CRAFTS WROUGHT STEEL POKER AND COAL PINCERS, each of similar design (4)

252 EAA267/4 HARDWOOD BOWL WITH BRASS MOUNTS, 1930s the circular bowl with applied embossed and chased medallions and strapwork 24cm diameter

£300-500

£300-400

LY O N & T U R N B U L L Decorative Arts

This rare candlestick is an exciting and significant discovery as it signifies the many stylistic innovations that were achieved during a profoundly creative and progressive period of decorative arts and design. The end of the nineteenth century witnessed Glasgow's transformation into a bustling hub of industrial progress and urban expansion, with a population that would exceed three-quarters of a million by 19001. The budding 'second city of the Empire' also demonstrated ambition as a centre for cultural growth, increasing its number of public and commercial exhibition venues and playing host to a number of influential international exhibitions2. Glasgow's rise as an economically prosperous metropolis made it an ideal environment in which to foster an equally autonomous style of artistic design. The establishment of artistic institutions, including the Glasgow School of Art, assisted in the realisation of this objective by encouraging the necessity and development of a singular 'Glasgow Style' that would appeal to, and be created by, the middle classes, 'whose identity and character were fundamentally bound up with the concept of the City State.'3 It was in this energetic environment that Margaret and Frances Macdonald introduced, along with their collaborators (and future spouses) Charles Rennie Mackintosh and James Herbert MacNair, a reflective and radically new concept of artistic expression.

Macdonald sisters' trademark 'stylised line' that reveals similarities with Celtic Revival and Japonist compositional motifs, as well as an interest in combining abstract pattern with organic imagery. Although the candlestick has remained, until now, 'undiscovered' in a private home, its interlacing design has been identified in a corresponding sketch that was completed by at least one of the Macdonald sisters around 1896 and is currently held as part of the collection at the Hunterian Museum and Art Gallery in Glasgow (see image below). An impressive artifact both in terms of its conception and construction, the candlestick embodies many of the stylistic innovations that would contribute to and characterise the influential Glasgow Style and offers a rare insight into what was a largely undocumented but undeniably influential collaboration between Margaret and Frances Macdonald. [1] J. Kinchin and J. Sharples, ‘Glasgow and Liverpool 1900: Commerce, Culture and Identity’, in P. Robertson (ed.), Doves and Dreams: The Art of Frances Macdonald and James Herbert MacNair, p. 11. [2] J. Kinchin, ‘Glasgow: The Dark Daughter of the North’, in P. Greenhalgh (ed.), Art Nouveau, p. 311. [3] Ibid., p. 312. [4] Quotation obtained from R. Larner, The Glasgow Style (fig. 180).

This design aesthetic includes an interest in linear patterning that is further enhanced by the incorporation of two pure vertical uprights which thrust the drip tray of the candlestick upwards and lend an elongating 'Spook' aesthetic to the structure evoking an affinity with Symbolist and Spiritualist philosophies. The design also exhibits an early form of the

The candlestick was presumably made in the studio at 128 Hope Street, Glasgow where Margaret and Frances resided for a brief but creative period after completing their time of study at the Glasgow School of Art in 1894. It is an exceptional example of what has been referred to as 'the poetic metalwork of the Macdonald sisters', who here exhibit dexterous workmanship in transforming sheeted copper into a landscape of rounded foliate forms, anticipating the abstract, bulb-cumflower forms that would dominate both artists' later works.4 The repoussé and hammered surface conveys a devotion to craftsmanship that pays tribute to the Arts and Crafts movement and expresses a concept of design that resonates with elements of the concurrent European Art Nouveau style.

Margaret Macdonald or Frances Macdonald decorative design c. 1896 (metalwork design). Pencil on brown tracing paper.

253 MARGARET MACDONALD AND FRANCES MACDONALD COPPER CANDLESTICK, CIRCA 1897 repoussé decoration to the drip tray and broad circular base with stylized plant forms, linked by slender rectangular twin uprights and set with oval enamelled cabochons, engraved signature to one upright ‘Margaret Macdonald and Frances Macdonald’ (2) 45.8cm high, 32cm diameter Provenance: Linda Rose Gallagher and by family descent.

£20,000-30,000

LY O N & T U R N B U L L Decorative Arts

254 EAA868/2 OLIVER BAKER FOR LIBERTY & CO ‘TUDRIC’ PEWTER BOWL, CIRCA 1910 of shouldered ovoid form with twin handles, set with turquoise enamel panels, stamped marks ‘Tudric 0864’ 15cm high

£250-350

255 EAA480/15 FRIEDRICH ADLER FOR URANIA, MAASTRICHT TWIN-HANDLED SERVING TRAY, CIRCA 1905 the mahogany oval tray with pewter mounts moulded with stylised plant forms, stamped marks ‘Urania/ Hutton Sheffield/ 1116’ 53cm across

£300-500

256 EZ582/9 FRANZ HAGENAUER COPPER AND BRASS COFFEE POT, CIRCA 1920 of tapering form with hinged lid and applied wooden handle shaped in the form of a leaf, stamped marks 15cm high

£100-200

257 EAA477/2 SCOTTISH ARTS AND CRAFTS PEWTER CIGARETTE BOX, CIRCA 1920 repoussé decorated with scrolls and foliate forms and inlaid with blue cut stones and abalone shell, bears monogram ‘A.F’ 16cm across

£150-250

258 EAB393/170 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) ART NOUVEAU PEWTER TRAY, CIRCA 1900 with a single handle cast with female figure, the tray cast with fruiting foliage, stamped and cast marks, no. 80

26.5cm high

30.5cm across

£300-500

Provenance: The Estate of the Late Jean Gordon Welsh

£100-200

259 EAA480/5 FRIEDRICH ADLER FOR URANIA, MAASTRICHT LIDDED TANKARD, CIRCA 1905 the pewter body moulded with stylised plant forms, stamped marks ‘Urania/ 1168’

LY O N & T U R N B U L L Decorative Arts

Lighting 260 EAA562/4 WHYTOCK & REID TWO CARVED WOOD LIGHT FITTINGS, 1930s each of ovoid form, with applied gesso decoration of plants, birds and animals painted in gilt and colours on a cream ground, one with original frosted shade (3) 28cm and 17cm high

£150-200

261 EAA562/5 THOMAS HADDEN (ATTRIBUTED TO) FOR WHYTOCK & REID SET OF FIVE WROUGHT IRON WALL LIGHTS, 1930s each of bracket form, with elaborate scrollwork centred by a flowering rose (5) 45cm high

£300-500

LY O N & T U R N B U L L Decorative Arts

262 EZ845/12 SIR ROBERT LORIMER BRASS AND COPPER CEILING LIGHT, CIRCA 1900 with central knopped column with sphere drop, above three curved arms, each supporting a flowerhead light bulb fitting 27cm diameter, 76cm high

265 LB350/12 W.A.S. BENSON (MANNER OF) BRASS RISE AND FALL LIGHT, CIRCA 1900 with two Vaseline glass frilled shades, supported by curved arms and with copper leaf decoration

268 EAA494/2 ARTS & CRAFTS COPPER ELECTROLIER, CIRCA 1910 with central light fitting and three scrolling brackets supporting a circular skirt ring with applied foliate decoration

£300-500

60cm wide

56cm diameter, 70 cm high

£200-300

£100-150

266 LB350/19 W. A. S. BENSON (ATTRIBUTED TO) HALL LANTERN, CIRCA 1900 silvered metal, the tapered Vaseline glass shade supported by a circular band with three wavy brackets

269 EAA243/1 ARTS & CRAFTS BRASS CEILING LIGHT, CIRCA 1890 with three scrolling branches suspending later glass shades, supported by a ring with three leafy brackets

27cm high

69cm diameter

£100-150

£200-300

264 EZ582/35 GLASGOW SCHOOL SILVER PLATED AND LEADED GLASS HALL LANTERN, CIRCA 1900 of square section, the sides with leaded glass panels below a canopy supported by four chains

267 EZ871/17 EDWARD SPENCER SILVERED SANCTUARY LAMP, CIRCA 1900 of lobed tapering cylindrical form, with cast vine rim and applied enamelled roundels also depicting vines, with wrythen ring pendant, enclosing a single candle sconce and inscription ‘In his temple everything saith glory’, supported by four chains suspended from a domed rose

270 LB350/11 ART NOUVEAU BRASS ELECTROLIER, CIRCA 1910 with three frilled Vaseline glass shades, supported by curved branches, the central turned column with applied scrolling brackets

19cm wide, 26cm high

38cm diameter

£100-200

£300-500

263 EAA562/2 WHYTOCK & REID GROUP OF THREE CARVED WOOD LIGHT FITTINGS, 1930s comprising a domed shade, with applied gesso foliate band, painted in gilt on a green ground, 33cm diameter; two pendant fittings, each of ovoid form with curved brackets, with applied gesso decoration of plants and animals on a green ground, 28cm and 17cm high (3) £200-300

39cm wide, 66cm high

£300-500

LY O N & T U R N B U L L Decorative Arts

271 EZ871/5 JAMES POWELL & SONS ‘EIFFEL TOWER’ WROUGHT IRON STANDARD LAMP, CIRCA 1900 the tapered Vaseline glass shade with scrolled supports above corresponding glass reservoir, raised on tapered supports with central scroll and openwork column raised on scrolling feet 169cm high

£2,000-3,000

272 EAA377/3 CONTINENTAL ART NOUVEAU BRONZE MOUNTED CERAMIC TABLE LAMP, CIRCA 1910 with earthenware baluster base, glazed in blue and black, issuing iris flowers and leaves, the flowers fitted for light bulbs, and enclosed by cast foliate straps 76cm high

£400-600 273 EAA891/1 FRENCH ART DECO BRASS CEILING LIGHT, 1930s with four branches and central column, cast with stylised fruit and flowers

274 EAC57/1 ERIK BALSLEV FOR FOG & MORUP ‘RADINS’ COATED STEEL HANGING LIGHT of tapered concentric fin design 48cm diameter, 30cm high

£100-150 275§ EAA624/44 MARK BRAZIER-JONES PAIR OF PATINATED STEEL AND GLASS WALL LIGHTS, CIRCA 1990 each with cased blue glass ‘flame’ shades fitted above tapering supports and issuing scrolling tendrils (2) 82cm wide, 98cm high

£300-400

69cm diameter, 68cm high

£200-300

LY O N & T U R N B U L L Decorative Arts

276 LB350/10 ART NOUVEAU SILVERED STEEL ELECTROLIER, CIRCA 1900 with three Vaseline glass frilled shades supported by three curved arms, the central turned column with elaborately scrolling bracket decorations 58cm diameter, 75cm high

£500-700

277 EZ711/3 GOLDSCHEIDER PATINATED TERRACOTTA FIGURAL LAMP, CIRCA 1910 modelled as a girl holding aloft a seashell shade with three amber light bulbs, impressed factory marks, ‘4150/28/14’, painted mark ‘Austria’ 56cm high

£300-500

LY O N & T U R N B U L L Decorative Arts

278 EAA561/1 TIFFANY STUDIOS, NEW YORK BRONZE LAMP BASE, NO. 163, CIRCA 1900 with removable oil reservoir, the body of squat baluster form in a verdegris finish chased with scrolling motifs, with applied curved bracket supports with lobed terminals, raised on reeded spreading base, stamped marks to base, ‘Tiffany Studios/ New York/ 6812’, with original flex and fittings 25cm high Literature: Duncan, Alastair ‘Tiffany: Lamps and Metalware’, Woodbridge 2007, pl. 51 and 52, p. 24

£500-700

27cm high

280 EAA940/3 ART NOUVEAU COPPER EXTENDING STANDARD OIL LAMP, CIRCA 1900 converted to electricity, the central turned column on three scrolling supports and with scrolling brackets

£300-400

159cm high

279 LB350/13 ART NOUVEAU WROUGHT IRON HALL LANTERN, CIRCA 1900 with cylindrical ruby glass shade, within cartoucheembellished frame supported by scrolled brackets

281 LT2010/14 AFTER ETTORE SOTTSASS ‘TAHITI’ TABLE LAMP enamelled metal and printed laminates 65cm high

£250-350 282-283 No lots

£200-300

LY O N & T U R N B U L L Decorative Arts

Sculpture 284 EAA549/2 JAMES PITTENDRIGH MACGILLIVRAY A PHANTASY circular bronze plaque, mounted on a moulded rectangular mahogany board with original bronze mounts and hanging chain, signed in the bronze ‘MacGillivray’, plaque, 46cm diameter; also original pen and ink preparatory drawing for ‘A Phantasy’, signed Pittendrigh MacGillivray’, 15cm square, along with a copy of the original receipt in the artists hand, dated 28th May 1930 (2) Exhibited: Aberdeen Art Gallery & Museum, ‘Pittendrigh MacGillivray’ Exhibition 1988, No. 27

£2,000-3,000

LY O N & T U R N B U L L Decorative Arts

285 EAA940/4 BRITISH SCHOOL BUST OF A MAN, CIRCA 1890 bronze, raised on a plinth, unsigned 45cm high

£400-600

286 EAC18/3 GEORGE WASHINGTON HENRY JACK PLASTER ROUNDEL, CIRCA 1890 modelled as a seated owl amongst foliage (damages) 52cm diameter Provenance: Sir James Morton, and by family decent. Literature: Morton, J, ‘Three Generations in a Family Textile Firm’ , London: Routledge & Kegan Paul, 1971, page 177 Note: This plaster roundel by George Jack was one of several executed for the Morton family.

£300-500

287 EY792/76 ANNIE COTTRAU-FOKKER BUST OF A GIRL marble, raised on a plinth, signed 27cm high

£250-350

LY O N & T U R N B U L L Decorative Arts

288 EAC108/1 ALEXANDER KELETY ART DECO BRONZE FIGURE OF DAVID raised on a slate plinth, signed on the plinth 61cm wide, 26.5cm high including base

£800-1,200

289 EAA349/1 JUAN CLARA CLIMBING DOWN bronze figure group, signed in the bronze 24cm high

£1,000-1,500

LY O N & T U R N B U L L Decorative Arts

290 EAA585/11 CLAIRE J. R. COLINET ORIENTAL DANCER, CIRCA 1920 patinated and enamelled bronze, raised on a cylindrical base cast with an arched frieze, signed in the bronze, cast foundry mark 49.5cm high

£6,000-8,000

291 EAA415/1 FERDINAND PREISS ‘PAGE BOY’, PATINATED BRONZE AND IVORY FIGURE, 1920s signed in the bronze and raised on stepped slate plinth 21cm high with plinth

£800-1,200

LY O N & T U R N B U L L Decorative Arts

292 EAC18/2 PHYLLIS MARY BONE SEATED LION FIGURE bronze, signed in the bronze and dated 1925 24cm high Provenance: Sir James Morton, Craigiehall, Edinburgh and by family descent. Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, pages 315-6 Note: Phillis Bone was a friend of the Morton family and her animal figures were much admired by them.

£400-600

293 EZ859/4 LAZLO HOENIG FOR LAHO, LONDON ART DECO ROSEWOOD SCULPTURE, CIRCA 1940 carved as a yacht at sea, stamped mark ‘Laho’ 43cm high, 37m long Note: Lazlo Hoenig was a worker at the Hagenauer Werkstatte who came to London and established his own workshops.

£400-600

LY O N & T U R N B U L L Decorative Arts

294 EAA585/4 JOHN W. ELISCHER ART DECO FIGURE OF A DANCING GIRL, CIRCA 1930 silvered bronze, raised on a faceted green onyx base and slate plinth, signed in the bronze ‘Elischer’ 42.5cm high

£3,000-4,000

295 EAA391/7109 FRENCH ART DECO PAIR OF BRASS BOOKENDS, 1920s cast as seals, signed in the brass ‘C. Omin’ (2)

296 EAA613/3 BENNO SCHOTZ WARRIOR FIGURE, CIRCA 1950 terracotta, signed on the base

297 EAA509/1 LAURENCE BRODERICK MOTHER AND CHILD Bronze signed in the bronze and indistinctly dated, A/P

32cm high

49cm high

18cm high

£200-300

£300-500

£200-300 298-300 No lots

LY O N & T U R N B U L L Decorative Arts

301 EZ870/4 SIR ROBERT LORIMER PAIR OF OAK BOOKENDS, CIRCA 1910 possibly carved by W and A Clow, the ends carved with winged angels, one playing a drum one playing a flute supported on arched bracket and raised on a cantered rectangular base 51.5cm long, 24cm high, 13cm deep Provenance: Sir James Morton, Teuther, Carlisle and by family descent Literature: Hussey, Christopher ‘The Works of Sir Robert Lorimer’, pub. 1931, plate 142 Note: The carved figure on these book ends and the following lot are similar to those found on furniture in the Thistle Chapel, Edinburgh, by the same hand

£500-700

302 EAC18/1 SIR ROBERT LORIMER PAIR OF OAK BOOKENDS, CIRCA 1910 possibly carved by W and A Clow, each end carved as the figure of a winged angel, raised on a rectangular plinth for books 17cm high, 63cm long Provenance: Sir James Morton, Teuther, Carlisle and by family descent

£400-600

LY O N & T U R N B U L L Decorative Arts

303 EAA480/13 JOSEF HOFFMANN FOR WIENER WERKSTÄTTE TOOLED LEATHER EVENING PURSE, CIRCA 1910 gilt printed mark ‘Wiener/Werk/Statte’ 12cm x 18cm Literature: Brandstätter, Christian ‘Wonderful Wiener Werkstätte - Design in Vienna 1903-32’, London 2003, page 364

£300-500

304 EZ859/3 JOSEPH MARIA OLBRICH MAHOGANY MANTEL CLOCK, CIRCA 1900 the circular silver dial with twin train movement enclosed within shaped mahogany face with exposed pendulum 51cm high Literature: ‘The Norwest Collection: Modernist Design 1880-1940’, pub Antique Collectors Club 1998, page 110 where a smaller example is illustrated

£1,500-2,000

LY O N & T U R N B U L L Decorative Arts

305 EAA582/1 ART NOUVEAU MAHOGANY AND MARQUETRY INLAID MANTEL CLOCK, CIRCA 1910 the circular enamelled dial with twin train movement, enclosed within tapering case inlaid with stylised flowering foliage, surmounted by a domed and projecting cornice and raised on flattened brass bun feet 26cm high

£250-400

306 EAC55/3 ARTS AND CRAFTS PAIR OF FINELY CARVED MAHOGANY PANELS, CIRCA 1890 each with moulded lozenge, carved with floral and foliate motif, enclosed by carved owl, fish and pair of beasts (2) 19cm x 11.5cm

£200-300 307 EAC46/4 GEORAMA LTD. 19” SHIPPER’S GLOBE, 1930s the printed paper globe by George Philip & Son Ltd. with illuminated Perspex scale on orange fibreglass X form base 58cm high

£300-500

308 EAC81/1 WILLIAM JAMES NEATBY (MANNER OF) PAINTED OVAL GLASS WINDOW, CIRCA 1900 depicting a girl in profile in a stylised landscape 41cm x 59cm

£300-500

LY O N & T U R N B U L L Decorative Arts

309 EAA480/1 CONTINENTAL ART NOUVEAU PAIR OF GLASS TILE PANELS, CIRCA 1900 painted in coloured enamels with stylised poppies and campanula, framed (2)

310 EAA480/2 CONTINENTAL ART NOUVEAU PAIR OF GLASS TILE PANELS, CIRCA 1900 painted in coloured enamels with stylised daffodils and lilies, framed (2)

76cm x 15cm

£300-500

LY O N & T U R N B U L L Decorative Arts

311 EZ859/7 GEORGE WALTON STAINED AND LEADED GLASS PANEL, CIRCA 1900 in two sections, each with inset copper panel, depicting flowering roses (2) each panel, 81.5cm x 59cm Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, pages 96-99, pl. 38 and 132 Note: Decorative stained and leaded glass panels became essential to the interior schemes carried out by Walton & Co. at the end of the 19th century. By 1895 figure subjects were on the wane, to be replaced by individual plant motifs, more sympathetic to Walton’s interiors. Striking use of colour on a plain background with the addition of copper panels and a simplicity of line were characteristic of this new aesthetic, becoming an essential feature of the Glasgow style.

£2,000-3,000 312-313 No lots

LY O N & T U R N B U L L Decorative Arts

Pictures, Books and Works on Paper 314 EAA477/3 GEORGE PARLBY (ATTRIB.) ‘ST. ELIZABETH OF HUNGARY’ AND ‘ST. CATHERINE OF SIENA’, EARLY 20TH CENTURY a pair of stained glass studies, ink and watercolour, each with inscription, framed and glazed (2)

317 LB327/17 LATE 19TH CENTURY ENGLISH SCHOOL GROUP OF SIX FASHION STUDIES, DATED 1897 watercolour and bodycolour, signed and dated ‘97 (6)

121.5cm x 36cm

318 EZ871/2 JOURNAL OF DECORATIVE ART GROUP OF SIX FRAMED PRINTS, DATED JANUARY 1897 each printed in sepia with decorative room schemes

£300-500 315 EAA470/26 ROBERT SCOTT MORTON ARCHITECTURAL PLAN OF ANN STREET, EDINBURGH by Robert Scott Morton and Elspeth Clifford, 1942, including Elevation of the East Side, Plan of part of the East Side, Layout Plan of the Street, & Cross Sections 58 x 177cm

£200-300 316 EZ870/7 WILLIAM MILES JOHNSTON THE FARM, BRIGHOUSE “EVENING SUNSET” pastel, signed and inscribed, 31cm x 40cm and TWO OTHER PASTEL STUDIES by the same hand, depicting coastal views, each signed each 30cm x 38cm (3) Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971

£300-500

37cm x 27cm

£200-300

each approx. 93cm x 66cm

£300-500 319 EAA482/4 SIR EDWARD COLEY BURNE JONES (AFTER) LADDER OF HEAVEN framed print and a companion WITCH’S TREE (2) 24cm x 20cm Exhibited: Fine Art Society, Edinburgh, June 1979, No’s 12 and 15

£200-300 320 EZ859/8 VANESSA BELL FOR OMEGA WORKSHOPS (ATTRIBUTED TO) FRAMED WALLPAPER SAMPLE, CIRCA 1910 with allover repeating floral and foliate motifs 60cm x 45cm

£200-300

LY O N & T U R N B U L L Decorative Arts

321 EAC18/4B ERNEST ARCHIBALD TAYLOR SHORELINE STUDY charcoal and pastel, signed 19cm x 26cm Provenance: Sir James Morton, Craigiehall, Edinburgh and by family descent. Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, pages 320-21 Note: James Morton and his wife Beatrice visited E.A. Taylor and his wife Jessie M. King in Kirkcudbright in the spring of 1928 and selected some of their pictures, including the following three lots.

£300-400

322 EAC18/4A ERNEST ARCHIBALD TAYLOR COTTAGES charcoal and watercolour, signed in pencil 15cm x 17cm Provenance: Sir James Morton, Craigiehall, Edinburgh and by family descent. Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, pages 320-21

£300-400

323 EAC18/4 ERNEST ARCHIBALD TAYLOR KIRKCUDBRIGHT charcoal and watercolour, signed in pencil 26cm x 31cm Provenance: Sir James Morton, Craigiehall, Edinburgh and by family descent. Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, pages 320-21

£300-400

LY O N & T U R N B U L L Decorative Arts

324 LB344/1 GORDON M. FORSYTH ‘THE PORCELAIN FAUN’ oil on canvas, signed with initials 60cm x 39cm

£1,000-1,500

325 EAC77/1 E. MORGAN (SIC) “GULCHENROVZ: SON OF ALI HASSAN pen, ink and watercolour, with gilt embellishments, signed, inscribed and dated 1913 14cm diameter

£200-300

326 EAB47/11 JOHN HALL THORPE LANDSCAPE SCENE, 4118 framed woodblock print, signed in pencil 16.5cm x 14cm

£100-200

327 EAB47/12 JOHN HALL THORPE ‘SWEET PEAS’ 4056 framed woodblock print, signed and inscribed in pencil, 23cm x 29cm; and three further woodblock prints by the same hand ‘Forget me Nots’ 4052 ‘Primroses’ 4058 and ‘Crocus and Snowdrops’ 4059 each framed and signed in pencil, 16.5cm x 15cm (4) £300-500

328 EAA976/25 ELISE ASH LORD ‘BIRVA PLAYER’ hand-coloured etching, signed in pencil 35/75 35cm x 29cm

£200-300 328A EY985/1 ANNIE FRENCH ROMAUNT OF THE ROSE hand-coloured etching, signed in pencil and with inscription verso in the artist’s hand 27cm x 19cm

£400-600 71

LY O N & T U R N B U L L Decorative Arts

329 EAB47/1 GEORGES PAUL GASTON LEONNEC ‘DE L’AVANCEMENT....’ original artwork for ‘La Vie Parisienne’ magazine Watercolour, signed with monogram and dated 1928 37.5cm x 28cm

£500-800

330 EAB47/2 GEORGES PAUL GASTON LEONNEC THE FLORAL DRESS original artwork for ‘La Vie Parisienne’ magazine Watercolour, signed with monogram and dated 1925 37cm x 28cm

£400-600

LY O N & T U R N B U L L Decorative Arts

331 EAC88/1 Exposition de Turin 1902 Koch, Alexander L’exposition Internationale des arts decoratifs modernes a Turin 1902. Darmstadt: Alexander Koch, 1902. 4to, pp.[8],340, [1], publisher’s adverts., French text, text by George Fuchs and F.H. Newbery, illustrated throughout, 4 coloured plates, 2 tinted, Jessie M. King decorative title for Scottish section, on different paper, the “Papier de garde” (end papers) supplement are used as end papers, original Art Nouveau designed vellum gilt, some light spotting to page edges otherwise fine Note: Extremely rare in this fine condition, published in connection with the first international exhibition of modern decorative art, Turin 1902, which included architecture, interior design, painting, ceramics, metal works, book illustrations, typefaces, glass, etc. Participants were Holland, Scotland (includes an extensive article on Charles Rennie Mackintosh and the Glasgow School), Germany, Austria, Hungary, Italy, Belgium, France, USA, Denmark, Sweden, England, and Japan. Special emphasis on the German contribution, with designs and typographical arrangement by Peter Behrens. The Turin Exposition of 1902 was the first to celebrate the emergence of the Art Nouveau style in Italy and is considered the first international exhibit of modern decorative art. Turin was a centre of liberal ideas and creativity and thus a receptive environment for imported modernism with work exhibited by Behrens, Mackintosh, Olbrich, et al. Italian artisan

workshops and individual craftsmen such as Carlo Bugatti were also featured. The exposition was concerned also with the renewal of Italian architecture. A bold, exuberant, stylistically appropriate setting was created by Raimondo D’Aronico, at that time the chief architect to the Sultan in Constantinople. His work for the exposition was influenced by a visit to the Darmstadt Artist’s Colony designed by Joseph Olbrich. His entrances, pavilions and exhibition and administrative buildings are illustrated in the first section of the present work, which deals with architecture.

£2,000-3,000

332 EAC88/2 Mackintosh, Charles Rennie How photography came about. London & Glasgow: Blackie & Son, 1926. 8vo, original paper covers designed by Charles Rennie Mackintosh, a fine copy; [Idem] The seaman and his craft. London & Glasgow: Blackie & Son, [no date]. 8vo, original paper covers designed by Charles Renie Mackintosh, a fine copy (2) Note: Similar items were included in the The Dr. Thomas Howarth Collection, sold by Christies in 1994.

£150-200

333-334 No lots

LY O N & T U R N B U L L Decorative Arts

Carpets and Textiles 335 EZ800/11 CONTINENTAL SCHOOL OVAL NEEDLEWORK CARPET, EARLY 20TH CENTURY the plain cream field within cream rosette and foliate vine border, between inner zodiac style roundel band and outer orange entwined ribbon and star band

336 EAC18/5 ALEXANDER MORTON & CO DONEGAL CARPET, CIRCA 1910 with a trailing foliate and floral design to the spandrels and border and reserved on a pale green ground

575cm x 430cm

268cm x 461cm

£4,000-6,000

Provenance: Sir James Morton, Teucher, Carlisle and by family descent. Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, pages 312-3

£600-800

337 EZ794/16 MAUREEN HODGE TAPESTRY HANGING, CIRCA 1960 Woven as a townscape in coloured wools 122cm x 140cm, and a FLATWEAVE RUG designed and handwoven by Susan K. Senior 205cm x 112cm (2) £200-300

LY O N & T U R N B U L L Decorative Arts

Furniture 338 EY798/1 GEORGE WALTON SATIN BIRCH SIDE CABINET, CIRCA 1898 decorated with chevron banding, the surmount with opposing mirrored doors centred by two drawers, above a rectangular top and an arrangement of four short over two long drawers, each with cut out handles and beaten silvered backplates, the whole raised on bracket feet, label aperture to rear (label now lacking) 114cm wide, 172cm high, 60cm deep Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, pages 64-70 Agius, Pauline, ‘British Furniture 1880-1905’, pub. Suffolk 1978, page 102, pl. 105 Note: This cabinet is characteristic of the furniture produced at Elm Bank, York by Walton & Co. in 1898 for Sydney Leetham. The furniture is inlaid with bold geometric chevron banding, a type of decoration which had been revived and popularised by George Jack at Morris & Co., however the use of this technique at Elm Bank was altogether bolder and more expansive.

£2,000-3,000

LY O N & T U R N B U L L Decorative Arts

339 EAA265/1 GEORGE WALTON GREEN STAINED LINEN PRESS, CIRCA 1898 The projecting cornice above twin doors, each inset with stained and leaded glass panels with copper inlay worked as foliate motifs, backed by original net hangings and enclosing four sliding shelves each with original linen covers, the base with three long graduated drawers each with brass-backed cut-out handles, the whole raised on bracket feet 152cm wide, 183cm high, 68.5cm deep Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, page 115 Exhibited: ‘George Walton: Designer and Architect’ Glasgow Art Gallery and Museum, Kelvingrove, Glasgow 11 June - 19 September 1993 and at Brighton Museum and Art Gallery Church Street Brighton 4 November 1993 - 9 January 1994, No 2.7 Note: This fine linen press in green stained ash was designed by the architect and designer George Walton and was made, circa 1899, for a director of his company, Robert Dick. Walton opened his first showroom at 152 Wellington Street Glasgow in 1888, naming it ‘George Walton & Co, Ecclesiastical and House Decorators’. In 1897 Walton followed his brother Edward to London where he set up house and studio at 16 Westbourne Park Road, Bayswater, and in 1898 a showroom was opened in York. In the following year a four-storey block of workshops was built in Buccleuch Street, Glasgow, and it was in the same year that Robert Dick became a director of the Glasgow company, rising to chairman by 1905. In her 1993 biography of Walton Karen Moon comments “ . . . in the north the company’s directors were keeping them busy: when the two brothers James and Robert Dick, who had been involved in the company since 1899, both married in the early years of the new century, their houses were done out grandly in company style”. This press would have stood in one of the bedrooms or upper landings of the house and it retains its original net hangings for the windows and linen covers inside for the drawer slides.

£3,000-5,000

LY O N & T U R N B U L L Decorative Arts

340 EAA940/1 GEORGE WALTON OAK FRAMED SETTEE, CIRCA 1900 with tapered and upholstered back and arms, raised on upholstered seat, two loose cushions and with eight square tapering legs terminating in brass caps and castors 176cm wide, 121cm high, 67cm deep Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, pages 107 and 111, plates 142 and 146 where similar examples are illustrated

£1,200-1,800

341 EAA940/2 GEORGE WALTON UPHOLSTERED EASY CHAIR, CIRCA 1900 the tapering back with outswept upholstered arms and stuff-over seat raised on square tapering legs with brass caps and castors to the front

342 EZ570/4 GEORGE WALTON (MANNER OF) MAHOGANY FRAMED UPHOLSTERED ARMCHAIR, CIRCA 1910 the tall arched back above upholstered arms and seat raised on turned legs with pad feet

Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, page 63, plate 73 where a similar example is illustrated.

£300-500

£800-1,200

LY O N & T U R N B U L L Decorative Arts

343 EZ871/11 GEORGE WALTON (ATTRIBUTED TO) SET OF TEN MAHOGANY LADDER-BACK CHAIRS, CIRCA 1900 including TWO CARVERS, the serpentine ladder backs with turned upright and spirally reeded finials above leather upholstered seats with close nailed decorations raised on turned front legs with pad feet linked by turned stretchers (10) Literature: Cooper, Jeremy, ‘Victorian & Edwardian Furniture & Interiors’, pub. Thames & Hudson 1987, plate 618 Note: In 1896 Miss Cranston commissioned Walton to refurbish her Buchanan Street Tea Rooms whilst Charles Rennie Mackintosh was employed to decorate the walls of the Ladies Tea Room. Chairs similar to the present lot can be seen in contemporary photographs of the tea room.

£5,000-7,000 344 EZ859/1 GEORGE WALTON (ATTRIBUTED TO) OAK OCCASIONAL TABLE, CIRCA 1900 circular top with arched apron extending to tapering supports linked by stretchers 39cm diameter, 60cm high Note: See Christies King Street, 20th Century Decorative Art and Design, March 2006, lot 105 for another example.

£400-600

LY O N & T U R N B U L L Decorative Arts

345 EZ871/10 GEORGE WALTON WALNUT DISPLAY CABINET, CIRCA 1902 with gilt embellishments, the later projecting cornice with gently curved outline decorated to the underside with Classical Greek architectural mutules, over a single glazed door with chamfered astragals and carved and gilded foliate motifs, flanked by further corresponding glazed panels and enclosing freestanding concave shelves supported by pegged uprights, the base with a central drawer with inset copper-backed handle, flanked by drawers with inset horn handles, the whole raised on square tapering legs 163cm wide, 196.5cm high, 45cm deep Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, page 120, plate 157, page 155. Provenance: The Phillippines, Brasted Chart, Kent Note: Walton decorated the drawing room at The Phillippines from 1902 and the scheme marked a change of direction for his work to a more formal, classical style. The use of architectural detailing on the cornice of this cabinet is reflected in the wall panelling, as are the gilded embellishments which also adorn the cornice shelf around the room.

£6,000-8,000

LY O N & T U R N B U L L Decorative Arts

346 EZ855/1 SCOTTISH ARTS & CRAFTS OAK BEDROOM SUITE, CIRCA 1900 comprising A WARDROBE projecting cornice above central mirrored doors inset with blue glass panels and flanked by embossed copper roundels, the base with single drawer on block feet, 152cm wide, 216cm high, 56cm deep; A DRESSING TABLE, the rectangular mirrored plate on square supports with corresponding blue glass inlay above base with three short over two long drawers on block feet , 107cm wide, 146cm high, 61cm deep; WASHSTAND, rectangular top with hammered and embossed copper casing raised above single door flanked by two drawers and two doors below on block feet , 107cm wide, 78cm high, 53.5cm deep (3) ÂŁ600-800

LY O N & T U R N B U L L Decorative Arts

347 EZ870/3 E.A. TAYLOR (ATTRIBUTED TO) FOR WYLIE & LOCHHEAD, GLASGOW OAK ART NOUVEAU CANTERBURY, CIRCA 1900 the divided superstructure with motifs to each side carved as stylised plant forms above a lower single drawer on square tapering supports with part-pierced arched aprons 54cm wide, 52cm high, 39cm deep Provenance: Sir James Morton, and by family descent. Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971

£800-1,200

348 EZ582/12 HENRY TAYLOR WYSE (ATTRIBUTED) PAIR OF SIDE CHAIRS, CIRCA 1900 each with arched and pierced backs with applied painted gesso panels of flowering plants, raised on stuffover seats with square tapering legs (2)

349 EZ333/3 GLASGOW STYLE TILE AND WOOD OCCASIONAL TABLE, CIRCA 1900 the rectangular top with inset yellow glazed tile panels and two central rose glazed tile panels with foliage motif, the whole raised on tapering supports

Note: Henry Taylor Wyse (1870 - 1951) was born in Glasgow and became a founding member of the Scottish Guild for Handicraft and an influential art teacher. He ran the Holyrood Pottery between 1917 and 1927. While living in Arbroath in the early 1900’s, he designed an extensive range of furniture, made locally to order by W. Middleton, cabinetmaker, and characterized by simple forms designed for practical everyday use which he enlivened by painted decoration, often using applied gesso relief.

56cm high, 59cm diameter

£400-600

£100-200 350 EAA387/1 CHARLES RENNIE MACKINTOSH (ATTRIBUTED) GLASGOW SCHOOL OF ART TABLE EASEL, CIRCA 1900 of tapered strut design with adjustable peg supports, stained beech 112cm high, 58cm wide

£200-300

351 EAB393/1 SCOTTISH CELTIC REVIVAL OAK STOOL, 1920s the leather upholstered pad seat above shaped apron carved in relief with Celtic knotwork on scrolling legs linked by stretcher 54cm across Provenance: The Estate of the Late Jean Gordon Welsh

£200-300 352 EZ311/18 SCOTTISH CELTIC REVIVAL OAK FOOTSTOOL, CIRCA 1920 the button upholstered seat supported by curved panels, each carved with entwined beasts raised on chip carved and facetted legs 55.5cm wide

£150-250

LY O N & T U R N B U L L Decorative Arts

353 EAA483/2 SIR ROBERT LORIMER OAK CENTRE TABLE, CIRCA 1910 made by Whytock & Reid, Edinburgh, the circular planked top with four inset panels, raised on turned and spirally reeded and fluted moulded supports, on a crossed chamfered base with ogee moulded feet 72cm high, 107cm diameter Provenance: Sir James Morton, Craigiehall, Edinburgh and by family descent Literature: Morton, J., 'Three Generations in a Family Textile Firm', London: Routledge & Kegan Paul, 1971, pages 312-3 Note: By 1905 Alexander Morton & Co had expanded their considerable textile empire to Carlisle, setting up Morton Sundour Fabrics in that year in the town. For James Morton Carlisle quickly became the centre of operations and in 1923 he commissioned Sir Robert Lorimer to design and furnish a third house where he could stay mid week from Tuesday to Thursday, hence the name of the house, on Lorimers suggestion, 'Tuethur'. The interiors of the huse were panelled in untreated gean or wild cherry wood and all the furniture in the house was designed by Lorimer and made by Whytock and Reid of Edinburgh.

ÂŁ8,000-12,000

LY O N & T U R N B U L L Decorative Arts

354 EAA483/1 SIR ROBERT LORIMER SET OF FOUR OAK DINING CHAIRS, CIRCA 1910 made by Whytock & Reid, Edinburgh, each of Windsor form, with curved top rail above spindle-filled back and moulded open arms raised above moulded dished seat on turned tapering legs (4) 61cm wide, 71cm high, 40cm deep Provenance: Sir James Morton, Teuthur, Carlisle and by family descent Literature: Morton, J., 'Three Generations in a Family Textile Firm', London: Routledge & Kegan Paul, 1971, pages 312-3 Hussey, Christopher 'The Works of Sir Robert Lorimer', pub. 1931, plate 234B shows a chair with similar moulded arms

ÂŁ4,000-6,000

LY O N & T U R N B U L L Decorative Arts

355 EZ870/2 SIR ROBERT LORIMER OAK SIDE TABLE, CIRCA 1920 made by Whytock & Reid, Edinburgh, the demi-lune top on baluster cut-out supports linked by shaped pegged stretcher on bracket feet 91.5cm wide, 73.5cm high, 35cm deep Provenance: Sir James Morton, Craigiehall, Edinburgh and by family descent Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, pages 314-5

£2,000-3,000

356 EAA579/1 SIR ROBERT LORIMER (ATTRIBUTED TO) SMALL OAK BOOKCASE, CIRCA 1920 made by Whytock & Reid, Edinburgh, the serpentine three quarter pierced gallery above two open shelves raised on cabriole legs terminating in pointed pad feet 35cm wide, 70cm high, 23cm deep

£500-700

LY O N & T U R N B U L L Decorative Arts

357 EZ794/6 SIR ROBERT LORIMER (ATTRIBUTED TO) LIMED OAK COMPACTUM, CIRCA 1930 made by Whytock & Reid, Edinburgh, moulded cornice with rounded angles above two astragal glazed doors enclosing shelves above two drawers with cut-out handles and two cupboard doors below flanked by a pair of doors, one enclosing shelves and sliding shelves, the other with hanging space 254cm wide, 180cm high, 58cm deep

ÂŁ1,000-1,500

LY O N & T U R N B U L L Decorative Arts

358 EZ870/5 SIR ROBERT LORIMER OAK AND BURR OAK CENTRE TABLE, EARLY 20TH CENTURY made by Whytock & Reid, Edinburgh, the square top with inset angles and burr inlay raised on scrolling cut-out supports linked by corresponding stretchers 84cm square, 72cm high Provenance: Sir James Morton, Craigiehall, Edinburgh and by family descent Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, pages 314-5 Note: Craigiehall, a William & Mary mansion just outside Edinburgh, was leased for the first time in 1926 from the Earl of Rosebery to James Morton, the wealthy textile merchant and son of Alexander Morton, for a 21 year period. By then, the house had lain empty for more than ten years and extensive renovations were carried out. Sir Robert Lorimer was commissioned for work to the house, and a water-turbine was built beneath the Grotto to provide electricity to the house and stables, which were renovated as accommodation for Morton’s textile workers; a craft studio was also established. The present lot ‘a fine square table of Lorimer’s design’ stood in the entrance hall.

£3,000-5,000

359 EAA484/2 SIR ROBERT LORIMER OAK ORGAN STOOL, CIRCA 1929 the curved plank seat on planked supports and stepped bracket feet, linked by a stretcher 138cm wide, 69cm high, 30cm deep Provenance: Crieff South Church, Crieff, Scotland

£500-700

105cm wide, 69cm high

187cm wide

£500-700

Provenance: Sir James Morton, Teuthur, Carlisle and by family descent Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, page 312-3

£400-600

361 EZ871/12 E. W. GODWIN (MANNER OF) SET OF EBONISED WOOD HANGING SHELVES, 1870 with two panelled doors enclosed by open shelves above a scalloped apron supported by open brackets

360 EZ870/1 SIR ROBERT LORIMER OAK FRAMED SETTEE, EARLY 20TH CENTURY made by Whytock & Reid, Edinburgh, the upholstered back and arms enclosing loose squab cushion raised on square rounded legs

LY O N & T U R N B U L L Decorative Arts

362 LB305/1 E.W. GODWIN (ATTRIBUTED TO) FOR WILLIAM WATT, LONDON ROSEWOOD CENTRE TABLE, CIRCA 1880 the octagonal top with moulded edge, above square and tapering reeded supports, with beaded knops, linked by panelled stretchers on outswept legs, terminating in carved claw and ball feet with pot castors 67cm diameter, 70cm high Note: See Sotheby’s ‘Applied Art and 20th Century Design’, 3rd May 2002 for a similar oak example with stamped mark ‘William Watt, Furniture Maker for E.W. Godwin, 40 345.0 (?)’

£800-1,200

363 EZ570/1 E.W. GODWIN (MANNER OF) FOR COLLINSON & LOCK MAHOGANY SIDEBOARD, CIRCA 1880 the superstructure with dentil frieze above base with arrangement of drawers and cupboards and with decorative brass strap hinges raised on turned supports with platform stretcher 183cm wide, 114cm high, 61cm deep Literature: Soros, Susan Weber ‘The Secular Furniture of E.W. Godwin’ Yale 2004, pages 202, 209, 211

£700-900

LY O N & T U R N B U L L Decorative Arts

364 EZ871/9 ANGLO-INDIAN GOTHIC REVIVAL PAIR OF HARDWOOD FRAMED THRONE CHAIRS, CIRCA 1870 each with pointed arch back, with figural bird surmount and flanked by square uprights with orbed finials above upholstered arms with steeply tapering uprights, with carved stylised plant lugs (2) 118cm wide

£1,500-2,000

365 LB360/1 CHRISTOPHER DRESSER (ATTRIBUTED TO) EBONISED COAL BOX, CIRCA 1870 of tapered rectangular form with brass mounts 70cm wide, 48cm high, 36cm deep

£400-600

LY O N & T U R N B U L L Decorative Arts

366 LB350/22 AESTHETIC MOVEMENT TWO PIECE ASH BEDROOM SUITE, CIRCA 1880 comprising a WARDROBE with projecting moulded cornice above a central mirrored door flanked by two cupboards, each with moulded panels with incised and inlaid decoration, decorative brass hinges raised on a plinth, 185cm wide, 223cm high, 54.5cm deep; and a DRESSING CHEST, the mirrored back above open shelf and tiled splash back, the tiles by JOHN MOYR SMITH FOR MINTONS, the rectangular marble top above three drawers and three cupboard doors below with corresponding incised decoration, raised on a plinth (2) £1,500-2,500

367 EZ871/13 BRUCE TALBERT (ATTRIBUTED TO) OAK CORNER SHELVES, CIRCA 1870 with three triangular tiers, the upper tier with tapered spindle gallery and sphere finials above corresponding lower tiers linked by turned uprights, the whole raised on toupee feet 65cm wide, 113cm high, 39cm deep

£300-500

368 BRUCE TALBERT (MANNER OF) OAK BREAKFRONT LOW BOOKCASE, CIRCA 1890 the moulded top above central section with twin glazed doors enclosed by reeded mouldings and rosette spacers, flanked by four cupboard doors, each with corresponding mouldings and with rosette carved panels, the whole raised on a plinth 307cm wide, 133cm high, 54cm deep

369 E. GOMME LTD OAK DINING SUITE, DATED 1936 comprising a DINING TABLE, the rounded rectangular top on chamfered cross supports linked by a stretcher, 157cm long, 72cm high, 76cm wide; and six matching DINING CHAIRS, with green leather upholstered seats (7) £500-700 370-371 No lots

LY O N & T U R N B U L L Decorative Arts

372 EZ582/1 WYLIE & LOCHHEAD, GLASGOW (ATTRIBUTED TO) INLAID ROSEWOOD OCCASIONAL TABLE, CIRCA 1900 the hexagonal top marquetry inlaid with mother of pearl and specimen woods with a fruiting and flowering band, raised above turned supports with arcaded pierced frieze, linked by an undertier 58cm diameter, 71cm high

£500-700

373 LB348/94 VICTORIAN GOTHIC CAST IRON STICK STAND the pierced foliate and geometric designed back plate with rope twist rail over plinth base and drip tray, cast mark ‘52/ T J WALFORD’

375 EZ582/2 ELLEN WELBY (ATTRIBUTED TO) THREE FOLD SCREEN, CIRCA 1900 each panel embroidered with figures in Elizabethan dress each fold, 88cm high, 29cm wide

377 EZ850/2 MORRIS & CO. ‘KELMSCOTT’ SECTIONAL BOOKCASE, CIRCA 1930 with two tiers of twin astragal glazed doors enclosing shelves and raised on bracket feet

38cm wide, 73cm high, 21cm deep

£200-300

76cm wide, 121cm high, 36cm deep

£100-200

£200-300

374 EY158/88 AUSTRIAN SCHOOL SMALL BENTWOOD BOOKCASE, CIRCA 1890 with scrolling spindle-filled gallery above twin astragal glazed doors enclosing shelves

376 EZ582/37 ALFRED WICKHAM JARVIS (ATTRIBUTED TO) FIRE SCREEN, CIRCA 1900 the shaped mahogany frame enclosing a central panel with applied and overpainted gesso decoration of whiplash foliage and berries

54cm wide, 100cm high, 24cm deep

65cm wide, 83cm high

£200-300

378 EZ869/2 MORRIS & CO. (MANNER OF) WALNUT FRAMED ADJUSTABLE ARMCHAIR, LATE 19TH CENTURY with button upholstered seatback and cushion, the back with turned spindles above steeply raked spindlefilled arms on turned legs £500-700

LY O N & T U R N B U L L Decorative Arts

379 EZ871/15 MORRIS & CO MAHOGANY INLAID SIDEBOARD, manufactured by Arthur W. Simpson of Kendal, the rectangular reverse breakfront top with satinwood crossbanding, above a carved frieze and three drawers, in turn raised above a central void with shelf flanked by twin doors, each inlaid with stylised plant forms and mounted with octagonal silver handles, the whole standing on square tapering legs decorated with corresponding carved panels 217cm wide, 99cm high, 65cm deep Literature: Jeremy Cooper, ‘ Victorian and Edwardian Furniture and Interiors’ pub. 1987, page 472, plate 470, for a similar example

£4,000-6,000

380 EZ871/4 MORRIS & CO. (ATTRIBUTED TO) MAHOGANY OCCASIONAL TABLE, CIRCA 1880 the hexagonal top with inset tile panels and ripple moulded edge, raised on turned and tapering legs linked by shaped stretchers 49.5cm diameter, 62cm high

£300-500

LY O N & T U R N B U L L Decorative Arts

381 EZ803/1 ART NOUVEAU MAHOGANY DISPLAY CABINET, CIRCA 1910 the moulded cornice above twin astragal glazed doors enclosing central panel of marquetry inlay depicting stylised plant forms raised above an open shelf on bracket feet 122.5cm wide, 175cm high, 38cm deep

£800-1,200

382 EAA477/4 CONTINENTAL ARTS & CRAFTS INLAID HARDWOOD AND STEEL BOUND TRUNK, CIRCA 1900 of rectangular form with hinged lid, inlaid with brass and copper with stylised foliate motifs 52cm wide, 32cm high, 21cm deep

£300-500

383 EZ869/3 ARTS & CRAFTS STAINED BEECH AND OAK SIDE CHAIR, CIRCA 1900 the arched top rail with pierced woven motif above lattice panel and turned supports, the drop-in rush seat above pierced scrollwork apron on turned and tapering front legs with stylised four feet linked by a stretcher £400-600

384 LB350/15 GUSTAV STICKLEY OAK RECLINING ROCKER, CIRCA 1900 the slatted back with upholstered cushions above stuff-over seat and broad open arms raised on square pegged supports on rocker bases £600-800

385 EAC97/1 LIBERTY STYLE SMALL OAK GATELEG TABLE, CIRCA 1910 the rectangular top with chequer inlay raised on square supports with block feet 56cm wide, 61cm high, 69cm long

£200-300

LY O N & T U R N B U L L Decorative Arts

386 EZ871/6 J.S. HENRY MAHOGANY DISPLAY CABINET, CIRCA 1900 the projecting moulded cornice above a central alcove set with elliptical enamel plaque and flanked by open shelves, the semi-bode base with central inlaid door flanked by glazed cupboards, the whole raised on square tapered legs, bears maker’s label 127cm wide, 161cm high, 46cm deep

£600-800

387 EAA340/1 ARTS & CRAFTS MAHOGANY JARDINIERE STAND, CIRCA 1910 the square top carved in bas relief with scrolling foliage raised on four plank supports, each carved with foliate designs and linked by a cross stretcher 37.5cm square, 95.5cm high

£200-300

388 EAC97/2 ARTS & CRAFTS OAK STICK/UMBRELLA STAND, CIRCA 1920 with chequer line inlay and slatted back 70cm wide, 92cm high

£150-200

389 EZ334/9 HEAL & SON (MANNER OF) LIMED OAK SECRETAIRE BOOKCASE, CIRCA 1930s the upper section with twin astragal glazed doors enclosing adjustable shelves above drop-down fall enclosing pigeon holes with two drawers below, the whole raised on a plinth 91cm wide, 191cm high, 37.5cm deep

£300-500

LY O N & T U R N B U L L Decorative Arts

390 EZ865/1 H.M. BAILLIE SCOTT (ATTRIBUTED TO) COPPER AND CAST IRON FIRE INSERT, CIRCA 1900 repoussé decorated with heart-shaped symbols and rivet design above a grate with horizontally ribbed guard and orbed fire dogs 56cm wide, 96cm high

£400-600

391 EZ869/1 ARTS & CRAFTS LIMED AND STAINED OAK GAMES TABLE, CIRCA 1900 the square two tier top above a cluster of four turned columns with central square support carved with panels depicting stylised plant forms, the whole raised on 59cm square, 78cm high

£800-1,200

LY O N & T U R N B U L L Decorative Arts

392 EZ871/7 HEAL & SON LIMED OAK REFECTORY TABLE, CIRCA 1910 the rectangular planked top raised on chamfered square supports with curved brackets and platform bases linked by a platform stretcher, bears maker’s label 215cm long, 91.5cm wide, 76.5cm high

£2,000-3,000

393 EAA484/1 HEAL & SON OAK REFECTORY TABLE, CIRCA 1920 the rectangular planked top on rectangular section supports, and spreading bases linked by stretcher, bears maker’s label 168cm long, 75cm high, 75cm wide

£800-1,200

LY O N & T U R N B U L L Decorative Arts

394 LB350/6 WILLIAM BIRCH, HIGH WYCOMBE ASH SETTEE, CIRCA 1910 the back with curved and pierced splats, and square supports with canted finials, above open arms and two drop-in upholstered pad seats, the whole raised on ring turned legs linked by cross stretchers 129cm wide

£800-1,200 395 EY793/2 WILLIAM BIRCH, HIGH WYCOMBE OAK ARMCHAIR, CIRCA 1910 the curved back above open arms on rush seat and ring turned legs linked by stretchers £150-250

396 EAA373/1 ARTS & CRAFTS SET OF FOUR WALNUT TUB CHAIRS, 1930s each with curved and moulded top rails above pierced and slatted supports enclosing the caned seat and linked by a lower platform stretcher (4) £800-1,200

LY O N & T U R N B U L L Decorative Arts

397 EZ848/1 ROBERT (MOUSEMAN) THOMPSON OAK COFFEE TABLE, CIRCA 1950 the rectangular top with adzed surface raised on faceted turned and blocked legs linked by stretchers, carved “Mouse” signature 82cm long, 41cm high, 36cm wide

£300-500

398 EZ871/14 ART DECO NEO-EGYPTIAN SIDE CABINET, CIRCA 1920 painted all over with stylised Egyptian-esque figural friezes, with twin doors opening to reveal an interior fitted with pigeon holes and cupboards raised on square legs

399 EZ798/7 ART DECO BIRCH AND WALNUT OCCASIONAL TABLE, CIRCA 1930 the octagonal cross-banded top on square tapered support and corresponding base 56.5cm diameter, 56cm high

£200-300

91cm wide, 138cm high, 46cm deep

£500-700

LY O N & T U R N B U L L Decorative Arts

400 EZ333/2 ART DECO LACQUERED WOOD AND CHROMIUM COCKTAIL TROLLEY, 1930s the top with lift-out tray above base with twin doors opening to reveal a fitted interior of plated cocktail shaker, glasses, etc, the sides with open-out compartments for bottles 69cm long, 78cm high, 41cm deep

£600-800

401 EAA898/3 FRENCH ART DECO TORTOISESHELL AND EBONISED COFFEE TABLE, CIRCA 1930 the canted rectangular top raised on eight reeded turned tapered supports united by an undertier 69cm wide, 58cm high, 49cm deep Provenance: Brockwood Park School, Hampshire.

£1,500-2,500

LY O N & T U R N B U L L Decorative Arts

402 EZ749/2 EDGAR BRANDT (AFTER) WROUGHT IRON JARDINIERE STAND, 1930s the square top above tapering column with applied spirals on scrolling supports 119cm high

£300-500

403 EAA599/2 LYSBERG & HANSEN BEECH SIDE TABLE, CIRCA 1930 the elliptical banded top inlaid in holly and bone with several gazelle, with drop ends, the shallow apron raised on tapered legs with brass caps, bears manufacturer’s label

405 EZ749/1 PAUL MCCOBB FOR WITCHENDON FURNITURE COMPANY SYCAMORE COFFEE TABLE, 1950s the semi-elliptical planked top with upturned ends raised on powdered steel tapering legs with sphere feet

47cm wide, 60cm high,

118cm long, 50cm high,

109.5cm long

54.5cm deep

£200-300

£300-500

404 EAC46/2 AFTER TERENCE CONRAN PAIR OF WICKER CHAIRS, 1950s each of conical form, on black painted legs with rubber feet (2)

406 EAC8/1 SCANDINAVIAN SCHOOL ROSEWOOD DROPLEAF DINING TABLE, 1960s the oval top raised on four hinged L-shaped support

£150-250

136cm long, 71.5cm high, 121.5cm wide

£200-300

LY O N & T U R N B U L L Decorative Arts

407 EAA257/1 PIERO FORNASETTI TWO TIER FOLDING OCCASIONAL TABLE, 1960s each tier a removable lacquered tin tray, printed and painted in gilt and coloured enamels with archaic weapons and keys, the black lacquered wooden frame with brass fittings and hinged sides bears maker’s label 66cm wide, 69cm high, 47cm deep

£1,000-1,500

408 EZ749/3 MARIO BELLINI FOR ARFLEX THREE PIECE LOUNGE SUITE, CIRCA 1980 comprising of SOFA and TWO MATCHING ARMCHAIRS, each with exposed steel frames, the upholstered backs and seats and arms with loose upholstered cushions Sofa 170cm wide

£300-500

409 EAA599/1 CHARLES AND RAY EAMES LOW ARMCHAIR ROD (LAR), DESIGNED 1950 the tomato-red polyester and fibreglass single-shell seat, back and arms supported on black painted bent wire base £400-600

410 EZ311/3C PETER HVIDT FOR FRANCE AND SON, DENMARK TEAK TWO-TIER COFFEE TABLE, 1960s the upper tier of L-shaped form above a lower square tier raised on turned tapering legs, bears maker’s label, 74cm square, 64cm high; and a FRANCE & SON COFFEE TABLE DESIGNED BY PETER HVIDT, the circular top above a smaller lower tier with wicker panel on turned and tapering legs, bears maker’s label, 100cm diameter, 50cm high (2) £200-300

100

411 EZ311/3B PETER HVIDT FOR FRANCE AND SON, DENMARK TEAK FRAMED THREE-SEAT SOFA, 1960s with upholstered back, seat and arms on turned legs, bears maker’s label 200cm wide

£200-300

LY O N & T U R N B U L L Decorative Arts

412 EZ311/3 PETER HVIDT FOR FRANCE AND SON, DENMARK TEAK FRAMED TWO SEAT SOFA, 1960s with upholstered back, seat and arms on turned legs, bears maker’s label 137cm wide

£100-200

413 EZ311/3A PETER HVIDT FOR FRANCE AND SON, DENMARK TEAK FRAMED ROCKING ARMCHAIR, 1960s with upholstered back and seat enclosed by open arms on rocking base, bears maker’s label; also a pair of MATCHING STOOLS by the same maker, 55cm wide (3) £150-250

414 EAA337/1 SIGURD RESSELL FOR VATNE MOBLER PAIR OF ‘FALCON’ EASY CHAIRS, 1970s bent wood and leather upholstery, with matching footstool (stool with damaged leg) (3) £200-300

415 EZ859/9 MURANO GLASS WALL MIRROR, CONTEMPORARY the rectangular frame decorated with applied glass flowers 84cm x 41cm

£200-300

416 LB348/57 MICHAEL CIANCIMINO MAHOGANY SERVING TABLE, 1970s the black-enamelled steel frame with rectangular inset top above three frieze drawers on cluster column supports 198cm wide, 76.5cm high, 64cm deep

£100-150

101

LY O N & T U R N B U L L Decorative Arts

417 EZ318/1 ALAN JAMES MILLAR EBONISED OAK AND MAPLE VENEERED DINING ROOM SUITE, 1980s comprising a DINING TABLE of stepped elliptical form, quarterveneered with burr maple and raised on swollen turned supports, tapering to turned and blocked feet; and eight matching DINING CHAIRS, four “female” and four “male” (9) table, 240cm long, 127cm wide, 74cm high Note: Designed for the boardroom of McGurn, Logan, Duncan & Opfer architects, Woodside Place, Glasgow, made by Piers Kettlewell cabinetmakers, circa 1985

£1,000-1,500 END OF SALE

102

American Furniture, Decorative & Folk Art The 5th Anniversary Pennsylvania Sale 11/20&21/10

Carved oak hall chair, brand of the Rose Valley Shops, Rose Valley pennsylvania (1901-1907) $8,000-$12,000

Upcoming Auctions Saturday November 20th at 10am and Sunday November 21st at 12 Noon Exhibitions Wednesday November 17th through Friday November 19th 10am-6pm

Inquiries: lynda cain direct tel: 267.414.1237 lcain@freemansauction.com amy parenti direct tel: 267-414-1223 aparenti@freemansauction.com

Catalogue $35

Walnut Coffee Table george nakashima (1905-1990) $8,000-$12,000

Bronze and leaded glass table lamp tiffany studios, new york, early 20th century $10,000-$20,000 FREEMANâ&#x20AC;&#x2122;S 1808 Chestnut Street Philadelphia, PA 19103 Telephone: 215.563.9275 Fax: 215.563.8236 www.freemansauction.com 126 Garrett Street Charlottesville, VA 22902 Telephone: 434.296.4096 Fax: 434.296.4011 www.freemanssouth.com

www.freemansauction.com

STANDARD TERMS & CONDITIONS OF SALE Lyon & Turnbull carries on business with bidders, buyers and all those present in the auction room prior to, or in connection, with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) “Auctioneer” means the firm of Lyon & Turnbull or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which, at the date of the sale, had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Lyon & Turnbull accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk (*) or dagger (†). 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. 6. PAYMENT (1) Immediately a lot is sold you will: (a) pay to us the total amount due in cash or in such other way as is agreed by us. We accept cash, bank transfer (details on request), Switch or Debit Cards and Visa or MasterCard (please note there is a surcharge of 1.5% (VAT included) when using credit cards). We do not accept American Express. (2) any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than four working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and other associated charges. (3) No purchase can be claimed or removed until it has been paid for.

(f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;

(4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom and the potential storage charges for lots not collected by the appropriate time.

(g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

(h) The singular includes the plural and vice versa as appropriate.

(1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller 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:

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid, which must be raised before the next lot is offered, shall be settled at the auctioneer’s absolute discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon. Antiques, Jewellery & Silver and Pictures (Not Fine Sales) 17.5%. All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law.

(a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate of 1.5% per month above the current base rate on the total amount due, to the extent it remains unpaid for more than four 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 in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to

retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on their behalf pursue these rights and remedies only as far as is reasonable to make appropriate recovery in respect of breach of these Conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale. 10. COMMISSION BIDS While prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer or our employees or 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. 11. WARRANTY OF TITLE AND AVAILABILITY

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 accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents or the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 16. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The seller warrants to the auctioneer and to you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

12. AGENCY

GENERAL

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. STANDARD VENDOR FEES AND CHARGES (Subject to VAT) (1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold. Photography: max £40 mono per lot, max £250 colour. Internet Marketing Service: £10 per lot. (2) If a vendor wishes to withdraw a lot consigned for sale, a withdrawal fee will apply; this will be charged at 15% of the mid estimate with any photography charges incurred and all subject to VAT at the current rate. 15. DESCRIPTIONS AND CONDITION (1) While 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,

18 (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 20. 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 or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 21. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 22. Scottish law applies to the interpretation of these Conditions.

Waverley Station

Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom. WA ITH LE

ITH

Smaller items Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier.

QU EE N

Local Deliveries Local deliveries can be arranged by A&S Pert Removals. Telephone 07876 343520.

Lyon & Turnbull saleroom

St Andrew Square

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P R IN C

Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk Fine Art Carriers Gallery Support Group 37 Cremer Street London E2 8HD Tel: +44 (0)20 7729 6692 Email: info@gallerysupportgroup.com

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale. Thereafter lots will be removed to store in Edinburgh and a charge incurred. Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon and Turnbull Ltd. 2010. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.

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

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

11-12 Pall Mall, London SW1Y 5LU Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 9629