Duke's - Art & Design post 1880 - 19th March 2020

Art & Design Post 1880 19th March 2020

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

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Art & Design post 1880

Thursday 19th March at 10.30am Meet the specialists At Duke’s we are dedicated to making buying and selling at auction as simple and enjoyable as possible.

Our team of specialists are on hand to offer expert advice across the auction spectrum.

Whether you require more information about the current condition of a lot, or you have something similar you would like to sell, please contact a member of our team who will be delighted to assist.

Max Beaumont Head of Department Decorative Art max.beaumont@dukes-auctions.com

John Holmes Head of Department Paintings and Prints john.holmes@dukes-auctions.com

www.sofaa.org

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Welcome to the Dorchester Fine Art Salerooms, which are centrally located in the county town, close to the main Dorchester South railway station.

Trains run hourly to London Waterloo (approximately 2 hours 30 minutes) and there are airports at Bournemouth and Exeter.

The Saleroom has ample parking.

If you require further information please refer to the buyer’s guide on page 3, visit our website, or contact Stephanie Smith.

TRAVEL INFORM ATION South West Trains Train/Fare enquiries: 0845 748 4950 Credit Card Ticket sales: 0845 600 0650 Taxi Oriole Cars: 07823 338 367 or 07876 021 411

Duke’s Brewery Square Dorchester Dorset DT1 1GA Tel: 01305 265080 Duke’s Avenue Auctions Weymouth Avenue Dorchester Dorset DT1 1QS Tel: 01305 257544 Email: enquiries@dukes-auctions.com www.dukes-auctions.com

www.sofaa.org

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area representatives Wiltshire & Cranborne Chase Sir Michael Salt, Bt (01258) 860259 The Isle of Wight Anthony Blest (01983) 760460 Devon Chris Bolton F.R.I.C.S. (01297) 354100 Midlands and Cotswolds Marc Allum (01249) 447478 SOMERSET & AVON Richard Gold (01963) 34764 Hampshire Robert Nevin (0208) 7685152 North of England Nick Bray (07860) 642488

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

B U Y E R S I N F O R M AT I O N

Commission bids: If you are unable to attend the auction in person we will be pleased to execute commission (absentee) bids on your behalf. Lots will be purchased as cheaply as allowed by other bids and reserves Commissions must be received at least 24 hours before the auction.

Illustrations: If you would like a more detailed image of an illustrated lot, or an image of an item which is not illustrated, we will be delighted to send them by email. Requests must be received 24 hours before the auction.

Telephone bidding: If you wish to bid on a major lot over the telephone we will do all we can to assist you, but lines should be booked at least 48 hours before the auction.

Estimates: Estimates are prepared well in advance of the auction and are subject to revision. Our specialists are always pleased to discuss individual lots with intending purchasers.

Condition reports: An indication of condition is not generally printed in the catalogue, but prospective buyers are welcome to request a condition report up to 48 hours before the auction. Please bear in mind that whilst we endeavour to provide an accurate representation the ultimate responsibility is with the buyer and we strongly recommend you personally view any lots on which you intend to bid.

Credit Cards: Payment may be made by credit card or debit card over the telephone up to a maximum of £500 only.

Deposits: The Auctioneer may require a deposit of 5% of the hammer price immediately. If the buyer is unable to meet this requirement to the Auctioneer’s satisfaction they reserve the right to cancel the sale immediately.

Buyer’s Premium:

25% plus VAT on the hammer price

Jewellery: The contents of any gemmological certificates accompanying lots in this sale are not guaranteed by Duke’s Auctioneers and we cannot be held responsible for any disagreement over the contents of the certificates after the sale, or for a retrospective change in opinion by the certificate issuer. All weights and measurements provided are approximate only.

Prospective purchasers should assume that all coloured stones sold by Duke’s Auctioneers have been treated unless otherwise stated to the contrary in the catalogue description. Stones are commonly treated to enhance their colour and clarity. Sapphires and rubies are commonly heat treated and emeralds commonly oiled. Jade/jadeite is often bleached, polymer/resin filled or dyed. Please contact Duke’s for more clarification on treatment in individual lots.

Items containing rubies or jade/jadeite of Burmese origin are not permitted for import by the USA. Artist’s Resale Right: From mid February 2006 living artists are entitled by law to receive a resale royalty each time their work is resold by or to an art market professional. From 1st January 2012 the Right has been extended to include sales of works by artists who have died within the last 70 years (following the existing term of copyright). Royalties will be payable to the families and beneficiaries of these artists. An art work must be resold for more than 1,000 Euros to qualify for the right. The rates payable are calculated as a percentage of the hammer price and are set out in a sliding scale from 4% to 0.25%. The charge is exclusive of VAT. The auctioneers reserve the right to pass all of the cost to the person buying the qualifying art work.

CITIES and Wildlife Material: ©Works being sold with a relevant CITIES certificate are denoted with this symbol. For further information regarding CITIES and wildlife material legislation, please see conditions of sale on page 206 Furniture:

‡ Lots marked with this symbol are sold for decorative use only

Collection: Our offices are open Monday to Friday, 9am - 5.30pm. We are pleased to recommend reputable carriers and can advise on air-freight and other forms of despatch. Items of furniture not collected within 5 working days will be transported to storage at the buyers expense.

Online Bidding Online bidding is available for this sale at www.the-saleroom.com. All you need is a computer or laptop and an internet connection. You will be able to bid in real time; a live audio feed means you can hear the Auctioneer at exactly the same time as the other bidders. You will see the lots on your computer screen as they appear in the auction room and the Auctioneer is aware of your bids the moment you make them. Please refer to our terms and conditions of sale for charges.

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Sp r i ng Fi n e A rt 23rd April 2020

ROBERT WALLACE MARTIN (1843-1923) FOR MARTIN BROTHERS An early grotesque 'Wally Bird' stoneware tobacco jar and cover incised marks "R.W. Martin, 2•2•82, London, Southall" 26cm high, on a circular wooden plinth, 28.5cm high overall

Duke's are pleased to be accepting entries into this auction until Friday 20th March For more information, or should you wish to consign, please contact Duke's on 01305 265080 or email enquiries@dukes-auctions.com

Provenance: A gift from Robert Wallace Martin to the grandfather of the current vendor Estimate: £10,000 - £20,000 7

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

VIEWING Saturday, 14th March, 9.30am-12noon Monday, 16th March, 9.30am-5pm Tuesday, 17th March, 9.30am-7pm Wednesday, 18th March, 9.30am-5pm And on the morning of the auction day

Catalogues ÂŁ20.00 (by post)

Follow us on Twitter @DukesAuctions

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Duke’s AUCTIONEERS SINCE 1823

Evening Viewing Duke’s are delighted to offer evening views each Tuesday before our Fine Art Auctions.

Come and join us between 5pm and 7pm for a drink and a chance to view our exciting auctions in our state of the art premises

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Pádraig Mac Miadhacháin A West Country Retrospective Monday 16th - Friday 27th March 2020

The Gallery @ Duke’s Brewery Square Dorchester DT1 1GA 01305 265080 www.dukes-auctions.com 10

PADRAIG MAC MIADHACHAIN (1929-2017) THE HARBOUR 2002 oil on linen 61cm x 61cm

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Art & Design post 1880

Thursday 19th March at 10.30am

Lots 1 – 43

An Important Collection of the Works of Vladimir and Elizabeth Polunin

Lots 44 – 75

Prints And Multiples

Lots 76– 103

Works on Paper

Lots 104 – 194

Paintings

Lots 195 – 257

The Bob Cosford Collection of Contemporary and Street Art

Lots 258 – 315

Glass

Lots 317 – 394

Poole Pottey

Lots 395 – 423

The John Noakes Collection of Rozenburg Pottery

Lots 424 – 493

Ceramics

Lots 494 – 520

Silver and Jewellery

Lots 521 – 565

20th Century Design and Collectables

Lots 566 – 572

Sculpture

Lots 573 – 635

Furniture

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%.

VIEW IMAGES OF ALL LOTS AND BID LIVE ONLINE

Photography by JONATHAN GOODING

www.jonathangooding.co.uk 12

THE POLUNIN COLLECTION

Detail of lot 7 13

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

An Important Collection of the Works of Vladimir and Elizabeth Polunin

B

orn in the Russian Empire in 1880, Vladimir Polunin married British artist and designer Elizabeth Hart in 1907, in St Petersburg, before moving to London in 1908. The couple worked together as scene painters for several theatres before becoming the principal set designers for the Ballets Russes, an itinerant ballet company conceived by Sergei Diaghilev, which was widely regarded as the most influential ballet company of the 20th century. Between 1917-24 Pablo Picasso and the Ballets Russes collaborated on several productions. In the summer of 1919 Picasso spent ten weeks in London, visiting Polunin’s studio daily, interested in the methods of the scene painters and to check that his works retained their originality when translated from his own studies into stage sets or curtains.

Polunin worked with his wife Elizabeth in a top floor room of an old warehouse at 48 Floral Street in Covent Garden. Reached only by a narrow ladder, it was the repository for the Ballet’s sets, and it was here Picasso worked on his set designs for the company. It was largely because of the Polunins’ technical mastery and enthusiasm for the project that Picasso’s collaboration with Diaghilev was able to realise its full potential. Picasso's initial iconic work for the Ballets Russes relates to the 1917 production of Parade, for which he produced elements in two distinctive styles: a magnificent cubist stage and a neoclassical curtain. In 1919, he then collaborated with the Polunins’ on the production of the Spanish-themed ballet Le Tricorne (The Three-Cornered Hat) and a fruitful and happy friendship ensued. Even when their respective work caused them to travel, the three of them kept up an amicable dialogue via letters and postcards.

Vladimir Polunin, Self portrait (lot 12)

Vladimir and Elizabeth Polunin painting in their studio 14

(l-r) Sergei Diaghilev, Vladimir Polunin and Pablo Picasso

Picasso was thrilled to work alongside a specialist in theatre design, an unfamiliar process that had its own aesthetic and technique. Picasso executed a pencil drawing of Vladimir Polunin in 1919, made in gratitude for his expert repairs to the damaged set of Parade (Picasso’s first project with the Ballets Russes) as well as for his work on the sets and curtain designed

by Picasso for the ballet Le Tricorne. Executed in deft lines of pencil, the present work depicts a man deep in thought, sitting casually in a cross-legged pose, smartly dressed in a suit and tie.

The combination of his charming bow-tie and almost finished cigarette in his right hand suggests Polunin’s enjoyment of a well-deserved break during a hardworking day in the studio.

Evidently comfortable in Picasso’s presence, his expression suggests a calm and friendly temperament Vladimir Polunin was also a teacher at the Slade School of Art, counting Mary Fedden amongst his students.

Vladimir and Elizabeth were parents to the botanists Nicholas and Oleg Polunin and the physician Ivan Polunin

Picasso's portrait of Vladimir Polunin, 1919 15

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

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VLADIMIR POLUNIN (1880-1957) A set design showing two harlequins on stage, pencil and watercolour, 29cm x 44cm £200-400

2  VLADIMIR POLUNIN (1880-1957) Three figures standing before red buildings, dated 24.2.1917 verso, oil on canvas, 70cm x 45cm £400-800 16

3  VLADIMIR POLUNIN (1880-1957) Figural scene, depicting a man on his knees before another man in a garden landscape, signed lower left, oil on canvas, 120cm x 75cm the reverse of the canvas with a stylised figural composition £800-1,500

4  VLADIMIR POLUNIN (1880-1957) Figural scene, depicting a man on his knees before another man in a garden landscape, signed lower right, oil on canvas, 80cm x 44cm £500-1,000 17

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

5  VLADIMIR POLUNIN (1880-1957) Study of a figure standing beside an elderly bearded man seated by the side of the road, a morose expression on his face, with a town beyond, signed lower left, oil on canvas, 58cm x 47cm £300-500

6  VLADIMIR POLUNIN (1880-1957) Figural study showing four smock wearing figures flanking a central standing nude, signed lower right, oil on canvas, 68cm x 50.5cm £400-800 18

7  VLADIMIR POLUNIN (1880-1957) ‘Knight Warrior’ Christ being lowered from the cross, oil on canvas, 99cm x 74cm £800-1,500 19

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

8  VLADIMIR POLUNIN (1880-1957) Figural scene, possibly biblical, oil on canvas 44cm x 54cm £400-800

9  VLADIMIR POLUNIN (1880-1957) Scene painting depicting several figures centred by a semi-nude female form, signed lower right, oil on canvas, 58cm x 46cm £400-800

10  VLADIMIR POLUNIN (1880-1957) A full-length study of a female reclining on a bed with silk drapery, signed lower right, oil on canvas, 92cm x 122cm (unframed but on stretcher) the reverse with a stylised figural composition £500-1,000 20

11  VLADIMIR POLUNIN (1880-1957) Scene painting depicting various sculptures and maquettes, oil on canvas, 50cm x 60cm £300-500

12  VLADIMIR POLUNIN (1880-1957) Self portrait of the artist reading, oil on board, 49.5cm x 35cm (unframed) £400-800

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 14 13  VLADIMIR POLUNIN (1880-1957) (?)

Head and shoulders portrait of Shakespeare, after the famous Chandos portrait, oil on canvas, 58cm x 44cm (unframed but on stretcher) £200-400 14  VLADIMIR POLUNIN (1880-1957) Village scene with a tree to the foreground and a church tower beyond cottages, signed lower right, oil on canvas laid on board, 45cm x 29cm £300-500 15  VLADIMIR POLUNIN (1880-1957) Still life study of apples and a pineapple on a tabletop, oil on canvas laid on board, 40cm x 50cm £300-500 16  VLADIMIR POLUNIN (1880-1957) Study of a farm building beside trees, signed lower right, oil on canvas laid on board, 57cm x 44.5cm

Lot 18

£300-500 17  VLADIMIR POLUNIN (1880-1957) Still life study of fruit, a dish, a book and a pipe on a tabletop, oil on canvas laid on board, 48.5cm x 59cm £300-500 18  VLADIMIR POLUNIN (1880-1957) Rural landscape with trees to the foreground, red roofed buildings in the rolling hills beyond, oil on canvas laid on board, 50cm x 36cm £400-800

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Lot 19 19  VLADIMIR POLUNIN (1880-1957) Still life study of various items to include a small vase of flowers and a teapot, oil on canvas laid on board, 34cm x 44cm £400-800 20  VLADIMIR POLUNIN (1880-1957) View of trees, oil on board, 49cm x 69cm

Lot 23

£300-500 21  VLADIMIR POLUNIN (1880-1957) Still life study of vegetables, oil on board, 39cm x 55cm £300-500 22  VLADIMIR POLUNIN (1880-1957) Still life study of apples, signed lower right, oil on canvas laid on board, 44cm x 54cm £300-500 23  VLADIMIR POLUNIN (1880-1957) Still life study of fruit, eggs, a glass bottle and a vase, oil on canvas, 51cm x 38cm, the reverse of the canvas painted with a similar still life study £400-800

Lot 24

24  VLADIMIR POLUNIN (1880-1957) Fish and shellfish under the sea, signed lower right, mixed media, 46.5cm x 60cm £300-500

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 27

25  VLADIMIR POLUNIN (1880-1957) Still life study of artichokes and radishes, oil on canvas laid on board, 36cm x 44cm £300-500 26  VLADIMIR POLUNIN (1880-1957) Still life study of flowers in a vase, oil on canvas, 53cm x 38.5cm £300-500 27  VLADIMIR POLUNIN (1880-1957) View of Corfe Castle, with the village to the foreground and the hilltop castle beyond, mixed media on paper, 46.5cm x 62cm £300-500

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Lot 26

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 28 28  VLADIMIR POLUNIN (1880-1957) Market scene with produce vendors, watercolour, 24cm x 29.5cm £200-400

29  VLADIMIR POLUNIN (1880-1957) Busy market scene with figures and a produce in a town square, pencil and pastel, 23cm x 30cm

Lot 29

£200-400

30  VLADIMIR POLUNIN (1880-1957) Continental townscape looking through the masts of fishing boats toward a bell tower, mixed media on newspaper, 53.5cm x 41cm £300-500

Lot 31

31  VLADIMIR POLUNIN (1880-1957) Continental townscape looking toward a hilltop church, watercolour heightened with white, 45.5cm x 55cm £200-400

32  VLADIMIR POLUNIN (1880-1957) Coastal scene, signed and dated 1911 lower right, mixed media on paper, 25cm x 31.5cm

Lot 32

£200-300

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Lot 33 33  ELIZABETH VIOLET POLUNIN (1887-1950) A half-length portrait of a man wearing academic regalia, seated in a study, his hands resting on his lap with fingers interlocked, signed lower right, oil on canvas, 82cm x 68.5cm (unframed but on stretcher) £300-500 34  ELIZABETH VIOLET POLUNIN (1887-1950) A bust-length portrait of a woman seated in an interior, signed lower right, oil on canvas, 44cm x 54.5cm £300-500

Lot 34

35  ELIZABETH VIOLET POLUNIN (1887-1950) ‘Pink House, Paraggi’ a head and shoulders portrait of a young woman, signed lower right, oil on canvas, 34cm x 29cm £300-500 36  ELIZABETH VIOLET POLUNIN (1887-1950) ‘Heather’ a head and shoulder portrait of a young woman, signed lower centre, oil on board, 33cm x 27cm

Lot 37

£300-500 37  ELIZABETH VIOLET POLUNIN (1887-1950) A bust-length portrait of a stylish young woman, signed lower right, oil on canvas, 40cm x 42cm £300-500

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

38  ELIZABETH VIOLET POLUNIN (1887-1950) Still life study of a vase of flowers, a trowel and a pot on a tabletop, signed lower right, oil on canvas, 46cm x 55cm

Lot 38

£300-500 39  ELIZABETH VIOLET POLUNIN (1887-1950) ‘From Tolbury Hill, Hampshire’ landscape view through trees, signed and dated ‘40 lower right, oil on board, 50cm x 70cm

Lot 42

£300-500 40  ELIZABETH VIOLET POLUNIN (1887-1950) A still life study of fruits and vegetables, signed lower left, oil on canvas, 45.5cm x 55.5cm (unframed but on stretcher) £300-500 41  ELIZABETH VIOLET POLUNIN (1887-1950) Landscape of rolling hills, signed and dated ‘37 lower left, oil on canvas, 43cm x 53cm £300-500 42  ELIZABETH VIOLET POLUNIN (1887-1950) Still life study of dead flowers in a vase, signed and dated ‘36 lower left, oil on canvas laid on board, 51cm x 38cm £300-500

Lot 43

43  ELIZABETH VIOLET POLUNIN (1887-1950) A continental street scene depicting three women standing beside a hay wain in front of a thatched building, signed ‘Violet Polunin’ lower right, watercolour, 24.5cm x 34.5cm £150-250

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Prints and Mulitples

Detail of lot 64 29

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 47

44 AFTER PIERRE-AUGUSTE RENOIR (1841-1919) ‘Femme au cep de Vigne’ 4th variant, signed ‘Renoir’ in the print, lithograph, 32cm x 23cm

46 ARTHUR BRISCOE (1873-1943) ‘Make Fast’ plate 2, signed and numbered 35/75 in pencil to the margin, etching, the image 36.5cm x 24.75cm

£400-600

47  FERNAND LEGER (1881-1955) ‘Les Femmes au Bouquet’ numbered 23/250 in pencil to the margin lower left, stamped signature lower right, published by Musee National Fernand Leger, Biot and with their blindstamp lower left, lithograph in colours on wove paper, the image 51cm x 64cm

£200-300

45  FRANK BRANGWYN (1867-1956) ‘Old Houses, Ghent’ signed in pencil to the margin, etching, the image 37cm x 37cm £100-200

£800-1,200

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Lot 49

49  MAN RAY (Emmanuel Radnitzky 1890-1976) ‘L’Incompris’ (The Misunderstood) signed and numbered 36/90 in pencil to the margin, lithograph in colours, the image 60.5cm x 45.5cm

48  JEAN COCTEAU (1889-1963) Profile head study in green, signed and dated 1955 within the image, possible faint signature to the margin lower right, the image 36.75cm x 47.5cm (unframed on card mount) £100-200

£700-900 31

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 50

51  LAURENCE STEPHEN LOWRY (1887-1976) ‘The Harbour’ signed in pencil to the margin lower right, Fine Art Trade Guild blindstamp lower left equating to 188/850, published in 1972 by Venture Prints Ltd., Bristol, the image 40.5cm x 56cm

50  LAURENCE STEPHEN LOWRY (1887-1976) ‘Group of Children’ signed in pencil to the margin lower right, Fine Art Trade Guild blindstamp lower left equating to 281/850, published in 1975 by Venture Prints Ltd, Bristol, the image 17.5cm x 19cm; together with a set of three prints of Lowry ‘Sketches’ depicting a girl with a pram, a boy on a trolley and a larger study of a girl with a pram, framed as one (2)

£1,000-2,000 52  LAURENCE STEPHEN LOWRY (1887-1976) ‘Level Crossing, Burton on Trent’ signed in pencil to the margin, Fine Art Trade Guild blindstamp lower left equating to 116 of 850, the image 41cm x 57cm

£1,000-2,000

£800-1,500 32

Lot 51

Lot 52

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 54 53  AFTER JOHN NORTHCOTE NASH (1893-1977) study of trees and plants, signed within the image, woodcut, 24cm x 30.5cm £100-200 54  JOHN NORTHCOTE NASH (1893-1977) ‘Interior with Figures, 1925’ signed in pencil to the margin, woodcut, the image 12.5cm x 12cm; together with four botanical woodcuts by Nash (5) Provenance: With The New Grafton Gallery, 42 Old Bond Street, London £200-400

Lot 55

55  JOAN MIRO (1893-1983) ‘Oeuvre Grave-Ceramiques’ 1961, cover of an exhibition catalogue with frontispiece affixed verso, 28.5cm x 42.5cm £300-500 56 ERIC RAVILIOUS (1903-1942) ‘Doctor Faustus Conjuring Mephostophilis’ 1929, woodcut, the image 17.75cm x 12.5cm

Lot 57

£100-200 57 KEIKO MINAMI (1909/11-2004) ‘A Green Bird’ signed and numbered 26/50 in pencil to the margin, etching, the image 28cm x 33.5cm (unframed) £150-250

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Lot 59

Lot 59

58  WILLIAM T RAWLINSON (1912-1993) A set of five botanical woodcuts, ‘Hibiscus’, ‘Nasturtium’, ‘Beleperone Guttata’, ‘Primula Obconica’ and ‘ Bletilla Hyacintha’, each titled signed and dated between 1970-1976 in pencil, the largest 16.5cm x 17cm (5)

Lot 60

£150-300 59 RUSSIAN SCHOOL, 20TH CENTURY ‘Madonna and Child’ in the style of a traditional icon, print on linen, 80cm x 60cm; together with a similar style study of George and the Dragon, 95cm x 70cm (2) £300-500 60 RUSSIAN SCHOOL, 20TH CENTURY A stylised couple toasting with tea beside a samovar, screenprint on linen, 114cm x 92cm £150-250 35

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

61  ALAN DAVIE (1920-2014) ‘Sonick Sin’ 2001, signed, dated ‘01 and numbered 29/30 in pencil to the margin, screenprint in colours on wove paper, the image 69cm x 56cm £400-600

62  ALAN DAVIE (1920-2014) ‘Energy is Delight’ signed, dated 2001 and numbered 40/75 in pencil to the margin, limited edition screenprint, the image 68.5cm x 57cm £300-500 36

Lot 64 63  KARL HOFER (1878-1955) 'Verbrecher' 1899, printed 'KH' monogram, further inscribed and dated in pencil to lower right margin, lithograph, 45cm x 52cm Provenance: The family of the artist, by descent £200-400 64  SALVADOR DALI (1904-1989) 'L'Age d'Or de Don Quixote' signed in pencil lower right, no.76, limited edition lithograph, 70 cm x 50cm

Lot 66

£400-600 65 LEONARD BASKIN (1922-2000) ‘Man’ signed within the image, etching, 41.5cm x 28cm £100-200 66  DONALD MCKINLAY (1929-2017) ‘Woman in a Landscape’ signed and dated ‘78 in pencil to the margin, lithograph, 61cm x 45.5cm; together with a smaller work by the same artist ‘Cris’ a study of two nude women, signed and titled in pencil to the margin, lithograph, 14cm x 19cm (2)

Lot 67

£150-250 67  DONALD MCKINLAY (1929-2017) Figures in an interior, signed and dated ‘79 in pencil to the margin, drypoint etching, the image 39cm x 31cm; together with a similar unsigned composition by the same artist, drypoint etching, 33cm x 34cm (2) £200-300

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

68  JOHN BELLANY (1942-2013) ‘The Kiss’ signed in pencil to the margin, artist’s proof etching, the image 25cm x 25cm £200-300

69  JOHN ROSSER (b. 1931) ‘The Bathers’ series 1 of 3, figural study, lithograph, 30.5cm x 43cm (unframed) Sold with a letter of authenticity from the artist

72  LINDA LE KINFF (b. 1949) A reclining woman holding a large flower, signed and numbered 1/200 in pencil, lithograph in colours, 48cm x 65cm

£100-200

73  LINDA LE KINFF (b. 1949) ‘Le Chat Noir’ signed and numbered 67/200 in pencil, Christie’s Contemporary Art certificate verso, lithograph in colours, 55.5cm x 77.5cm

£150-250

70 JAKE SUTTON (b. 1947) ‘St Marks, Venice’ signed and numbered 220/250 in pencil, lithograph in colours, 82cm x 71cm; two similar works ‘Carnival on the Rialto’ 87/200, 69cm x 51cm and ‘Morning in Florence’ 80/200 69cm x 51cm; and a smaller example ‘Facade di San Marino’ 34cm x 27cm (4)

£150-250 74  LINDA LE KINFF (b. 1949) Dancing woman in a landscape, signed and numbered 1/200 in pencil, lithograph in colours, 66cm x 49.5cm

£300-500 71  LINDA LE KINFF (b. 1949) ‘Les Cheveaux Rouges’ signed and numbered 67/200 in pencil, Christie’s Contemporary Art certificate verso, lithograph in colours, 55.5cm x 77.5cm

£150-250 75  WILLIE KISSMER (1951-2018) ‘Roter Torso’ signed and titled in pencil to the margin, artist’s proof etching, the image 38.5cm x 26.5cm

£150-250

£100-200 38

Works on Paper

Detail of lot 92 39

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

76 EDOUARD VUILLARD (1868-1940) 'Madam Hessel au Telephone' monogrammed lower left, pencil on paper, 17cm x 9.5cm Provenance: With JPL Fine Arts, London Private Collection, Dorset ÂŁ800-1,200

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Lot 77

Lot 77

77  ALEXANDRE NIKOLAYEVICH BENOIS (1870-1960) Two costume designs for Verdi’s ‘Un Ballo in Maschera’ (A Masked Ball) ‘Anckarstrom (Renato)’, signed and dated 1927, with futher pencil inscriptions, watercolour, 21.5cm x 15.75cm: and the companion ‘Les Conspirateurs’ monogrammed and further inscribed in pencil, watercolour, 24cm x 16.5cm; together with a stage design, indistinctly inscribed and dated 1928 in pencil, pastel, 14cm x 21cm (3)

78 WILIAM E. HARRIS (1860-1930) ‘’New’ London Bridge’ signed and dated 1893 lower right, watercolour, 37cm x 53cm

Alexandre Benois was a Russian artist, art critic, historian, preservationist, and founding member of Mir iskusstva (World of Art), an art movement and magazine.

As a designer for the Ballets Russes under Sergei Diaghilev, Benois exerted what is considered a seminal influence on modern ballet and stage design.

£200-300

£250-350 79  EDNA CLARKE HALL (1879-1979) Interior still life with numerous items on a dining table, signed and dated 1934 in pencil lower left, watercolour and pencil, 32.5cm x 49cm

80  BERNARD EYRE WALKER (1886-1972) ‘Early Spring in Barrowdale’ Lake District landscape, signed and dated 1948 lower left, watercolour, 39cm x 57cm

£500-1,000

£250-350

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Lot 81

81 RANDOLPH SCHWABE (1885-1948) Full-length study of a nude girl cradling a lamb in her arms, a dog standing between her legs, signed lower left, watercolour, 51cm x 25cm £300-500 82  JOHN NORTHCOTE NASH (1893-1977) Landscape with trees and river to the foreground, signed lower right, watercolour, 37cm x 52cm £2,000-4,000 83  CERI RICHARDS (1903-1971) A portrait of a woman, believed to be the Artist’s daughter, depicted seated at a desk or table leaning on her crossed arms, unsigned, pencil, 36cm x 39.5cm £500-1,000 84  BARBARA EVERARD (1910-1990) Still life study of exotic flowers in a classical style baluster urn, signed and dated 1950 lower left, watercolour, 69cm x 54cm

Lot 83

£500-800 85  SVEN BERLIN (1911-1999) Self Portrait, watercolour, 51.5cm x 37.5cm £200-400

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Lot 82

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86 LESTER O. SCHWARTZ (1912-2015) ‘Untitled’ a nude study of a man and a woman, the male figure giving the female a haircut, signed and dated 1938 upper right in pencil, pen and ink, 29.5cm x 20.5cm £200-300 87  UNA DUNCAN ADAMSON (d. 1968) Mountainous landscape scene, signed and dated 1928 lower left, watercolour, 43cm x 28cm Una Duncan Adamson was born in Manchester and educated at Park School Glasgow. She attended Edinburgh School of Art, worked under Douglas Strachan and received 1st prize in stained glass. She designed and executed windows in Edinburgh, Winchester, Australia and Kircudbrightshire amongst others. She also worked in watercolour and exhibited at the Royal Academy, Royal Scottish Water Colour Society and the Walker Gallery in Liverpool.

Her embroidered panels won a silver medal in the Paris Exhibition of Arts and Crafts in 1924. She lived at 100 Handside Lane and died in 1968.

Lot 86

£100-200

Lot 90

88 AFTER THE SECESSIONISTS, 20TH CENTURY Figures at a train station appearing to wait for an approaching tram,, gouache, 46cm x 65cm £200-400 89 GERMAN SCHOOL, 20TH CENTURY Head and shoulders profile portrait of a woman wearing a hat, indistinctly signed lower right, pastel, 24cm x 19cm £100-150 90  TOM KEATING (1917-1984) Sepia ink sketches, signed lower right, 37cm x 25.5cm £300-500 44

Lot 91

91  MARY FEDDEN (1915-2012) ‘Side, 1969’ Figures and boats in a harbour, signed, titled and dated 1969 lower right, pencil, 38cm x 55.5cm

Lot 92

£1,000-2,000

92  MARY FEDDEN (1915-2012) ‘Rose’ signed and dated 1969 lower left, watercolour, 36cm x 26cm £800-1,200 45

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 98

93  NIGEL LAMBOURNE (1919-1988) A half-length portrait study of a partially dressed female, signed and dated 1949 upper left, pencil and coloured chalk, 45cm x 35cm

96 JOHN RYAN (1925-1992) 'The Scatterin', Acts I-III' A set of three set designs for the play 'The Scatterin' by James McKenna, watercolour, 35cm x 47cm (3)

£100-200

£100-200

94 MONOGRAMMIST E.O.S. (20th Century) London street scene with figures, monogrammed lower left, watercolour on drawing board, 35cm x 48.5cm (unframed)

97  DRUMMOND MAYO (b. 1929) Abstract landscape, signed lower right, ink and wash, 29cm x 29.5cm

£150-250

£100-200

95 ENGLISH SCHOOL, 20TH CENTURY Study of a kneeling child with hands clasped in prayer, watercolour, approximately 35cm x 25cm; together with a similar watercolour study of a figure reading beside a doll or dummy, 28cm x 28cm

98  JOHN ROSSER (b. 1931) ‘Impressionist Beach, Sandbanks......Now Really’ signed and dated 2015 lower right, gouache, 49.5cm x 72cm £300-500

£200-400

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Lot 99 99 BRYAN ORGAN (b. 1935) Stylised study of a bee on a flower, mixed media on paper, 129cm x 90cm £300-500 100 ANDREA PICINI (1935-2003) ‘David’ signed in pencil lower right, mixed media on paper, 99cm x 69cm £200-300 101  LEO BORGHI (b. 1937) Stylised Italian townscape with figure on horseback to the foreground, signed lower right, mixed media, 44cm x 34cm £100-200 102  SUE MACCARTNEY-SNAPE (b. 1957) ‘Manhattan Wife’ a full-length caricature style study of Gloria, Mrs Barney Gruzman III, a pastiche of an Upper East Side Socialite, monogrammed and titled in pencil lower right, pencil and watercolour, 56.5cm x 33cm; together with a similar head and shoulders portrait of a stern woman ‘The Headmistress’ signed, titled and dated ‘98 lower right, along with the inscription “She is no fool + has a surprisingly keen sense of humour, exactly the sort of person one wants in charge of one’s children”, pencil and watercolour, 38cm x 25cm (2)

Lot 100

£200-300 103  RICHARD MONAHAN (b. 1979) ‘Exe Composition in Blue and Black’ 2007, signed lower right, ink and wash, 28.5cm x 41cm £100-200

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A Private Collection of works by or of Maxwell Ashby Armfield (1881-1972) Born to a Quaker family in Ringwood, Hampshire, Armfield was educated at Sidcot School and at Leighton Park School.

In 1887 he was admitted to Birmingham School of Art, then under the headmastership of Edward R. Taylor and established as a major centre of the Arts and Crafts Movement. There he studied under Henry Payne and Arthur Gaskin and, outside the school, received instruction in tempera painting from Joseph Southall at Southall’s studio in Edgbaston.

He was later to recall: “Apart from invaluable benefit from guidance and advice from such masters as Henry Payne, Arthur Gaskin and Joseph Southall, I really taught myself, as must any one who hopes to do individual work... I detested the Life Class, and rarely attended it: I refused to learn perspective or anatomy as they bored me, and generally, I could not have been a worse student."

104  MAXWELL ASHBY ARMFIELD (1881-1972) ‘The Mother of the Artist - June MDCCCCV’ the sitter depicted standing half-length amongst flowering foliage in a garden landscape, signed, titled and dated lower right, oil on canvas laid on board, 33cm x 19cm in an Arts and Crafts frame made by Joseph Southall (1861-1944) (44.5cm x 30.5cm overall) Exhibited: Southampton Art Gallery, June 1978 Birmingham Art Gallery, August 1978 The Fine Art Society, London, October 1978 Provenance: Private Collection, Ireland £1,000-2,000

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105  MAXWELL ASHBY ARMFIELD (1881-1972) ‘Cagnes Sur Mer’ monogrammed lower right, inscribed verso “Cagnes Sur Mer (inland) painted by Maxwell Armfield R.W.S. 1881-1972, c. 1948, on a visit with A.B. oil on old wood panel glued to board”, oil on panel, 33cm x 23.5cm Provenance: Private Collection, Ireland £800-1,500

106  MAXWELL ASHBY ARMFIELD (1881-1972) ‘Wind on the Heath’ a head and shoulders portrait of John Michell, circa 1970, monogrammed lower right, inscribed verso “Portrait of John Michel (sic).

This portrait was painted a few months before he (Armfield) died at Warminster on Jan 22 1972”, oil on panel, 25cm x 22cm John Michell (1923-2009) was an English author and esotericist who was a prominent figure in the development of the ‘Earth Mysteries’ movement Provenance: Private Collection, Ireland £1,000-2,000 49

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107  MAXWELL ASHBY ARMFIELD (18811972) ‘Daisy - A Portrait of the Artist’s Sister’ circa 1902, depicted half-length collecting flowers in a landscape, oil on canvas laid on board, 35cm x 26cm Exhibited: Carfax Gallery, London, 1908 Rowley Gallery, London, 1915 The Fine Art Society, London, 1970 Southampton Art Gallery, June 1978 Provenance: Private Collection, Ireland £1,000-2,000

108  VIOLET OAKLEY (1874-1960) Portrait of Maxwell Ashby Armfield (1881-1972) depicted half-length, his chin resting on his right hand, pastel and chalk, signed and dated 1928 lower right, 42cm x 27.5cm Violet Oakley was an American artist, the first American woman to receive a public mural commission.

During the first quarter of the 20th century she was renowned as a pathbreaker in mural decoration, a field that had been exclusively practiced by men.

The Artist met Maxwell Armfield during his time in the States during the 1910’s and 20’s Provenance: Private Collection, Ireland £300-500

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Paintings

Detail of lot 159 51

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 109

Lot 110

Lot 111 109 DAVID FULTON (1848-1930) Garden view with houses and a windmill beyond, signed lower right, oil on canvas, 75cm x 50cm £500-800 110 PATRICK WILLIAM ADAM (1854-1929) Still life study of flowers in a glass vase, signed lower right, oil on canvas, 35cm x 24cm £1,000-2,000 111 EDGAR THOMAS WOOD (1860-1935) A study of a church with figures to the foreground, signed and dated 1921 lower left, oil on board, 32.5cm x 31cm £300-500 52

112  FRANK MOSS BENNETT (1874-1953) AN IMPORTANT GROUP OF TWENTY EIGHT PAINTINGS comprising Church and Cathedral interiors, street scenes, buildings and others, oils on board, each work approx 35.5cm x 25.5cm (or vice versa) (all unframed) (28) Provenance: The Sale of the Artist’s Estate, Christie’s South Kensington, 19th November 1987 £3,000-5,000

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113  AUGUSTUS JOHN (1878-1961) ‘Robin’ a head and shoulders portrait of the Artist’s son, c. 1916, oil on canvas, 54cm x 45cm Robin was the third son of Augustus John and his wife Ida. The two had a difficult relationship, Robin’s silences often infuriated John, who declared his son “hardly utters a word and radiates hostility".

Exhibited: Augustus John, 23rd-28th February 1999, Olympia, London, number 57 Provenance: Private Collection, London £10,000-15,000

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114  VANESSA BELL (1879-1961) ‘Desmond MacCarthy at Charleston’ the sitter depicted half-length, reading in an interior, the vivid colours of Charleston behind him, monogrammed lower right, oil on board, 60cm x 50cm Sir Charles Otto Desmond MacCarthy FRSL (20 May 1877 - 7 June 1952) was the foremost literary and dramatic critic of his day.

MacCarthy studied first at Eton, then Trinity College, Cambridge, where he met and befriended Lytton Strachey.

He was a member of the Cambridge Apostles, the intellectual secret society, from 1896.

In 1906 he married Mary ‘Molly’ Warre-Cornish, herself a writer, and a lifelong friend of Vanessa Bell. It was Molly who instigated the Memoir Club in 1920 at which its members, after dining together, read short autobiographical papers, some of which are invaluable records of aspects of early Bloomsbury, particularly those by John Maynard Keynes and Virginia Woolf. A work by Bell of the members of the Memoir Club, including both Desmond and Molly MacCarthy is in the collection of the National Portrait Gallery, as is a portrait of Desmond MacCarthy by Duncan Grant. £8,000-12,000

The Memoir Club, Vanessa Bell, circa 1943 Copyright, National Portrait Gallery

Sir Desmond MacCarthy, Duncan Grant, 1944 Copyright, National Portrait Gallery

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115 ď ° VANESSA BELL (1879-1961) Flowers in a vase by a window, with garden beyond, oil on canvas, inscribed verso "Raymond Mortim......Long Crichel" 34.5cm x 24cm Provenance: Apparently painted for Raymond Mortimer Private Collection, London Raymond Mortimer CBE (1895-1980) was a British writer on art and literature, known mostly as a critic and literary editor.

He was a friend of the poet and novelist Vita Sackville-West, and was involved in a long-term relationship with her husband, author and British diplomat Harold Nicolson.

A resident of Bloomsbury, Mortimer was also associated with the coterie of English writers, philosophers, and artists who frequently met in the London district. Mortimer's residences, 6 Gordon Place and 6 Endsleigh Place, contained numerous Bloomsbury Group works, such as curtains designed by Duncan Grant and a group of murals executed by Grant and Vanessa Bell, later donated by Mortimer to the Victoria and Albert Museum.

Raymond Mortimer joined the three original owners of Long Crichel House, Wimborne, friends Edward Sackville West, Desmond Shawe-Taylor and Eardley Knollys, as one of the residents of the 'male salon', after World War II. ÂŁ6,000-9,000

Raymond Mortimer, Angelica Garnett and Lytton Strachey a photograph by Vanessa Bell, 1928

Raymond Mortimer by Edward Le Bas, circa 1946 potentially featuring the lot offered here directly above his head.

Copyright, National Portrait Gallery

Copyright, National Portrait Gallery

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Lot 118

116  ALFRED AARON WOLMARK (1877-1961) Still life study of apples, in the manner of Cezanne, signed lower right, oil on canvas, 24.5cm x 29.5cm

118  KEITH STUART BAYNES (1887-1977) A White Arab, signed lower right, various exhibition and other labels verso, oil on canvas, 50cm x 60cm

£200-300

£400-600

117  ELSIE MARION HENDERSON (1880-1967) River landscape with bridge and tree, oil on board, 35cm x 45cm; with a landscape scene painted verso, signed lower right; together with a coastal study by the same artist, signed verso, oil on board, 39cm x 54cm (2)

119 LIONEL BIRCH (1885-1930) ‘Bormes-Les-Mimosas’ Provencal landscape view looking towards the sea, signed lower left, oil on panel, 18.75cm x 22cm; together with two further works, one a study of an ornamental pond, apparently unsigned, oil on panel, 29cm x 40.5cm, the other a double sided painting, one side titled ‘Cabbage Roses at Windley Tye’, the other with a garden landscape inscribed “Memorial, For Frances Hope, March ‘74”, 33.75cm x 26cm (all unframed)

£200-300

£150-250 60

A PRIVATE COLLECTION OF WORKS

BY BLANCHE-AUGUSTIN CAMUS

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Blanche-Augustine Camus (27 October 1884 – 1968) was a French neo-impressionist painter, associated with the style of Divisionism, noted for her luminous landscapes and gardens of the south of France, often combined with graceful outdoor portraits of her family and friends.

Born in Paris, she studied at the Académie Julian and the École des Beaux-Arts from 1902 to 1908. She first exhibited at the Salon des Artistes Français in 1911, winning the gold medal in 1920, and continuing until 1939.

Her work first appeared at the Galerie Georges Petit in 1912 and received an enthusiastic review from André Warnod in 'Comoedia': “Des toiles tout illuminées de soleil, un soleil chaud, vibrand, réchauffant, qui resplendit sur les fleurs rouge des jardins, éclate en grandes taches de lumière sur le sable des allées” ("These canvases are illuminated by the sun, a warm, vibrant warming sun shining on the red flowers of the gardens, bursting into large pools of light on the sand of the paths."

She moved to Saint-Tropez in 1908 and from then on mostly worked in southern France, where she was associated with Henri-Jean Guillaume Martin and André Dunoyer de Segonzac. She was made a Chevalier of the Légion d'honneur.

120  BLANCHE-AUGUSTINE CAMUS (1884-1968) Haystack in a landscape, signed lower left, atelier stamp verso, oil on panel, 15cm x 23cm £400-800

121  BLANCHE-AUGUSTINE CAMUS (1884-1968) ‘Le Champes de Ble’ landscape view with wheat fields, c. 1905, atelier stamp and label verso, oil on panel, 15cm x 23cm £400-800

122  ASCRIBED TO BLANCHEAUGUSTINE CAMUS (1884-1968) Notre-Dame, Paris with the Archbishop’s Bridge (Pont de l’Archeveche) to the foreground, oil on board, 26.5cm x 32.5cm £300-500

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Lot 123 123  BLANCHE-AUGUSTINE CAMUS (1884-1968) ‘Labour Dans Le Vignes, St Tropez, 1912’ ploughing scene, with atelier stamp and label verso, oil on canvas, 22.25cm x 30.5cm

124  BLANCHE-AUGUSTINE CAMUS (1884-1968) ‘Les Vendanges en Provence (etude)’ a study of grape harvesters, with atelier stamp verso, oil on canvas, 46cm x 55cm (unframed on stretcher)

£700-1,000

£500-1,000

Lot 124

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Lot 127

127  BLANCHE-AUGUSTINE CAMUS (1884-1968) Still life study of a vase of flowers on a ledge, oil on canvas, 44cm x 36cm

125  BLANCHE-AUGUSTINE CAMUS (1884-1968) Two small unframed oils, one lavender sky with buildings below, 17.5cm x 24.5cm; the other a nude female recumbent amongst foliage, 27cm x 35cm, both on canvas fragments, both with the Artist’s labels verso (2)

£3,000-5,000

£200-300 126  BLANCHE-AUGUSTINE CAMUS (1884-1968) A SMALL FOLIO OF UNFRAMED WORKS mainly portraiture, chalks, pastels and pencils £200-300 64

Lot 128

128  BLANCHE-AUGUSTINE CAMUS (1884-1968) Mother and Child on a balcony, the sea beyond, probably the Mediterranean, signed lower left, oil on canvas, 59.5cm x 72cm £3,000-5,000

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Lot 130

129 ORVAL CLINTON MADDEN (1892-1971) Landscape with an artist sketching, signed lower right, oil on canvas, 29cm x 39cm

131  FRANCIS BOTT (1904-1998) Untitled abstract composition, signed lower left, oils and gouache on paper, 49.5cm x 59.5cm

£100-200

£300-500

130  BERTRAM NICHOLLS (1893-1974) ‘Fishing Quarter, Martigues’ signed and dated 1926 lower right, oil on board, 25.25cm x 33cm

132  ELIANO FANTUZZI (1909-1987) Atmospheric portrait of a woman in a woodland, signed lower left, further signed verso, oil on board, 68cm x 48cm

Provenance: With the Fine Art Society Private Collection, Ireland

£150-250

£500-800

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133  CAREL WEIGHT (1907-1997) ‘Tense Moment’ signed upper right, oil on board, 54.5cm x 52cm £1,800-2,500

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A Family Collection Of Works

By Christopher Sanders (1905-1991) Christopher Cavania Sanders was selected as an Associate of the Royal Academy of Arts on April 24, 1953, elected as a Royal Academician on 21 February 2 1961, and became a Senior Academician on January 1, 1981.

He exhibited frequently and regularly at the Royal Academy from 1933 onwards and also became a member of the Royal Society of Portrait Painters in 1962. In 1955 he won a gold medal at the Paris Salon.

His obituary in The Daily Telegraph noted that “Sanders’s work proved popular and accessible from the beginning of his career and he “produced paintings that were always intensely personal in feeling and passionate in their view of the natural world”.

Lot 134

134  CHRISTOPHER SANDERS (1905-1991) ‘Trawlers leaving Whitby Harbour’ signed lower left, titled and further signed verso, oil on canvas, 59cm x 69cm Provenance: By direct descent of the Artist £300-500

135  CHRISTOPHER SANDERS (1905-1991) A folio of coloured prints, comprising: ‘Eighteen Poppies’, signed and numbered 403/500 to the margin; ‘And a Few Irises’, two examples, signed and numbered 498 and 499 to the margin; ‘Little Little’, nine examples (all unframed)

Lot 136

Provenance: By direct descent of the Artist £200-400

136  CHRISTOPHER SANDERS (1905-1991) ‘Crysanthemums’ Still life study of flowers, signed lower right, further inscribed and with alternative title ‘Group of Sunflowers’ verso, oil on board, 58cm x 49cm Provenance: By direct descent of the Artist £300-500

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Lot 137

Lot 138

137  CHRISTOPHER SANDERS (1905-1991) Bust-length portrait of a young girl, her hair in plaits, signed lower right, oil on canvas, 59cm x 49cm Provenance: By direct descent of the Artist

Lot 139

£300-500 138  CHRISTOPHER SANDERS (1905-1991) ‘Frances Mary’ a full-length portrait of a young girl seated in an interior, her hair tied with red ribbons to match her cardigan, signed lower right, titled and inscribed verso, oil on canvas, 100cm x 75cm Provenance: By direct descent of the Artist £500-1,000 139  CHRISTOPHER SANDERS (1905-1991) A three-quarter-length portrait of a young girl seated in an interior, wearing a simple blue and white outfit with matching hat, her arms resting in her lap, signed and inscribed verso, oil on canvas, 90cm x 75cm Provenance: By direct descent of the Artist £500-1,000 69

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 140

140  EDWARD WESSON (1910-1983) ‘Fishing Boats on Hastings Beach’, signed lower right, oil on board, 28.5cm x 44cm

Lot 141

£500-1,000 141  JAMES FRY (1911-1985) Flooded river landscape, monogrammed lower right, oil on board, 29.5cm x 39.5cm £150-250

Lot 142

142  JAMES FRY (1911-1985) ‘Old Harry Rocks’ monogrammed lower right, oil on board, 28cm x 39cm £200-300

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Lot 143 143 ALASDAIR GORDON DOUGLAS MACKAY (fl. 1913-1937) Still life study of glass bottles and artist’s materials on a tabletop, oil on canvas, signed and dated 1923 upper right, oil on canvas, 76cm x 63cm; together with a later copy of the work, oil on canvas, 75cm x 60cm (2) £700-900 144 ENGLISH SCHOOL, 20TH CENTURY Three unframed studies of horses, and a similar of a fox head trophy, all appearing to be by the same hand, oils on card, one on canvas laid on card, the largest 25.5cm x 21.5cm

Lot 146

£150-250 145 ENGLISH SCHOOL, 20TH CENTURY Interior scene with clothes draped over a chair, indistinctly signed lower left, oil on board, 25cm x 19.5cm £200-400 146  WILL ROBERTS (1910-2000) ‘Man with Ceib, 1988’ monogrammed lower left, further signed, titled and dated verso, oil on canvas, 30.5cm x 25.5cm Provenance: With the Martin Tinney Gallery

Lot 147

£400-800 147  FELICITY CHARLTON (1913-2009) ‘Promenade’ signed lower right, oil on canvas, 39.5cm x 49.5cm Provenance: With the Martin Tinney Gallery £300-600

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148  JOHN MILLER (1911-1975) ‘Flowers against a pink curtain’ signed lower right, oil on canvas, 54cm x 49cm Exhibited: British Impressions, no. 13, David Messum, 34 St. George Street, London, 1988 £500-1,000

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149  ROWLAND SUDDABY (1912-1972) Still life study of flowers in a blue jug in an interior, signed lower right, oils and pencil., 52cm x 50cm £1,500-2,500

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Lot 150 150  SVEN BERLIN (1911-1999) An artist’s palette laden with layers of paint and four paint brushes, the underside inscribed in the Artist’s hand “This palette used from 1932 by me ‘till about 1962, Sven Berlin, 1991”; together with a signed and personalised 1978 first edition of ‘Amergin - An Enigma of the Forest’; a 1971 edition of ‘Dromengro - Man of the Road’; a signed and personalised copy of the Artist’s 1989 Belgrave Gallery catalogue; a 1992 edition of ‘Alfred Wallis Primitive’; and a small cache of letters, cards, photographs and articles relating to and from Sven Berlin (a lot)

Lot 153

£200-300 151  KURT LARISCH (1913-2009) Indian river scene with figures in a boat, signed and dated ‘45 lower right, oil on canvas, 51cm x 65cm (unframed but on stretcher) £150-250 152 EASTERN EUROPEAN SCHOOL, 20TH CENTURY Pair of still life studies of flowers in vases, one indistinctly signed lower left, oils on board, each 55cm x 34.5cm (2) £300-500 153 EASTERN EUROPEAN SCHOOL, 20TH CENTURY Still life study of flowers in a vase, indistinctly signed lower right, oil on board, 48cm x 38cm

Lot 154

£200-400 154 CONTINENTAL SCHOOL, 20TH CENTURY A street scene, possibly North Africa, oil on board, 29.5cm x 39.5cm £300-500

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Lot 157

155 B. DI PIETRO (20th Century) ‘Paesaggio’ Stylised study of trees, signed lower right, further signed and dated 1975 verso, mixed media on canvas, 36cm x 56cm

157  ROBERT BUHLER (1916-1989) ‘Mistral Plain’ expansive landscape, signed lower right, oil on canvas, 101.5cm x 127cm (unframed on stretcher) £800-1,200

£200-300

158 ENGLISH SCHOOL, 20TH CENTURY Stylised field of flowers, oil on canvas, 60cm x 60cm

156  PEGGY FRANK (1915-1976) ‘Caroline, 1970’ Portrait of a young woman seated in a chair, her head resting on her left hand, signed, titled and dated verso, oil on board, 86cm x 61cm (unframed)

£200-400

£150-250

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159  MARY FEDDEN (1915-2012) Still life with lilies, eggs and a lemon, signed and dated 1991 lower left, oil on canvas, 75cm x 50cm Provenance: Private Collection, London £8,000-12,000

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Lot 160 160  JOHN CHRISTOFOROU (1921-2014) ‘Chacunsa Folie’ signed lower left, further signed and titled verso, oil on canvas, 100cm x 81cm £500-1,000 161  JOHN CHRISTOFOROU (1921-2014) ‘Moon Woman’ 1958, signed lower left, further signed, dated and titled verso, oil on board, 94cm x 63cm (unframed) £500-1,000 162  NORAH GLOVER (b. 1923) ‘Pellestrina’ signed and dated ‘68 lower left, oil on board, 60cm x 75cm

Lot 161

£100-200 163 CONTINENTAL SCHOOL, 20TH CENTURY Market scene with figures and produce, indistinctly signed lower right, oil on linen 35cm x 45cm £100-200 164  TIMOTHY WHIDBORNE (b. 1927) A study of two doves and an egg, signed lower right, dated MMI lower left, oil on board, 34.5cm x 44.5cm Timothy Whidborne was a student of Pietro Annigoni, first exhibiting at the Royal Academy in 1954. Whidborne is most notable for his 1969 portrait of Queen Elizabeth II on horse back as Colonel-in-Chief of the Irish Guards, of which Whidborne had once been a member £100-200 78

Lot 166 165  DAVID BROOKE (20TH/21ST CENTURY) ‘After the Rain, 1971’ signed lower right, titled, signed and dated verso, oil on canvas, 51cm x 61cm £100-150 166  JACK SMITH (1928-2011) ‘Inside, Outside’ signed, titled and dated 1998 verso, oil on canvas, 76cm x 76cm

Lot 167

Provenance: Angela Flowers Gallery, London £500-800 167  JACK SMITH (1928-2011) ‘Fractured on Yellow’ signed, titled and dated 1993 verso, oil on canvas, 76cm x 76cm Provenance: Angela Flowers Gallery, London £500-800 168  JACK SMITH (1928-2011) ‘Dialogue, Light Sensation’ signed, titled and dated 1997 verso, oil on canvas, 76cm x 76cm

Lot 168

Provenance: Angela Flowers Gallery, London £500-800 169  PAUL MILLICHIP (b. 1929) Figures in procession, signed and dated ‘61 lower left, oil on canvas, 70cm x 90cm £200-400

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Lot 170

172 SOUTH EAST ASIAN SCHOOL, 20TH CENTURY A mother with her child on her back approaching a traditional boat, signed "Cheong" lower right, oil on canvas, 59.5cm x 45cm

170 ENGLISH SCHOOL, 20TH CENTURY An artist at her easel, apparently unsigned, oil on board, 63cm x 76cm £500-1,000

£200-400

171  DONALD MCKINLAY (1929-2017) ‘Margaret Thatcher’ oil on canvas, 33.5cm x 33.5cm

173 KEN MCDOUGALL (b. 1933) Lake landscape with mountains to the distance, signed and dated ‘94 lower left, oil on board, 49.5cm x 59.5cm

This study of the former Prime Minister was inspired by the famous image of Thatcher standing in a Union Jack-flying Challenger Tank at a NATO training ground at Fallingbostel, south of Hamburg on 17th September 1986. This was considered a watershed moment for her re-election campaign and Thatcher was described as looking as a “cross between Isadora Duncan and Lawrence of Arabia” by the Daily Telegraph.

£100-200

£200-300 80

Lot 174

175  DONALD HAMILTON FRASER (1929-2009) ‘The Harbour, April 1953’ oil on paper, 15cm x 30cm

174  JACK SIMCOCK (1929-2012) ‘Cottage and Sheds’ signed and dated ‘68 lower left, oil on board, 31cm x 49.5cm

Provenance: With Gimpel Fils Gallery, London Gifted to the vendor by the art collector Sir Michael Culme-Seymour

Provenance: Acquired from The Piccadilly Gallery £300-500

£2,000-3,000

Lot 175

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176  DONALD HAMILTON FRASER (1929-2009) 'Vertical Landscape - Gardens at Night, July '53' monogrammed lower right, oil on board, 35.5cm x 29cm Exhibited: 'Hamilton-Fraser' Gimpel Fils Gallery, London, August 1953, no. 45 £3,000-5,000

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177  PADRAIG MAC MIADHACHAIN (1929-2017) 'Teseuqe Indian Village, New Mexico, USA' signed and dated '81 lower left, further signed, dated and titled verso, oil on canvas, 91cm x 91cm £2,500-3,500

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Lot 178

Lot 179

178  ANN PATRICK (b. 1937) ‘Spring Morning in the Garden’ signed lower left, oil on canvas, 60cm x 37.5cm Provenance: With the Fine Art Society Private Collection, Ireland £400-600 179  ANN PATRICK (b. 1937) ‘Julian and the Jackdaw’ a young boy with a jackdaw perched atop his head, signed lower left, oil on board, 45cm x 17cm Provenance: With the Fine Art Society Private Collection, Ireland £300-500 84

Lot 181 180  ANDREA PICINI (1935-2003) Stylised view of Piazza del Popolo, Rome, signed lower left, oils, 49cm dia. £200-300 181  DAVID HUMPHREYS (b. 1937) Abstract landscape, signed lower right, oil on canvas, 59cm x 59cm £300-500

Lot 182

181A  ROBERT WOOLNER (b. 1946) 'The pattern of Memory' relief abstract composition in blues, signed and dated 01 lower right, label verso, mixed media collage, 35 cm x 39 cm 182  HECTOR MCDONNELL (b. 1947) ‘Mary’s Bathroom’ interior study with the artist reflected in the bathroom mirror, titled and dated 1989 verso, oil on canvas, 50cm x 40cm £800-1,500 183  KEN MORONEY (b. 1949) Street scene at dusk, signed lower right, oil on board, 45cm x 60cm

Lot 183

£600-800

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184  RICHARD PIKESLEY (b. 1951) Classical musicians in a church or cathedral interior, signed lower right, oil on canvas, 39.5cm x 45.5cm

Lot 184

£300-500 185  GERRY DUDGEON (b. 1952) ‘The Road to Rissani, 2003’ Moroccan desert landscape with buildings, signed, dated and titled verso, oil on canvas, 57cm x 50cm £300-500 186  MATTHEW ALEXANDER (b. 1953) ‘Evening Stroll on the Beach’ signed lower right, oil on board, 20.25cm x 30.5cm

Lot 185

Provenance: With Messum’s, Cork Street, London £200-400 187  TESSA NEWCOMB (b. 1955) ‘June Flowers I’ signed and dated ‘08 lower right, oil on paper, 26.5cm x 18cm Provenance: Acquired from Lena Boyle Fine Art, London £200-400 188  DORA WADE (CONTEMPORARY) ‘Mick’ A head and shoulders portrait study of Sir Mick Jagger, signed, titled and dated 2003 verso, oil on canvas, 50cm x 40cm

Lot 186

Dora Wade is a graduate of Christchurch College Oxford, Ruskin School of Art. She came to national attention in 2005 with her installation ‘Fear on the Streets’ which was featured in, and subsequently removed from, a window of Selfridges.

The installation dealt with “the climate of fear being fostered in the aftermath of the July 7 subway bombings and the police killing of Brazillian electrician Jean Charles de Menezes.” £200-400 86

189  ALAN KINGSBURY (b. 1960) A view of Florentine rooftops towards the Duomo, with two men to the foreground, signed lower left and further signed verso, oil on board, 20.5cm x 25.25cm; together with a similar view ‘Santa Maria Novella, Firenze’ signed lower left, signed and titled verso, oil on board, 25.25 x 35.5cm (both unframed) (2)

Lot 189

£200-400 190 DAVID POTTER (Contemporary) 'Coming Together' abstract composition, titled and dated '93 verso, oil pastel on board, 14.5cm x 14.5cm

Lot 190

£200-300 191  BONNIE BROWN (b. 1952) ‘Veiled Forms’ abstract composition, signed lower right, titled and dated 1995 verso, oil on card, 17.5cm x 24.5cm £150-250 192  BONNIE BROWN (b. 1952) ‘Enduring Rain’ abstract composition, signed lower right, titled and dated 1996 verso, oil on card, 24.5cm x 34.5cm £150-250

Lot 193

193  TERESA LAWTON (Contemporary) ‘The Phoenix’ monogrammed lower left, further signed and titled verso, oil on canvas, 25cm x 30cm £300-500

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194  DUNCAN MACGREGOR (b. 1961) ‘Black Sails’ a stylised study of yachts on a mirrored sea, monogrammed lower left, acrylic on board, 60cm x 60cm £1,000-2,000

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The Bob Cosford Collection of Contemporary and Street Art

Detail of lot 213 89

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Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford’s most notable productions was the famous ‘comic book’ opening sequence of the BBC children’s television series ‘Grange Hill’, described by a Radio Times article as being a “Pop Art masterpiece” "West London in the 1960s wasn't the most exciting place to grow up. Quiet neighbourhoods with rows of small regimented identical houses with a couple of shops and a chippy at the top of the road. Going to the church youth club on a Sunday. Having a fag with mates down the back alleys and in the swing park. Playing footie on any open space you could find.

But when the Funfair came to town magical things began to happen. You were transported into a realm of difference. Starting with anticipation. Then there was the music and sounds as you got closer. The sense of excitement and possibility of impending danger. Then the lights. Then the smells. The gangs of lads and girls and then the rides. All these youthful feelings combined to trigger a unique sense of escapism.

My work now tries to capture that 'old school' frisson of adventure lost in a world of social media and digital sanitisation. All works are hand finished either on wood or an aluminium substrate. They are cut, shaped, textured and riveted to create a pastiche of images that take you to another era.

After studying for four years at art school I started my artistic endeavours as a freelance commercial illustrator.

In the late 1970's I created the animated artwork including the infamous 'Flying Sausage' for the Title Sequence of the much loved series 'Grange Hill' and for the drama series 'Pennies From Heaven' by Dennis Potter.

These were amongst many commissioned by the BBC. Later I worked for many years around Camden and Soho in London winning many awards as a creative director for film and television. My work included branding and design and direction for major TV companies and Ad Agencies.

I returned to my creative roots In 2003 to showcase the wide variety work I was producing as images for print.

This included elaborate photomontages with digitally hand drawn imaging. Much of this developed into social and politically themed Outsider and Urban Art with ironic references to celebrities and mainstream entertainment."

Bob Cosford

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195  DAMIEN HIRST (b. 1965) Two examples of the Artist’s ‘Wallpaper’ Kaleidescopic butterfly wallpaper on a pink ground, colour print, 52cm x 52cm; Silver Pharmacy wallpaper, five colour gravure printing process on metallic silver, 23cm x 18cm (unframed) (2) Damien Hirst, in full Damien Steven Hirst, (born June 7, 1965, Bristol, England), British assemblagist, painter, and conceptual artist whose deliberately provocative art addresses vanitas and beauty, death and rebirth, and medicine, technology, and mortality.

Considered an enfant terrible of the 1990s art world, Hirst presented dead animals in formaldehyde as art. Like the French artist Marcel Duchamp, Hirst employed ready-made objects to shocking effect, and in the process he questioned the very nature of art. In 1995 he won Tate Britain’s Turner Prize, Great Britain’s premier award for contemporary art. £450-650 91

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Lot 196 196  RACHEL HOWARD (b. 1969) ‘Black Dog’ signed lower left, lithograph, 60cm x 42cm (unframed) Sometime assistant to Damien Hirst, Rachel Howard is known for her deeply expressive paintings of figures that seem to be made of shadows. Howard’s signature style is achieved by applying paint to the canvas and allowing to run downward, using a brush to form haunting images, both representational and abstract, amid the resulting striations and haze. Her preferred material is house paint; as it separates it creates a layer of varnish that lends her work its seductive high gloss £120-180 197  STAN ROSENTHAL (1933-2012) Ironstone Mountain, 1995’ signed, titled on mount, with certificate of authenticity, watercolour, 10cm x 15cm Stan Rosenthal’s original paintings are highly regarded by collectors worldwide. Her Majesty the Queen has his work in the Royal Collection and there are also examples in the National Assembly for Wales, the European Parliament Buildings and the British Consulate in Mongolia.

Lot 198

£120-180 198  MARK MILLMORE (b. 1956) ‘Crucian Carp’ signed and numbered limited edition of 100 three plate colour etching printed on Fabriano Mould-made acid free cotton paper, the image 30cm x 25cm (unframed) Mark Millmore is a fine artist, theatre designer, writer, web designer, art director, and conservationist. His company, Eyelid Productions, has designed software products and computer graphics for major film production companies and other clients £70-120

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199 SHEPARD FAIREY (b. 1970) ‘Eat The Rich (Patti Smith)’ signed limited edition screen print, edition of 550, the image 58cm x 42.5cm

He became widely known during the 2008 U.S. presidential election for his Barack Obama ‘Hope’ poster.

The Institute of Contemporary Art, Boston has described him as one of the best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Museum of Contemporary Art San Diego, the National Portrait Gallery in Washington, D.C., the Virginia Museum of Fine Arts in Richmond, and the Victoria and Albert Museum in London. In 2010 Fairey created a mural of punk legend Patti Smith at the Contemporary Arts Center (CAC) in Cincinnati, Ohio, and in 2012 Fairey released this print based on the mural.

£150-250 American illustrator and graphic designer Frank Shepard Fairey first emerged from the skateboarding scene with his seminal ‘Andre the Giant has a posse’ (...OBEY...) sticker campaign while attending the Rhode Island School of Design (RISD).

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200 SHEPARD FAIREY (b. 1970) ‘Proud Parents’ signed, dated ‘07 and numbered 134/300 in pencil, limited edition colour screenprint, 59.5cm x 44.5cm Provenance: Belgrave Gallery, St Ives £150-250

201 SHEPARD FAIREY (b. 1970) ‘Force Majeure - The Art of Shepard Fairey’ Limited edition signed volume for the Artist’s 2018 exhibition at the Moscow Museum of Modern Art, first printing, numbered 64/1000 (limited signed examples within this run), hardcover with slip case with silver hot foil printing, produced by Wunderkammen, in collaboration with Artmossphere, small collection of included stickers, 26cm x 21cm The Force Majeure exhibition featured works created over the previous 25 years as well as new works created especially for the MMOMA £200-400

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202  PACO POMET (b. 1970) ‘Get Off On The Right Foot’ signed and dated ‘16 in pencil lower right, numbered 345/365 lower left, serigraph screen print, 12.5cm x 18cm (unframed) Spanish artist Paco Pomet came to prominence in the UK for his painting ‘Internacional’ shown at Banksy’s ‘Dismaland’ theme park.

His clever pairings of realistic renditions and fictive nuances aim to destabilise, disrupt and alter the order. £150-250

203  MARK LLOYD (b. 1971) ‘La Putain’ 2011, signed, mixed media on paper, 62cm x 49.5cm Mark David Lloyd is a British contemporary artist who exhibits internationally. He works predominantly in painting but also in other disciplines. His work has been described as; meta-modernist, post post-modernist, and nascent. His career began as a graffiti artist in the mid 1980’s, going on to study at Falmouth School of Art, the Slade School of Fine Art and Winchester School of Art. Mark is an artist that is not shy of addressing topical issues and philosophical ideas. An artist that is bold, expressive and always willing to create work with drama and impact £200-300

204  MARK LLOYD (b. 1971) Untitled charcoal nude study, 2013, signed and dated lower left, charcoal on paper, 41cm x 58cm £150-250

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205  DAN BALDWIN (b. 1972) ‘Holy Fuck’ signed and numbered 28/50, giclee on heavy decaled art paper, 40.75cm x 58.5cm (unframed) to be sold with certificate of authenticity Born in Manchester, Baldwin studied at Eastbourne College of Art and the Kent Institute of Art and Design. Baldwin’s work is collected internationally alongside artist such as Banksy, Julian Opie and Sir Peter Blake.

He currently lives and works in Sussex, England. £300-500

206 JEREMY GEDDES (b. 1974) ‘Fall’ signed limited edition giclee print, edition of 1404, the image 39cm x 39cm (unframed) Born in Wellington, New Zealand and now residing in Melbourne, Australia, Jeremy Geddes is a photo-realistic painter best known for his cosmonaut series, depicting figures floating and drifting in empty landscapes.

Geddes has also illustrated comic book covers in collaboration with his friend Ashley Wood.

He won the Spectrum Gold Award for his cover art for the comic ‘Doomed’ £200-300 96

207  ANTHONY MICALLEF (b. 1975) ‘God I Want To Be Bad’ 2007, limited edition lithograph, 106cm x 75cm

Lot 207

Taught by the great landscape artist John Virtue, Anthony Micallef roots his expressionistic paintings in social commentary, completing his visual language with loose, abstract brushstrokes, recalling the works of the old masters, and Francis Bacon, as well as the teacher of his teacher, the great Frank Auerbach. ‘God I Want To Be Bad’ depicts a child with wings and horns, examining both the artist’s and contemporary society’s complex relationship with consumerism and indulgence £400-600 208  ANTHONY MICALLEF (b. 1975) ‘A Small Print Of What I Think Love Looks Like’ 2010, limited edition lithograph, the image 37cm x 27cm ‘A Small Print Of What I Think Love Looks Like’ was made to support a Palestine-based charity, with all proceeds going to support art workshop projects in Beit Sahour, Nablus and Ramallah. £600-800 209  RICHARD CLARK (contemporary) ‘Interior, Fish and Chip Shop - Blackheath, 1987, signed and dated, four colour etching, the image 42cm x 56cm; together with the companion work ‘Decorative Facade, Lowestoft, 1987’ the image 43cm x 51.5cm (unframed)

Lot 208

Birmingham based artist Richard Clark took his inspiration from the elaborately designed stained glass found in the windows and behind the bars in local pubs, many of which are sadly no longer in existence £100-200 210  RICHARD CLARK (contemporary) ‘See Breeze, 1987’ signed and dated, four colour etching, the image 40.5cm x 43.5cm; together with the companion work ‘Devonshire Works, Digbeth, 1987’ the image 35cm x 45cm £150-250 97

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211  DAMON ROBERTS (b. c.1974) ‘This is Acid’ signed limited edition silk screen, the image 36cm x 30.25cm (unframed) Damon Roberts is a contemporary artist, screen printer, and man behind Glass Siren Studio, a print facility established to produce complex print works. Fascinated by music and album cover art, and inspired by artists Yves Klein and Bridget Riley, Roberts’ aesthetic is fuelled by forms of tactility and dynamism. His practice over the last decade has tended towards the abstract and the experimental, where the energy of ideas fuses with the chance nature of trial and error, to produce a truly organic and meditative range of print works, each with a complex story to tell. Within Glass Siren Studio, Roberts has custom built his own printing press, where he hand produces each silkscreen, working with traditional inks and additives on paper as well as an array of personally developed specialist techniques. The process is intimate and intense, and each work of art is the product of a long and physically involved journey, from initial sketch to finished form £100-200

212  BELIEVED TO BE BY ANNA STUS (aka Annatomix) ‘Decipher’ and ‘If I Could Just…’ two monochrome giclee prints, pen and ink and mixed media, each signed with a graphic symbol, limited edition of 10 each, matching numbers, ‘Decipher’ 49.5cm x 39cm (unframed) ‘If I Could Just…’ 50.5cm x 35cm (unframed) Anna Stus is a graffiti artist who loves drawing. Her early experimental works were heavily influenced by symbols and symmetry. Stus took inspiration from graffiti on the canal-side buildings of her hometown of Birmingham, studying the art as she passed by “It seemed like the right place to look for inspiration”. Today Stus is known for her polygonal works, her commissioned animal paintings feature in a variety of locations around Birmingham £50-100

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213  D*FACE (Dean Stockton, b. 1978) ‘More Punk Than You Punk’ (fluorescent yellow) signed and numbered 10/50 in pencil lower left five colour screen print on Somerset satin paper, 60cm x 60cm overall to be sold with certificate of authenticity from StolenSpace Gallery, Brick Lane, London D*Face is an English multimedia street artist who uses spray paint, stickers, posters and stencils. Citing influences such as Shepard Fairey’s ‘Obey Giant’ campaign, noted skateboard artist Jim Philips, hip hop and comic book art, the artist’s humorous and nihilistic work fuses both traditional and contemporary graffiti and good old-fashioned vandalism. As well as gaining notoriety for entering hundreds of provocatively defaced banknotes into circulation, D*Face has also designed album covers for American pop diva Christina Aguilera and pop-punk stars Blink 182 £800-1,200 99

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214  ADAM NEATE (b. 1977) ‘Dimensionalist Painter’ Signed exhibition poster, gravure print, 70cm x 50cm (unframed)

Lot 214

Adam Neate is a British conceptual artist who first became known in the 1990’s for leaving his artworks in the streets for anyone to collect. Since then Neate has focused his attentions on ‘dimensionalism’ - his multi-dimensional artworks made from different materials, that shape-shift depending on the viewer’s vantage point. £100-200 215 TONY WONG (AKA WRONGWROKS) (b. 1979) ‘American Idol? Kate Moss’ signed and numbered 6/50 in pencil, limited edition serigraph screen print, blind stamped certificate of authenticity, 56cm x 38cm (unframed) Born in Hong Kong and now living and working in Vancouver, Canada, fashion designer and Artist Tony Wong’s mantra is to “not hide your mistakes”. In Wong’s mind an error is something that can’t be repeated and therefore something original. Even his company name WrongWroks plays up to this fascination. Back in High School he started calling himself Tony Wrong, because there were so many people called Tony Wong. “Wrong kind of became my characteristic”

Lot 215

£500-800 216 MARKO MANEV (b. 1985) ‘Star Wars Trilogy’ A set of three prints, one for each of the original trilogy films, A New Hope’, ‘The Empire Strikes Back’ and ‘Return of the Jedi’ signed limited edition of 650, serigraph silk screens, each image size 59cm x 28.5cm (all unframed) Born in Skopje, Macedonia, Marko Manev is a conceptual mixed-media artist, graphic designer and illustrator. Manev has initiated and taken part in several NGOs and cultural organisations here he worked as a lecturer and an executive director. Manev is an active artist both in the fine art and pop culture tribute art scene, as well as writing and illustrating several short story comic books. Currently he is working as a freelance designer and illustrator, creating limited edition prints and movie posters £100-200 100

217 ERNESTO YERENA (b. 1986) ‘Ganas Dia De Los Muertos’ Day of the Dead Calavera (skull), 2011, signed limited edition screenprint, edition of 300, 60cm x 45cm

His work depicts his frustrations with the oppression in his community as well as creating work in solidarity with the community in the defence of dignity and rights. Through his brazen imagery, the artist brings political concerns to light with subject matter that depicts cultural icons, rebels and everyday people voicing their stance against oppression. In 2008 Yerena created the Hecho Con Ganas (Made With Desire) publishing project in which he produces politically and socially conscience images that are produced in limited edition silkscreen prints. Highly recognized for his activism, Yerena is the founder and curator of the Alto Arizona Art campaign (2010) as well as a founding member of the We Are Human campaign (2009). Yerena has collaborated on many thought provoking projects which include artists Zack de la Rocha, Shepard Fairey, Manu Chao, Ana Tijoux, Philip Lumbang, Jaque Fragua, Diane Ovalle, Chuck D, and Mochilla.

Ernesto Yerena Montejano was born in El Centro, California, a mid- sized farming town bordering Mexicali, Baja California, Mexico. Fuelled by his cross-national upbringing, his art practice reflects his observations of the views and interactions between the Mexican communities living on both sides of the U.S.-Mexico border. The artist shares narratives of his conflicts of identity that he feels are kindred to what many Chicanos of these communities experience. Although Yerena identifies as Chicano he also strongly identifies as Native/Indigenous to this continent which is often seen in his work.

£200-400 101

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Lot 218

219  VEEBEE (20th/21st Century) ‘Marilyn Butterflies 2’ signed limited edition (250), giclee print on Somerset fine art paper, 36cm x 36cm (unframed)

218  PENNY (20th/21st Century) ‘Cops and Robins’ signed lower left, limited edition two colour screenprint uniquely finished with spray painted birds and trees, double blind stamped with Pictures on Walls and Port Cullis, 59cm x 79cm overall (unframed)

VeeBee is a contemporary artist living and working in the UK. She creates mixed media and collage pieces, inspired by pop and urban art themes. Her favourite medium is spray paint, enjoying the challenge of exploring new and inventive techniques, and the process of surrendering control

London based artist Penny regards the complex, lengthy process of stencil production to be as important as the final piece and his methodology greatly informs his work.

Like most street based artists, Penny uses satire to initiate social commentary, intricately bound to larger aesthetic principles of the most current movements within contemporary art.

£40-60

Penny spent two weeks on an East London rooftop hand spraying 2250 birds, 2520 eyes, 338 trees and 1008 bird poos onto screenprinted police officers, resulting in each of the limited edition of 120 prints to be unique. £400-600

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Lot 220 221  BOB COSFORD (Contemporary) ‘Grange Hill - The Flying Sausage’, signed, number 84 from a limited edition of 250, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, created from the original artwork from the inaugural series in 1978, image 56cm x 38cm (unframed)

220  BOB COSFORD (Contemporary) ‘Grange Hill by Phil Redmond’ signed by Cosford and Redmond, number 18 from a limited edition of 25 Artist’s proofs, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, Commissioned by Phil Redmond for the 40th anniversary of the BBC TV series ‘Grange Hill’, created from the original artwork from the inaugural series in 1978, image 54cm x 37cm (unframed)

£100-200

Bob Cosford is an artist who for many years worked as a creative director for film and television companies, developing branding for the likes of the BBC, ITV, Disney and UEFA. One of Cosford’s most notable productions was the famous ‘comic book’ opening sequence of the BBC children’s television series ‘Grange Hill’, described by a Radio Times article as being a “Pop Art masterpiece” £200-300 103

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 222

222  BOB COSFORD (Contemporary) ‘Joe’ hand finished with glitter and acrylic paint drips, 1/1, giclee print on 280gsm photo lustre paper, framed in 2015, 39cm x 64cm

224  BOB COSFORD (Contemporary) ‘Rosie’ hand finished with glitter and acrylic paint drips, 1/1, giclee print on 310 gsm German etching paper, framed in 2015, 48cm x 62cm

This work was created to resemble panels taken from fairground rides

This work was created to resemble panels taken f rom fairground rides

£400-600

£300-500

223  BOB COSFORD (Contemporary) ‘Joby’ hand finished with glitter and acrylic paint drips, 1/1, giclee print on 310 gsm German etching paper, framed in 2015, 60cm x 90cm

225  BOB COSFORD (Contemporary) ‘Joby’ 2012, number 6 from a signed limited edition of 250, blind stamped and with certificate of authenticity, giclee print, 58.5cm x 42cm (unframed)

This work was created to resemble panels taken from fairground rides

£50-100

£600-800

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Lot 223

Lot 224

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Lot 227

227  BOB COSFORD (Contemporary) ‘Perky Pete’ 2015, signed printer’s proof, inkjet on aluminium composite and UV laminate, hand finished, 95cm x 75cm x 0.5cm

226  BOB COSFORD (Contemporary) ‘Joy’ 2003, giclee signed printer’s proof on boxed canvas, the image 103cm x 77cm This work is one of the early Fairground images celebrating the frisson of old school fairground rides. Experimenting with a variety of techniques and colour filters a truly vivid contemporary image is created

This work is from a series of unique 3D artworks, created to resemble panels taken from fairground rides £300-500

£100-200

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228  BOB COSFORD (Contemporary) ‘Trigger Happy’ 2014, signed artist’s proof numbered 3/3, with certificate of authenticity, inkjet on aluminium composite and UV laminate, hand finished, 109cm x 72cm x 0.5cm This work is from a series of unique 3D artworks, created to resemble panels taken from fairground rides £400-600

229  BOB COSFORD (Contemporary) ‘How Dogs Think’ signed and stamped verso, acrylic on canvas, 56cm x 40.5cm £400-600 107

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230  PURE GOLD (aka Bob Cosford) ‘Totally……’ a set of four prints, each depicting a female and a chimpanzee ‘Totally Bananas’, ‘Totally Ananas’, ‘Totally Tiffin’ and ‘Totally Tiaras’ signed limited edition of 25 each, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 32cm x 26cm (all unframed) (4)

Pure Gold is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art. £200-300

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Lot 232 232  HENRYG (aka Bob Cosford) ‘OldSkool’ A set of four ‘acid face’ prints ‘Meltdown’, ‘Skully’, ‘Skode’ and ‘Weekender’, signed limited edition of 49 each, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 32cm x 32cm (4)

231  PURE GOLD (aka Bob Cosford) ‘Chrome Girl’ signed, titled and blind stamped, further labelled and stamped verso, printer’s proof, giclee print on 310gsm German etching paper, the image 56cm x 41cm (unframed) ‘Chrome Girl’ was originally a hand drawn figure that developed over a period of years whilst moving between North London, Buckinghamshire and eventually Bournemouth where the figure became clockwork, being heavily influenced by the ‘Steam Punk’ movement.

HenryG is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art. £400-600

£100-200

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 233 233 

DIABLO (aka Bob Cosford) ‘Buy Me And Stop One - Drone Attack’ signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 59.5cm (unframed) DIABLO is one of four pseudonyms used by the Artist Bob Cosford to develop new areas of work, particularly in the field of urban, street art, tattoo design, alt and outsider art.

‘Buy Me And Stop One’ art uses unique socio-political narratives and ironic references to mainstream entertainment all based around an ice cream van. ‘Buy Me And Stop One’ also references the easy days of condom advertising

Lot 234

£100-200

234  DIABLO (aka Bob Cosford) ‘Buy Me And Stop One - POTA’ signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 62cm (unframed)

Lot 235

£100-200

235 

DIABLO (aka Bob Cosford) ‘Buy Me And Stop One - Putin’ signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 40cm x 59cm (unframed) £100-200

Lot 236 236 

DIABLO (aka Bob Cosford) ‘Buy Me And Stop One - Riot’ signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 52cm x 69.5cm £200-300

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Lot 238 237  DIABLO (aka Bob Cosford) ‘Buy Me And Stop One - SUICIDE’ signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 59.5cm (unframed) £100-200

238  DIABLO (aka Bob Cosford) ‘Buy Me And Stop One - VADER’ signed limited edition of 75, blind stamped and with certificate of authenticity, giclee print on 301gsm German etching paper, the image 42cm x 61.5cm (unframed)

Lot 239

£100-200

239  BOB COSFORD (Contemporary) ‘Celestial Bodies - Porrima and Talitha’ pair of profile half-length female studies, signed, limited edition of 150, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, each image 38cm x 38cm £200-400

Lot 239 240  BOB COSFORD (Contemporary) ‘Science Fantasy & Shocking Fiction’ 2012, from the original paintings for book covers commissioned by BBC Television circa 1985, from a limited edition of 75 each, blind stamped and with certificate of authenticity, giclee signed on 280gsm photo lustre paper, each image 59.5cm x 42cm (unframed) (2) £100-200

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Lot 241

241  BOB COSFORD (Contemporary) ‘Some Girls’ 2012, a portrait of Mick Jagger, signed limited edition of 25, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, the image 50cm x 37cm (unframed) £100-200

242  BOB COSFORD (Contemporary) ‘Sex and Drugs and R & R’, 2012, from an original painting of Ian Dury commissioned circa 1978, limited edition signed Artist’s Proof of 5, blind stamped and with certificate of authenticity, giclee print on 310gsm German etching paper, the image 54cm x 37.5cm (unframed) £100-200

Lot 242

243  BOB COSFORD (Contemporary) ‘The KO’ 2012, from an original painting commissioned circa 1978, limited edition signed Artist’s Proof , 2/5, with certificate of authenticity, giclee print on 280gsm photo lustre paper, the image 58cm x 42cm (unframed) £100-200

244  BOB COSFORD (Contemporary) ‘Tiananmen Square’ 2003, signed limited edition of 50, giclee print on boxed canvas, 75cm x 101cm £100-200

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245  BOB COSFORD (Contemporary) ‘Aladdin Sane’ A portrait of David Bowie after the album artwork for Bowie’s 1973 album ‘Aladdin Sane’ by photographer Brian Duffy, signed and dated 2016, acrylic with glitter on canvas, 77cm x 51cm £300-500 113

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

246 BOB COSFORD (Contemporary) ‘Bowie ‘Lego’ Tribute’ four studies of the late David Bowie modelled as a Lego figurine, each a different Bowie persona: ‘Ziggy Stardust’, ‘Aladdin Sane’, ‘The Thin White Duke’ and ‘Pierrot’, each signed and stamped verso, acrylic on stretched canvas, each 50.8cm x 40.8cm (4) £2,500-3,500 114

247 MICK ROCK & DAVID BOWIE: 'MOONAGE DAYDREAM The Life & Times of Ziggy Stardust' limited edition volume words by Bowie and photographs by Rock, numbered 81 of 350 deluxe editions, signed by both, loose leaf deluxe photographic portrait of Bowie, signed by Rock, 2002, Genesis Publications Ltd, bound in full blue leather with gold text and 'Ziggy' lightning bolt, solander box case £2,000-3,000

248 MASOYASHI SUKITA & DAVID BOWIE: 'THE SPEED OF LIFE' Limited edition 300 page photo essay, numbered 1011 of 2000, signed by Bowie and Sukita, 2012 Genesis Publications Ltd, bound by hand in a fine-grain leather onto a cloth cover selected by Bowie himself, with hand-made buckram slipcase featuring pink, silver and turquoise foils and leather accents and a felt cloth bag £1,500-2,500

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Lot 249 249 

AFTER JEFF GILLETTE (b. 1959) & BANKSY (b. 1974) ‘Dismaland’ Exhibition poster for Banksy’s ‘Dismaland Bemusement Park’ 43cm x 58.5cm (unframed) Dismaland was a temporary art project organised by Banksy, constructed in the seaside resort of Weston-Super-Mare in Somerset, England. A sinister twist on Disneyland, the exhibition opened on during the weekend of 21st August 2015 and closed 36 days later. Banksy invited 60 artists to participate in the exhibition, 58 of whom, including Damien Hirst, Jenny Holzer, Jimmy Cauty and Jeff Gillette accepted. It is said that Gillette’s 2010 solo show ‘Dismayland’ was the inspiration for Banksy’s exhibition some five years later. Banksy purchased one of Gillette’s ‘Minnie Hiroshima’ works to use as the main exhibition poster you see here. £100-200 250 

AFTER BANKSY (b. 1974) ‘Dismaland Rat’ 2015, advertising poster, 34cm x 28.5cm (unframed) £100-200

Lot 250 116

Lot 251

251  MANNER OF BANKSY (b. 1974) FOR DISMALAND ‘Mickey Mouse’ spray paint and stencil on canvas laid on board, with Dismaland label verso and associated paper “Dismaland Bemusement Park, Dismal Canvas This dismaland souvenir is an ‘original work or art’”, 20.25cm x 25cm

Lot 252

£300-500 252  MANNER OF BANKSY (b. 1974) FOR DISMALAND ‘Mickey Mouse - Welcome To Dismaland, Life Isn’t Always A Fairytale’ spray paint and stencil on canvas, 25cm x 20cm £300-500

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253  AFTER BANKSY (b. 1974) ‘Forgive Us Our Trespassing’ 2010, signed in plate, limited edition double sided poster, the reverse advertising the artist’s film ‘Exit Through The Gift Shop’, 59.5cm x 42cm (unframed)

Almost a decade after the 2000 ‘Don’t Panic’ collaboration, Banksy rose from street artist to cause célèbre. In 2010 Banksy came back with this poster to celebrate the launch of the mockumentary ‘Exit through the gift shop’ in which a film-maker hanging out with key street artists decides to cash in on the art world’s credulity himself.

The work ‘Forgive Us Our Trespassing’ can be found on a wall in Salt Lake City, Utah. £350-450

254  AFTER BANKSY (b. 1974) 'Di-Faced Tenner', double sided 'ten pound note' colour print on paper, 7.6cm x 14.5cm (unframed) £100-150

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255  AFTER BANKSY (b. 1974) ‘Dirty Funker - Lets Get Dirty’ 2006, 12” vinyl and sleeve by Dirty Funker, the cover artwork by Banksy, after his work ‘Kate Moss’, 30.5cm x 31cm £500-700

256  AFTER BANKSY (b. 1974) ‘Good Song’ 2003, 7” vinyl and sleeve by Blur, the cover artwork by Banksy, after his work ‘Kids on Guns Hill’, 18.5cm x 18.25cm £300-500

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257  BANKSY (b. 1974) ‘Very Little Helps’ 2008, signed and numbered 133 of 299 to the margin, screen print on paper, 50.6cm x 37.4cm (unframed) To be sold with Certificate of Authenticity from Pest Control, dated December 15th 2008, with hand numbered and torn ‘Di-Faced Tenner’ Banksy’s screen print Very Little Helps - also known as Tesco flag or Tesco kids - is based on a mural of the same name that he painted on the side of a pharmacy on Essex Road in North London.

The mural soon became the subject of public and media speculation and sadly was subsequently vandalised provoking further discussion on the distinctions between street art and graffiti.

Today it remains partially damaged with the Tesco flag painted over and replaced with a tag from rival artist King Robbo.

In 2008 Banksy released Very Little Helps as a series of 299 signed prints. The screen print version shows a group of three children surrounding a flagpole. Instead of raising a flag, one of them is raising a Tesco branded plastic bag while the other two are pledging their allegiance with their hands on their hearts, against a serene blue background.

A cutting reference to Tesco’s famous slogan ‘Every little helps’, the work seems to denounce the presence of the supermarket chain on almost every high street in Britain, and its forcing out of diversity and independence. The choice of the symbol of the flag also seems to emphasise the theory proposed by some political theorists that corporations have been allowed to grow into such big entities under late capitalism that they can almost be considered to be the new nation states.

In its barbed critique of Tesco, the work joins previous prints such as Soup Can which focuses on the ‘Tesco value’ range of soups. In a play on Andy Warhol’s iconic Campbell’s Soup series, the work seems to highlight the poverty present in our society, a theme that seems even more relevant today when food bank use is increasing steadily year after year under government austerity measures. £20,000-30,000

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ART & DESIGN POST 1850 Valuation events:

Thursday 9th April 2020: 10am - 1pm Friday 26th June 2020: 10am - 1pm

Dame Elisabeth Frink (1930-1993) ‘Small Male Figure’ signed ‘Frink’ and numbered 2/10 bronze, 30cm high Sold for £19,600*

Enquiries: Tel: +44 (0) 1305 265080 www.dukes-auctions.com john.holmes@dukes-auctions.com max.beaumont@dukes-auctions.com

*including buyer's premium 122

Glass

Detail of lot 287 123

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

258 THOMAS WEBB & SONS (STOURBRIDGE) CAMEO GLASS VASE c.1890, baluster form, the translucent red ground overlaid with opaque white finely wheel-carved primula flowers, the circular foot and rim banded, 11.5cm high £200-300

259 THOMAS WEBB & SONS (STOURBRIDGE) CAMEO GLASS VASE shouldered form with raised collar, the translucent blue ground overlaid with opaque white finely wheel-carved with a single butterfly amongst scrolling flowers and tendrils, the circular foot and rim banded, 18cm high £400-600

260 DAUM NANCY: A CAMEO GLASS VASE tapering form, wheel carved and decorated with berries and leaves on an orange/greenish ground, signed in cameo, 21cm high £300-500

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261 EMILE GALLE: AN ART NOUVEAU CAMEO GLASS VASE ovoid with raised cylindrical neck, cased in pink, yellow and brown, wheel carved and decorated with flowers, signed in cameo, 8.5cm high £100-200 262 EMILE GALLE: AN ART NOUVEAU CAMEO GLASS BOWL circular form with raised lip, cased in amber and yellow, wheel carved and decorated with entwined tendrils with raspberries and leaves, signed in cameo, 13cm dia.

Lot 265

£150-250 263 VENETIAN GLASS WINGED GOBLET tapering cylindrical bowl with everted rim, raised on a tapered knopped stem, applied with scrolls, raised on a circular folded foot, lightly speckled and bubbled, 27cm high £200-300 264 VENETIAN GLASS GOBLET the wrythen ribbed octagonal bowl raised on a knopped aventurine, ribboned stem, applied with two flower heads, raised on a circular folded foot, 25.5cm high £200-300

Lot 266

265 VENETIAN GLASS LOVING CUP blue tinted flared bowl with frilled reeded border, raised on an elaborate knopped stem with aventurine, inset with a central rectangular reserve, with recessed relief press moulded depiction of Cupid and Psyche, after Bertel Thorvaldsen, the whole terminating on a folded circular foot, 33cm high £300-500 266 VENETIAN GLASS GOBLET the wrythen blue glass bowl raised on an elaborate green tinted aventurine stem, applied with a butterfly in murrine, terminating on a folded circular foot, 28cm high £300-500 267 VENETIAN OPALESCENT GLASS GOBLET the circular bowl raised on a knopped twisted stem with aventurine, raised on a folded circular foot, 33cm high

Lot 267

£300-500 125

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268 ATTRIBUTED TO JAMES POWELL & SONS: AN OPALESCENT VASELINE GLASS DISH flared crimped border, 13.5cm dia

Lot 269

£50-100

269 D’ARGYLE FOR ANCIENNE MAISON EFFLER: A FRENCH ART DECO ETCHED AND SILVERED GLASS VASE oviform, purple tinted body decorated with etched spearhead designs and silvered floral panels, signed marks, 34cm high £400-600

271 KARL PALDA: AN ART DECO ENGRAVED AND ENAMELLED CRYSTAL VASE circular form, decorated with black enamelled and frosted stylised panels, raised on a facet-cut base, 21cm high

Lot 271

£300-500

272 DAUM: AN ART DECO GLASS VASE oviform, amber tinted with ribbed and frosted bands, etched “Daum Nancy France” 23.5cm high £80-150

273 ATTRIBUTED TO THE WIENER WERKSTATTE: A MOSER GLASS INKWELL AND COVER rectangular form, faceted and cut with zig-zag decoration, clear, amber and black tinted glass, pull-off cover, 14cm long £100-200

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275  VICKE LINDSTRAND FOR ORREFORS: AN ART DECO GLASS VASE oviform, clear glass construction, etched with a nude female figure with her hands aloft beside her long sweeping hair, etched signature, 34.5cm high £800-1,200

274 STUART: AN ART DECO “DIABLO” ENAMELLED CRYSTAL GLASS DECANTER baluster form with mushroom shaped stopper, decorated with a red devil holding a green filled glass, acid etched mark, 22cm high £200-300

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276  FULVIO BIANCONI FOR VENINI: A MURANO GLASS FIGURE modelled as a male in regional costume, etched “Venini Murano Italia” 26cm high, and an accompanying female figure (not signed) 27.5cm high (2) £800-1,200

277  ALESSANDRO PIANON FOR VISTOSI: A MURANO GLASS LIGHT PENDANT blue and opaque glass with central murrine roundel, 44.5cm dia £300-500

278 ATTRIBUTED TO SEVRES: AN ENAMELLED CRYSTAL BOWL circular form, painted in polychrome and decorated with stylised flowers on a blue and black net ground, 25.5cm dia £200-300 128

279 VAL ST LAMBERT: A “DANSE DE FLORE” GLASS BOX AND COVER the cover and sides decorated with an acid cut and gilded “Danse de Flore” friwze on a stipple cobalt blue ground, etched marks, 10.5cm dia £200-300

280 PAUL DAUM (LORRAIN FRANCE): AN ART DECO BOWL circular form, the sides acid etched with stylised spoke, roundel and web patterns, the centre with a bold flower head and leaf design, probably designed

by Pierre D’Avesn, signed marks, 25cm dia £300-500

281 VERLYS: AN ART DECO “LES CANARDS SAUVAGE” OPALESCENT GLASS CHARGER circular form, relief moulded and decorated with three ducks flying above fish swimming in swirling water, incised marks, 34.5cm dia. £200-300

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282 MOSER: AN ART DECO GEOMETRIC VASE waisted form, amethyst tinted glass with wave edge rim above sculptural mouldings, relief rhomboid points and cut facets over a waisted and notched pedestal base, probably designed by Arnold Zadikow or Rudolf Eschler, acid mark, 28cm high

Lot 282

£550-850 283 MURANO GLASS FREEFORM CENTREPIECE thick glass encased in reds and blues, 61cm long, and another similar, 71cm long (2) £100-200 284 VENINI: A MURANO ORCHID GLASS VASE freeform, ribbon and blue swirl design, 18.5cm high £80-150 285 BOHEMIAN ENAMELLED “CRACKLED” GLASS VASE shouldered tapering form with everted rim, moulded in relief and decorated with a stylised design, 12.5cm high £80-150 286  CHARLES SCHNEIDER: AN ART DECO “JADE” GLASS VASE oviform, mottled in tones of pink and mauve, raised on a spreading circular foot, acid etched mark, 37.5cm high

Lot 288

£150-250 287 PAIR OF ART DECO FROSTED AND CLEAR GLASS BOOKENDS modelled in the form of polar bears on ice, 24cm long approx (pair) £200-300 288  VICKE LINDSTRAND FOR KOSTA: A GLASS VASE clear glass over a green and blue core with lattice threads between layers, 17cm high £200-300

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289  SABINE LINTZEN: A PAIR OF GLASS VASES; “MURRINI COUPLE” freeform, white, red and pink encased in clear glass, with murrine decoration, complete with certificate of authenticity, signed, largest 29.5cm high (2) £400-600

290  SABINE LINTZEN: A GLASS VASE; “SELF ORGANIZING SYSTEM” c.2002, freeform, blue and green encased in clear glass, murrine decoration within frosted segments, complete with certificate of authenticity, signed, 30cm high

Lot 290

£200-300 291 ART DECO FROSTED GLASS PANEL engraved with a female figure in long sweeping dress beside a bird, 61cm high x 40cm wide £100-200 292 BAROVIER & TOSO: A VENETIAN FOOTED GLASS VASE clear glass with aventurine inclusions and blue swirl, raised on a textured foot, 8.5cm high £100-200 293 ATTRIBUTED TO DAUM: A GLASS VASE thick clear glass stylised, 21.5cm high £50-100 131

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

294 MICHAEL AND FRANCES HIGGINS: A COLLECTION OF HIGGINS GLASS DISHES comprising a large charger and seven smaller dishes, peacock design with radial decoration, largest 34cm dia (8)

Lot 294

£300-500 295 OTTO BRAUER FOR HOLMEGAARD: A TEAL “GUL” VASE 26cm high, A Riihimaki “Pompador” vase, designed by Nanny Still, a Stevens & Williams blue/greenish vase and one other (4) £80-150 296  ANDRIES DIRK COPIER (A.D COPIER) FOR LEERDAM: AN “OPTIC” GLASS VASE compressed form, grey tinted, etched mark, 15cm high £80-150 297  TAPIO WIRKKALA FOR VENINI: A “BOLLE” GLASS VASE c.1966, oviod form with raised slender collar, incalmo technique, amethyst and grey glass, etched marks, 23cm high £200-300 298 FACHSCHULE HAIDA: A FLASH-CUT INTAGLIO GLASS VASE tapering form, the body engraved with stylised leaf swirls with cobalt blue spots, 24cm high £100-200

Lot 297

299  SVEN PALMQVIST FOR ORREFORS: A GLASS “EXPO” VASE c.1962, cylindrical form, encased in blue, etched marks, 10.5cm high £100-200 300  ARTHUR PERCY FOR GULLASKUFF: THREE GRADUATED GLASS BOTTLE VASES bulbous form with long slender neck, red tinted, tallest 33.5 high £150-250

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305 MORRELL GLASS STUDIO: A FOOTED GLASS BOWL designed by Richard Morrell and Pipit Pujiastuti, flared form with opaque border, tinted amethyst body, raised on a circular clear glass foot, etched marks, 23cm dia

301  TIMO SARPANEVA FOR IITTALA: AN “ORKIDEA” ORCHID GLASS VASE c.1954, freeform, steam blown clear glass, signed marks, 24.5cm high This vase was originally designed in 1953 and exhibited at the 1954 Triennale di Milano, where it was awarded the Grand Prix for outstanding design. Also awarded “Most Beautiful Object of the Year” by House Beautiful magazine in 1954

£100-200 306  GERTRUDE HERMES RA FOR DARTINGTON: SET OF SIX LEAD CRYSTAL GOBLETS flared bowl engraved from woodcut, limited edition no, 239, 129, 133, 630, 445, 1139 / 2500, engraved marks, 22cm high (three boxed)(6)

£200-300 302 KEITH MURRAY FOR STEVENS & WILLIAMS (BRIERLEY): A GLASS VASE baluster form, encased in lime green, raised on a circular foot, etched marks, 25.5cm high

£100-200 307  DAMIEN HIRST FOR BECKS: A SET OF SIX “OPIUM SPOT” BEER GLASSES c.1990’s, 50cl, in original presentation boxes (6)

£100-200 303  GEOFFREY BAXTER FOR WHITEFRIARS: A “NUTS AND BOLTS” GLASS VASE moulded, tinted in the willow colourway, 27cm high

£100-200 308  KATE JONES AND STEPHEN GILLIES FOR GILLIES JONES: A “UBIQUITOUS” GLASS BOWL flared circular form, cut and overlaid with wavy lines in lemon and lime over a clear crystal ground, 32cm wide

£200-300 304 CULVER: A SET OF SEVEN HIGHBALL GLASS TUMBLERS gilt decorated with Greek key and laurel leaf bands with a central frieze of ruin pillars, 14cm high (7)

£300-500

£100-200

Lot 308

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309  ALISON KINNAIRD MBE (b.1949): A CAMEO GLASS PANEL 'BLUE BOXES' Midlothian, Scotland, 1999, handblown blue glass disc, cameo cut with a central male figure, amongst boxes, set within a silvered wirework frame, on a black wooden plinth, etched signiature, 32.5cm high x 29.5cm £400-600

310  BOB CROOKS (b.1965): A “CONTOUR” GLASS BOWL c.2000, footed circular form with a wavy rim, decorated in mixed colour palette with fine lattaiano thread work to the whole, engraved signature, 58cm dia. £300-500

314 MEL MUNSEN (b.1946): A CONTEMPORARY GLASS VESSEL handkerchief form, black, white and yellow murrines, signed and dated 2002, 12.5cm high

311 GINNY RUFFNER (b.1952): A COLLECTION OF GLASS SCULPTURES freeform swirls, largest 39cm long (5) £150-250

£200-300

312 GINNY RUFFNER (b.1952): A COLLECTION OF GLASS “BALL” SCULPTURES mixed forms and sizes (17)

315 MEL MUNSEN (b.1946): A CONTEMPORARY GLASS BOWL c.2006, flared circular form, white spot decoration, pink rim, signed marks, 34.5cm dia

£100-200

£200-300

313 MEL MUNSEN (b.1946): A CONTEMPORARY GLASS CHARGER yellow murrine spots encased in red glass, signed marks, 49cm dia £200-300 134

Poole Pottery

Detail of lot 364 135

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

317 CARTER & CO (POOLE POTTERY): A GREEN LUSTRE-GLAZE TEAPOT STAND the centre depicting an oval portrait of David Lloyd George, within a foliate scroll border, raised on four bracket feet, impressed mark, 15cm sq £200-300

318 CARTER & CO (POOLE POTTERY): A LUSTRE TEAPOT STAND green lustre glaze, stylised decoration in relief, impressed “Carter & Co, Poole”, 18.5cm sq £200-300

319 CARTER'S (POOLE POTTERY): A PORTRAIT PLAQUE depicting Charles Van Raalte, green glazed, 15.5cm high x 11cm wide £80-150

136

Lot 320

Lot 321

320 POOLE POTTERY: A CARTER'S TILES ADVERTISING PAPERWEIGHT green glazed, modelled in the form of a seated lion on a plinth, with shield to front inscribed ‘Carters Tiles’, the based inscribed ‘Terra-Cotta - Faience - Lustres - Mosaics, Poole, Carters Tiles’, 11.5cm long

323 POOLE POTTERY: A CARTER STABLER ADAMS ‘TRADITIONAL’ BOWL circular form, shape no. 470, decorated in the ZV pattern, designed by Truda Adams, 18.5cm dia, a CSA octagonal jardiniere, decorated in the BY pattern by Rene Hayes, 18.5cm dia and a pot and cover (3)

£150-250

£150-250

321 POOLE POTTERY: A CARTER'S TILES ADVERTISING PAPERWEIGHT brown greenish glazed, modelled in the form of a seated lion on a plinth, with shield to front inscribed ‘Carters Tiles’, the based inscribed ‘Terra-Cotta - Faience - Lustres - Mosaics, Poole, Carters Tiles’, 12cm long

324 POTTERY POTTERY: A “PERSIAN DEER” TRADITIONAL VASE shouldered form, shape 966, painted in polychrome and decorated in the SK pattern, designed by Truda Adams, painted by Winifred Collett, impressed and painted marks, 24.5cm high £100-200

£150-250 325 POOLE POTTERY: A MATCHED PAIR OF ‘TRADITIONAL’ CHARGERS circular form, shape no. 920 decorated in the NU ‘Woodpecker’ pattern, designed by Truda Carter, painted probably by Gwen Haskins, painted to reverse ‘W.T.L.& S, 1939’, painted and impressed marks, 33cm dia (2)

322 CARTER'S (POOLE POTTERY): A LARGE STONEWARE VESSEL ovoid baluster form, single-handle with cherub motifs modelled in relief, oatmeal glaze, incised marks, 33cm high £100-200

£150-250

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326 POOLE POTTERY: A ‘TRADITIONAL’ VASE oviform, shape no. 438, decorated in the GPA pattern, designed

by Truda Carter, painted by Ruth Pavely, 17cm high, another decorated in the GPA pattern by Margaret Atkins, 17cm high, another similar and a QT pattern vase, 14cm high (4)

Lot 326

£150-250 327 POOLE POTTERY: A 'TRADITIONAL' DISH circular form, red-bodied, decorated in the MW pattern by Anne Hatchard, impressed and painted marks, 21cm dia £100-200 328 POOLE POTTERY: A CARTER STABLER ADAMS ‘TRADITIONAL’ FOOTED BOWL circular form, shape no. 977, decorated in the JC pattern by Marian Heath, another decorated in the TZ ‘leaping gazelle’ pattern by Ruth Pavely, and one other in the PI pattern, impressed and painted marks (3)

Lot 329

£150-250 329 POOLE POTTERY: A CARTER STABLER ADAMS ‘TRADITIONAL’ VASE octagonal tapering form, decorated with sprigs of flowers, on off-white ground, decorated in the JR pattern, painted by Ruth Pavely, probably designed by Harold Stabler, impressed marks, 19.5cm high. £150-250 330 POOLE POTTERY: A CARTER STABLER ADAMS ‘TRADITIONAL’ VASE cylindrical ribbed form with everted rim, shape no. 958, decorated in the FT pattern by Marian Heath, 19cm high, another oviform vase, YR pattern, 22.5cm high and one other in the CC pattern, 18cm high, painted and impressed marks (3)

Lot 330

£150-250 331 POOLE POTTERY: A CARTER STABLER ADAMS ‘TRADITIONAL’ VASE octagonal form, decorated in the GG pattern by Ruth Pavely, painted and impressed marks, 16cm dia £100-200 138

Lot 333

332 POOLE POTTERY: A ‘TRADITIONAL’ LAMPBASE bulbous form, shape no. 658, decorated in the JF pattern, painted

by Jean Cockram, impressed and painted marks, 24cm high £100-200 333 POOLE POTTERY: A “PERSIAN DEER” TRADITIONAL VASE shape no. 429, decorated in the SK pattern, designed by Truda Adams, painted by Ruth Pavely, impressed and painted marks, 25cm high £100-200 334 POOLE POTTERY: A TRADITIONAL VASE shape 437, decorated in the XM pattern, painted by Eileen Prangnell, painted and impressed marks, 27cm high

Lot 336

£100-150 335 POOLE POTTERY: A TRADITIONAL VASE shape no. 206, decorated in the unusual ZH pattern, painted by Myrtle Bond, impressed and painted marks, 15cm high £50-80 336 POOLE POTTERY: A CARTER STABLER ADAMS TRADITIONAL VASE globular form, decorated in the DU pattern, painted by Ruth Pavely, painted and impressed marks, 17.5cm high £150-250

Lot 337

337 POOLE POTTERY: A TRADITIONAL TRIAL VASE tapering cylindrical form, shape no. 660, decorated with a geometric stylised design in tones of pink, black and brown, on a grayish ground, painted by Ruth Pavely, impressed and printed marks, 29cm high £200-300 338 POOLE POTTERY: A TRADITIONAL VASE shape no. 154, decorated in the HW pattern, probably painted by Joan Shorto, impressed and painted marks, 24.5cm high £80-150 139

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

339 POOLE POTTERY: AN UNUSUAL “SYLVAN” GLAZED VASE shape no. 768, decorated in Zulu black, designed by John Adams, impressed marks, 17.5cm high

Lot 339

£100-200 340 POOLE POTTERY: A “SYLVAN” WARE PLANT POT shape no. 141, impressed and printed marks “R. Reynolds & Son Ltd, Liverpool”, 21cm high Literature: Poole Pottery Leslie Hayward and Paul Atterbury, page. no 72, top right, for comparable vase.

Exhibited at the “Age Of Jazz”, Walker Art Gallery, National Museums Liverpool, 2005 These pots were made specially for the Queen Mary

Lot 340

£150-250 341 POOLE POTTERY: AN ART DECO “EVEREST” VASE conical tapering form, designed by John Adams, impressed marks, 16.5cm high, and an Everest footed bowl, 22.5cm dia (2) £100-200 342 POOLE POTTERY: AN ART DECO “EVEREST” BACHELORS TEA SET designed by John Adams, comprising teapot, milk jug, sugar bowl, and two cups, impressed marks (5) £100-200

Lot 344

343 POOLE POTTERY: SET OF SIX ART DECO “EVEREST” CUPS designed by John Adams, impressed and printed marks, 11.5cm dia £100-200 344 POOLE POTTERY: A PRESENTATION “CORONATION GALA” VASE shape 857, painted inscription “Coronation Gala, G VI R, 1937, Poole Swimming Club” painted by Ruth Pavely, painted and impressed marks, 23cm high Literature: Collecting Poole Pottery, Robert Prescott-Walker, Publ. Francis Joseph, London, page. 100, bottom-right for comparable vase £150-250 140

345  ALFRED READ FOR POOLE POTTERY: A “FREEFORM” BOTTLE VASE shape no. 698, decorated in the PQB pattern by Gwen Haskins, painted and impressed marks, 39cm high

Lot 345

£200-300 346  ALFRED READ FOR POOLE POTTERY: A “FREEFORM” EGG-CUP VASE shape no. 721, decorated in the HYT pattern by Gwen Haskins, painted and impressed marks, 22.5cm high £200-300 347  ALFRED READ FOR POOLE POTTERY: A “FREEFORM” YOYO VASE shape no. 714, decorated in the PRB pattern, painted by Gwen Haskins, 19cm high, and a Freeform vase, shape no. 180, decorated in the YHS pattern, painted and printed marks, 18.5cm high (2)

Lot 346

£150-250 348 POOLE POTTERY: A ‘FREEFORM’ TRIAL VASE shape no. 708, decorated in polychrome with a single peacock feather, RM pattern, painted and impressed marks, 31.5cm high £100-200 349 POOLE POTTERY: A “FREEFORM” VASE cylindrical form with raised collar, shape no. 708, decorated in the PKT pattern, designed by Alfred Read, painted, impressed and printed marks, 32cm high

Lot 351

£100-200 350 POOLE POTTERY: A “FREEFORM” PEANUT VASE cylindrical waisted form with raised collar, shape no. 701, decorated in the PJL pattern, designed by Alfred Read, painted by Gwen Haskins, painted, impressed and printed marks, 32.5cm high £100-200 351 POOLE POTTERY: A “FREEFORM” VASE cylindrical form with raised collar, shape no. 707, decorated in the PQC pattern, probably designed by Alfred Read, painted, impressed and printed marks, 26cm high, and another decorated in the PQB pattern, shape no. 693, 27cm high(2) £200-300 141

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

352 POOLE POTTERY: AN IMPORTANT AND EXCEPTIONALLY RARE ART DECO FAIENCE “LEAPING GAZELLE” TILE PANEL probably designed by John Adams, comprising fifteen pierced tiles, Picotee spray-glazes, later recessed in a golden oak surround, 52cm H x 66.5cm W x 7cm D (inc. frame) Literature, Poole Pottery Leslie Hayward and Paul Atterbury, page. no 78, bottom left.

Note: This tile panel is believed to have been showingin the visitor's tea rooms at Carter's, Poole Provenance: Private Collection, Dorset Image from a joint Carter, Stabler and Adams advertisment showing the visitor's tea room with a pierced leaping gazelle panel, as featured in 'Poole Pottery' by Leslie Hayward and Paul Atterbury, page 78

£4,000-6,000

142

143

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353 POOLE POTTERY: A “FREEFORM” TRIAL VASE oviform, decorated in a stylised design in tones of white and brown, with incised decoration, impressed marks, 31.5cm high

Lot 355

£150-250 354 CLAUDE SMALE FOR POOLE POTTERY: A “FESTIVAL OF BRITAIN” HORS D’OEUVRES DISH painted in polychrome and decorated with stylised scenes in segmented panels, the centre painted with initials, impressed marks, 21.5cm dia £150-250 355 POOLE POTTERY: A RARE TRIAL VASE shape 660, decorated in a spray Picotee glaze in tones of black, gray and pink, developed by Leslie Elsden, impressed marks, 29cm high

Lot 357

Literature: Collecting Poole Pottery, Robert Prescott-Walker, Publ. Francis Joseph, London, page. 73, bottom-left for comparable vase £200-300 356 POOLE POTTERY: A RARE EARTHENWARE “BIRD” FIGURE no. 34, decorated in a blue Picotee glaze, probably designed by John Adams, impressed marks, 10.5cm high Literature: Poole Pottery Leslie Hayward and Paul Atterbury, page. no 90, top right, for comparable figure. £150-250

Lot 358

357 POOLE POTTERY: A BEAR CUB no. 846, designed and modelled by Marjorie Drawbell, decorated in a pink vellum glaze, impressed marks, 9.5cm high, and one another similar, no. 847, 10cm high (2) £200-300 358 POOLE POTTERY: A LARGE ART DECO SAILING YACHT designed by John Adams, modelled by Harry Brown, spray glaze in magnolia and shagreen, impressed and printed marks, 40cm high £200-300

144

359 POOLE POTTERY: A STUDIO VASE cylindrical form, Robert Jefferson shape, thrown by Guy Sydenham and decorated by Tony Morris, incised stylised decoration on a reddish brown ground, TV Studio mark, impressed and printed marks, 31cm high

Lot 359

£300-500 360 POOLE POTTERY: A DELPHIS “STUDIO” VASE cylindrical form, the body with stylised decoration in tones of brown, green and blue, painted by Margaret Anderson, printed blue mark, 23cm high £200-300 361 POOLE POTTERY: A “ONE OFF” STUDIO VASE oviform, thrown by Alan White, decorated with Roe deer, designed by Jane Brewer, impressed and painted marks, with certificate, 32cm high

Lot 360

£100-200 362 POOLE POTTERY: A DELPHIS “PACKET OF CRISPS” VASE globular slab form, decorated with a stylised design in tones of brown, on an ice green ground, painted by Shirley Campbell, painted and printed marks, 20cm high £100-200 363 POOLE POTTERY: A STUDIO CHARGER circular form, decorated with a John Dory fish, painted in polychrome, designed by Tony Morris, painted and printed marks, 41cm dia

Lot 364

£150-250 364 POOLE POTTERY: A STUDIO CHARGER in the manner of Tony Morris, circular form, decorated with a fish, printed marks, 34.5cm dia £200-300

145

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

365 POOLE POTTERY: AN “ATLANTIS” STONEWARE VASE cylindrical tapering form with everted rim, white and turquoise glazed with carved stylised decoration, thrown by Guy Sydenham and decorated by Beatrice Bolton, impressed marks, 21cm high £200-300

366 POOLE POTTERY: AN “ATLANTIS” STONEWARE VASE tapering cylindrical form with everted rim, glazed and carved with a stylised design, thrown by Guy Sydenham and decorated by Beatrice Bolton, impressed marks, 16cm high £150-250

367 POOLE POTTERY: AN “ATLANTIS” VASE cylindrical tapering form, thrown by Guy Sydenham and decorated in a carved stylised design by Beatrice Bolton, impressed marks, 21cm high £150-250

146

368 POOLE POTTERY: AN “ATLANTIS” STONEWARE ONION VASE globular form with raised collar, carved geometric design with glazed orange highlights, designed and thrown by Guy Sydenham, impressed marks, 14cm high £150-250

369 POOLE POTTERY: AN “ATLANTIS” STONEWARE ONION VASE globular form with raised collar, carved with a frieze of circles with white glazed highlights, designed and thrown by Guy Sydenham, impressed marks, 11cm high £150-250

370 POOLE POTTERY: AN “ATLANTIS” STONEWARE ONION VASE globular form with raised collar, glazed and carved decoration, thrown by Guy Sydenham and decorated

by Beatrice Bolton, impressed marks, 12cm high £150-250

147

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 373 371 POOLE POTTERY: AN “ATLANTIS” PEBBLE VASE globular form, carved and glazed stylised decoration, designed and thrown by Beatrice Bolton, impressed marks, 11.5cm high, and one other similar (2) £150-250 372 POOLE POTTERY: AN “ATLANTIS” PEBBLE PEN POT circular form, thrown by Guy Sydenham and decorated by Susan Dipple, 12cm dia. and another similar, thrown and decorated by Catherine Connett, impressed marks (2)

Lot 374

£120-180 373 POOLE POTTERY: AN “ATLANTIS” STONEWARE ONION VASE carved and glazed, thrown and designed by Catherine Connett, impressed marks, 12cm high, and one other similar, by Jennie Haigh, 10.5cm high(2) £200-300 374 POOLE POTTERY: AN “ATLANTIS” VASE cylindrical form, white and blue glazed, decorated with a frieze of circles, thrown and designed by Beatrice Bolton, impressed marks, 16.5cm high, and one other Atlantis vase, by Susan Dipple, 17cm high (2) £200-300

Lot 375

375 POOLE POTTERY: AN “ATLANTIS” VASE tapering cylindrical form with everted rim, carved stylised decoration, designed and thrown by Susan Dipple, impressed marks, 17cm high, and one other Atlantis vase, by Guy Sydenham, 17cm high (2) £200-300 376 POOLE POTTERY: AN “ATLANTIS” VASE cylindrical form with everted rim, thrown by Guy Sydenham and decorated by Susan Dipple, incised decoration, impressed marks, 25cm high £150-250

148

377 POOLE POTTERY: AN UNUSUAL LUSTRE GEOMETRIC CHARGER circular form with stylised border, made in Italy, printed marks, 46.5cm dia

380  TONY MORRIS FOR POOLE POTTERY: A ONE-OFF “FISH” CHARGER circular form, decorated with stylised fish amongst reeds, thrown

by Alan White, painted, incised and printed marks, 40cm dia

Provenance: Acquired by the vendor from Gary Hilton, Sales Manager at Poole Pottery

£200-300 381 POOLE POTTERY: A LIMITED EDITION “SUN FACE” CHARGER circular form, after an original design by Tony Morris, thrown by Alan White and painted by Nicki Massarella, no.20/50, complete with certificate, 28.5cm dia (boxed)

£80-120 378 POOLE POTTERY: A “BUSH VELT” LIMITED EDITION GALA DAY VASE ovoid form, after a design by John Adams, thrown by Sean Flint and painted by Nicki Massarella, no.8/9, impressed and painted marks, 20.5cm high

£80-120

£100-150 379 TONY MORRIS FOR POOLE POTTERY STUDIO: A “DRAGONFLY” CHARGER circular form, painted in polychrome, painted and printed marks, 35.5cm dia £150-250

Lot 379 149

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

385 ALAN CLARKE FOR POOLE POTTERY: A SET OF NINE LIVING GLAZE “THE PLANETS” CHARGERS made in a limited edition to commemorate the alignment of the planets, May 5th 2000, comprising: Mercury 201/500; Venus 201/500; Earth 201/500; Mars 201/500; Jupiter 201/500; Saturn 201/500; Uranus 201/500; Neptune 201/500 and Pluto 201/500, impressed, printed and painted marks, 40.5cm dia (boxed) (9)

382  NICKI MASSARELLA FOR POOLE POTTERY STUDIO: A “KALEIDOSCOPE” CHARGER circular form, painted in tones of oranges, reds and blues, painted and printed marks, 41cm dia Provenance: Purchased by the vendor from Richard Dennis Gallery, December, 1999 £100-200

£800-1,200

383  NICKI MASSARELLA FOR POOLE POTTERY: A CHARGER circular form, decorated with a stylised design in tones of blue, painted and raised marks, 40cm dia

386 JANICE TCHALENKO FOR POOLE POTTERY STUDIO: A GLAZED VASE c.1999, shouldered tapering form, the body decorated in tones of red and blues, painted and printed marks, 33.5cm high

£100-200 384  NICKI MASSARELLA FOR POOLE POTTERY STUDIO: A LIMITED EDITION “BUTTERFLY” CHARGER circular form, painted in polychrome, designed by Tony Morris, no.4/100, painted and printed marks, 35cm dia

£100-200

£100-200

£100-200

387 POOLE POTTERY INTEREST: A JANICE TCHALENKO AND ALAN WHITE PAPER CLAY TRIAL PANEL c.2002, rectangular form, mottled, decorated in blue tones, signed marks, 114cm long x 19cm wide

Lot 384 150

Lot 385 151

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 388

Lot 393

388 SIR TERRY FROST R.A FOR POOLE POTTERY: AN “ARIZONA BLUE” CHARGER circular form, painted with a spiralling blue design, originally part of a limited edition of 100, 40.5cm diameter.

392 POOLE POTTERY INTEREST: A CRAFT SECTION “MONKEY” VASE

by Cynthia Bennett, thrown, carved and modelled in the form of a monkey tree, with a monkey amongst leaves, incised decoration, painted marks, 28.5cm high

£200-300

Provenance: Poole Pottery Dispersal Sale, Christies, 2004, part-lot 218

389 POOLE POTTERY INTEREST: A JANICE TCHALENKO AND ALAN WHITE PAPER CLAY TRIAL PANEL c.2002, rectangular form, decorated blossoming flowers and scrolling tendrils, signed marks, 114cm long x 21cm wide

£200-300 393  POOLE POTTERY INTEREST: A GUY SYDENHAM “MONKEY” VASE cylindrical tapering form with everted rim, incised decoration and applied with monkeys heads, impressed marks, 23.5cm high

£100-150

£400-600

390 POOLE POTTERY: A ONE-OFF STONEWARE VASE probably by Lindsey Cole / Carmen Levo, stylised decoration, impressed marks, .29.5cm high

394  GUY SYDENHAM (1916 - 2005): A SET OF SIX “MONKEY” BUTTONS circular form, salt glazed, impressed markings, 2.5cm dia (6)

Provenance:Poole Pottery Dispersal Sale, Christies, 2004, part-lot 218

£120-180

£150-200 391 POOLE POTTERY: A STONEWARE BOTTLE VASE thrown by Guy Sydenham and decorated in a mottled seacrest type design, by Beatrice Bolton, impressed marks, 28cm high £100-200 152

The John Noakes Collection of Rozenburg Pottery

153

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The John Noakes Collection of Rozenburg Pottery

John Noakes and his sidekick Shep

John & Vicky Noakes

John Noakes will always be remembered for his tenure as the longest running presenter on the famous children’s television programme Blue Peter. Born in the West Riding of Yorkshire, John broke the archetypal BBC mould with his strong accent and reputation as a can-do ‘action man’. Although trained as an actor and a successful one too, John’s twelve and half years as a Blue Peter presenter defined the programme during a golden age of children’s broadcasting and together with his co-presenting dream team of Valerie Singleton and Peter Purves, an entire generation remembers him and his valiant television dog Shep, with great affection and nostalgia. Of course, his death-defying exploits formed a great part of this legendary reputation although John maintained that much of his persona was created for the ‘role’. The successful series Go With Noakes which ran in tandem and after his departure from Blue Peter, often featured Shep. In his personal life, that love of adventure extended into the world of sailing and together with his wife Vicky they pursued this ‘hobby’ and at times, with great risk to themselves! When they at last found their land legs, they settled in Spain.

Very early in our married life I realized that John was something of a collector. He had a passion for antique shops and bric- a- brac stalls. Ceramics and paintings were his great love and after finding his first piece of Rozenburg in a shop in Kensington Church Street he was hooked! We made several trips to Holland to find people who could give him more background, as in 1960’s England not much was known about the factory and the various artists who had created the designs in the late 19th and early 20th century.

He was passionate about design but also the very fine decorative skills which were used to embellish everyday items.

He had his favourites and when, after leaving Blue Peter, we set off to live on a boat for a few years, he selected the painted tiles which could be securely fixed to the wooden bulkheads of our yacht. Little did we realise they would survive our crushing shipwreck back in 1982 off the coast of Morroco. When we were finally reunited with our boat we were amazed to find all 4 tiles in perfect condition, still attached to the bulkhead, whilst the rest of the boat looked a lot more the worst for wear!

John was also a collector and he had a great affection for Rozenburg ceramics and Art Nouveau. Dukes are delighted to offer the following lots from John’s collection, some of the proceeds which will go towards funding work on Alzheimer’s

Moving then to Mallorca John brought the rest of his beloved Rozenburg to our small farmhouse, where it has decorated the walls and rooms. But now since John’s death in 2017 after eight years hard struggle against Alzheimers, it is time to move on and hope others will be as inspired as much as John by the artistry and ceramic skills which are “Rozenburg”.

Marc Allum

Vicky Noakes 154

395 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED CHARGER circular form, painted in polychrome with stylised foliate decoration, impressed and painted marks, 39cm dia £300-500

396 ROZENBURG: A DEN HAAG EARTHENWARE TIN GLAZED CHARGER circular form, painted in polychrome, the centre decorated with butterfies, within a stylised foliate border, no.1740, impressed and painted marks, 39cm dia £300-500

397 ROZENBURG: A DEN HAAG GLAZED CHARGER circular form, painted in polychrome with stylised leaf decoration, impressed and painted marks, 38cm dia £200-400

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

398 ROZENBURG: A DEN HAAG GLAZED CHARGER circular form, painted in polychrome with stylised decoration in tones of blue, white and yellow, impressed and painted marks, paper label, 40cm dia £400-600

399 ROZENBURG: A DEN HAAG “JULIANA” CHARGER circular form, painted in polychrome, the centre decorated with a cockerel within a stylised border, no.364, impressed and painted marks, 44cm dia £500-800

400 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED CHARGER circular form, painted in polychrome and decorated with two birds within a geometric stylised border, no.366, impressed and painted marks, 32.5cm dia £200-300

156

401 ROZENBURG: A DEN HAAG “JULIANA” GLAZED CHARGER circular form, painted in polychrome and decorated with a geometric floral design, no.126, impressed and painted marks, 27.5cm dia, and another decorated with a bird, no.372, 22.5cm (2)

Lot 403

£100-200 402 ROZENBURG: A MONUMENTAL DEN HAAG EARTHENWARE VASE shouldered form with raised rim, painted in polychrome and decorated with a bird amongst stylised leaves, painted and impressed marks, 56cm high £100-200 403 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED VASE tapering form, painted in polychrome and decorated with butterflies and insects amongst laburnum trees, no.135, impressed and painted marks, 44.5cm high £500-800 404 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED VASE globular form with tapering slender neck, painted in polychrome with stylised decoration, no.472, impressed and painted marks, 38.5cm high

Lot 406

£200-300 405 ROZENBURG: A DEN HAAG DISH circular form with fold-over lip, painted in polychrome and decorated with poppies on an olive green ground, no. 497, 15.5cm, a dish decorated with stylised flowers, and two similar vases (4) £100-200 406 ROZENBURG: A LARGE DEN HAAG EARTHENWARE GLAZED VASE oviform, painted in polychrome and decorated with stylised carnations, impressed and painted marks, 40.5cm high £400-600

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

407 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED JARDINIERE oblong form, painted in polychrome and decorated with poppies and peonies on an olive green ground, no. 393, impressed and painted marks, 36cm long £200-300

408 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED EWER tapering form, the four “slabbed” sides each painted in polychrome and decorated with lizards, no.198, impressed and painted marks, 29.5cm high £150-250

409 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED VASE globular form with arched handle, painted in polychrome and decorated insects and butterflies amongst stylised flowers, no.1040, impressed and painted marks, 30cm high £300-500

158

410 ROZENBURG: A DEN HAAG “JULIANA” GLAZED VASE shouldered form with everted rim, painted in polychrome and decorated with roses, no.35, impressed and painted marks, 26cm high, and two others similar, no.258, 12cm high and no.57, designed by Samuel Schellink, 20.5cm (3) £150-250

415 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED JARDINIERE square form, painted in polychrome and decorated with stylised roses on an olive green and brownish ground, no.517, impressed and painted marks, 20cm sq, and a similar bowl, no. 173, 26cm dia (2)

411 ROZENBURG: A DEN HAAG PORCELAIN PLAQUE decorated with a canal scene with buildings, after Johannes Christiaan Karel Klinkenberg, painted and printed marks, 35cm long x 27.5cm high £100-200

£100-200

412 ROZENBURG: A DEN HAAG PORCELAIN PLAQUE decorated with a shepherd and his flock, after Anton Mauve, painted and printed marks, 21.5cm long x 17cm high, another decorated with cattle, after Jan Vrolijk, 22cm high x 17cm wide and a calender plaque, 36cm high x 29.5cm wide (3)

416 ROZENBURG: A DEN HAAG EARTHENWARE VASE shouldered tapering form, painted in polychrome and decorated with a stylised design, no.525, 20.5cm high, and four other pieces similar (5)

£100-200

£100-200

413 ROZENBURG: A DEN HAAG PORCELAIN PLAQUE decorated with a cityscape with canal and vessels in foreground, after Johan Conrad Greive, printed and painted marks, 24.5cm high x 17.5cm wide

417 ROZENBURG: A NEAR PAIR OF DEN HAAG EARTHENWARE GLAZED VASES flared cylindrical form, painted in polychrome and decorated with birds amongst blossoming flowers, no.276 / 298, impressed and painted marks, 23.5cm high (2)

£100-200

£100-200

414 ROZENBURG: A PAIR OF DEN HAAG VASES baluster form, painted in polychrome with stylised decoration, no. 115, 11.5cm high, and a collection of “JULIANA” wares (9) £100-200 159

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

418 ROZENBURG: A DEN HAAG EARTHENWARE GLAZED VASE globular form with two handles and shaped neck, painted in polychrome and decorated with a stylised bird, no. 1420, painted and impressed marks, 20cm high, and one other similar, no. 364, 21.5cm high (2)

Lot 422

£100-200 419 ROZENBURG: A PAIR OF DEN HAAG EARTHENWARE GLAZED VASES baluster form, painted in polychrome and decorated with stylised wild flowers, no.237, impressed and painted marks, paper collection label, 34cm high (2) £100-200 420 ROZENBURG: A DEN HAAG “JULIANA” INKWELL AND COVER circular form, painted in polychrome and decorated with chrysanthemums, no. 198, 20.5cm dia, and a similar vase and cover, no. 117, 15.5cm high (2) £100-200 421 7 ROZENBURG: A DEN HAAG EGG-SHELL PORCELAIN DEMI TASSE CUP octagonal form, painted in polychrome and decorated with two chickens in a landscape scene, on a white ground, by Sam Schellink, no.80, painted and printed marks, 5.5cm high, and one other similar, no. 124 (2)

Lot 423

£100-200 422 ROZENBURG: A DEN HAAG EGG-SHELL PORCELAIN TWO-HANDLED VASE bulbous body with long tapering neck, painted in polychrome and decorated with a stylised lizard amongst scrolling leafy mauve tendrils, no.1485, painted and printed marks, 23cm high £400-600 423 ROZENBURG: A DEN HAAG EGG-SHELL PORCELAIN TWO-HANDLED VASE shouldered form, painted in polychrome and decorated with plum and lime flowers on a white ground, no. 182, painted and printed marks, 15cm high £200-300

160

Ceramics

Detail of lot 478 161

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

424 WILLIAM MOORCROFT: A “POMEGRANATE” BOWL circular form, painted and impressed marks, 21cm dia

Lot 424

£200-300 425 WILLIAM MOORCROFT: A PAIR OF “POMEGRANATE” CANDLESTICKS tapering cylindrical form, painted and impressed marks, 18.5cm high £350-550 426 WILLIAM MOORCROFT: A “POMEGRANATE” COMPORT circular form, the dish raised on a plated fluted base, impressed and painted marks, 22cm dia

Lot 425

£150-250 427 WILLIAM MOORCROFT: A “CLEMATIS” FLAMBE JARDINIERE circular form, raised on a foot, impressed, painted and paper label, 10.5cm high £150-250 428 WILLIAM MOORCROFT: A "LEAF AND BERRIES" FLAMBE CHARGER circular form, impressed, signed and paper label, 30cm dia £200-300

Lot 428

429 MOORCROFT: AN “ORCHID” TABLE LAMP BASE baluster form, tubeline decorated, designed by William Moorcroft, metal fittings, raised on a circular wooden base, 26.5cm (ex fittings) £200-300 430 MOORCROFT: A “CLEMATIS” VASE bulbous form, tubeline decorated, designed by Walter Moorcroft, impressed and signed marks, 21.5cm high £100-200

162

431 MOORCROFT: A RARE “HIBISCUS” VASE baluster form, tubeline decorated, initialed by John Moorcroft, complete with accompanying letter, impressed and painted marks, 24cm high

Lot 432

£150-250 432 MOORCROFT: A PRESTIGE LIMITED EDITION “FLANDERS FIELD” VASE c.2011, cylindrical form with flared rim, tubeline decorated and painted in polychrome, designed

by Rachel Bishop, impressed and painted marks, paper label, 46.5cm high £600-800 433 MOORCROFT: AN “AMAZON TWILIGHT” VASE no. 12, oviod form, tubeline decorated, designed

by Debbie Handcock, impressed and painted marks, 21cm high Made as a numbered edition for Liberty’s of London £100-200 434 MOORCROFT: AN “ANOTHER WORLD” LIMITED EDITION VASE baluster form, tubeline decorated, designed by Nicola Slaney, no.12/50, impressed and painted marks, paper label, 46.5cm high £200-400 435 MOORCROFT: A “UNICORN” TRIAL VASE baluster form, tubeline decorated, designed

by Kerry Goodwin, painted and impressed marks, 17cm high Reputedly ex display in the Moorcroft Boardroom £120-180

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

436 MOORCROFT: “THE MERRY WIVES OF WINDSOR” TRIAL VASE oviform, two handles, tubeline decorated, designed by Rachel Bishop, impressed and painted marks, paper label, 18cm high £150-250

437 MOORCROFT: A “STARGAZER LILY” NUMBERED EDITION VASE oviform, tubeline decorated and painted in polychrome, designed by Nicola Slaney, impressed and painted marks, paper label, 23.5cm high £120-180

438 MOORCROFT: A “DAUGHTERS OF THE WIND” TRIAL VASE baluster form, tubeline decorated and painted in polychrome, trial colourway, designed by Kerry Goodwin, painted by Helen Dale, impressed and painted marks, paper label, 31cm high £150-250

164

439 MOORCROFT: AN “OPHIR” LIMITED EDITION VASE flared cylindrical form, tubeline decorated, designed

by Rachel Bishop, no.11/100, impressed and painted marks, 25.5cm high

Lot 439

Made exclusively for Liberty’s of London £150-250

440 MOORCROFT: A “FOUNTAIN ABBEY” TRIAL VASE flared cylindrical form, tubeline decorated and painted in polychrome, designed by Philip Gibson, made for MacIntyre, impressed and painted marks, 25.5cm high £120-180

441 MOORCROFT: A “SICHUAN GIANT PANDA” TRIAL VASE flared cylindrical form, tubeline decorated and painted in polychrome, designed by Vicky Lovatt, 40.5cm high

Lot 443

£150-250

442 MOORCROFT: A “CAT NAP” PLAQUE rectangular form, the panel within a stained dark oak frame, tubeline decorated, designed by Rachel Bishop, impressed and painted marks, 34.5cm high x 9.5cm wide (ex frame) £80-150

443 MOORCROFT: A “SKOMER ISLAND” TRIAL PLAQUE rectangular form, the panel within a silvered frame, tubeline decorated and painted in polychrome, designed by Helen Dale, impressed and painted marks, 32cm high x 21.5cm wide (ex frame) £150-250

165

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 444

444 DAISY MAKEIG-JONES FOR WEDGWOOD: A “FAIRYLAND LUSTRE” MELBA CENTRE FOOTED BOWL circular form, the interior decorated in the “Jumping Fauns” pattern, the exterior decorated in the “Garden of Paradise”, no.z4968, painted and printed marks, 20.5cm dia x 14cm high

445 DAISY MAKEIG-JONES FOR WEDGWOOD: A “FAIRYLAND LUSTRE” OCTAGONAL BOWL pattern no. Z5125, the outside decorated in the “Castles on a Road” pattern, the interior decorated in the “Fairy in a Cage” pattern, printed and painted marks, 23cm dia

£4,000-6,000

£2,000-3,000

Lot 445

166

446 DAISY MAKEIG-JONES FOR WEDGWOOD: A “FAIRYLAND LUSTRE” VASE AND COVER baluster form, the exterior decorated in the “Candlemas”pattern, no. Z5154, printed and painted marks, 22.5cm high £3,500-5,500

167

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447  BERNARD WINSKILL FOR ROYAL WORCESTER: “THE DUKE OF MARLBOROUGH” PORCELAIN FIGURE GROUP limited edition no. 102/350, one of a series of Famous Military Commanders, with leather framed certficate, 48cm high (inc.stand) £500-800

451 ERNST WAHLISS ALEXANDRA PORCELAIN WORKS: A PAIR OF SECESSIONIST VASES oviform, painted in polychrome and decorated floral swags and garlands, the necks each applied with a pair of rams heads, designed by Paul Dachsel, painted marks, 31.5cm high (2)

448 BESWICK: A RARE PORCELAIN VASE globular form, no. 1389, printed marks, 21cm high £80-150 449  DORIS LINDER FOR ROYAL WORCESTER: A “GAME COCK” PORCELAIN FIGURE no. 3562, painted in polychrome, printed marks, 27cm high, and a “Chanticleer” porcelain figure, no. 3361, 26.5cm high (2)

£300-500 452 ZSOLNAY PECS: A LARGE PIERCED CHARGER circular form with waved border, painted in polychrome with chrysanthemums with gilt highlights on a cobalt blue ground, impressed and painted marks, 46cm dia

£150-250 450 DORIS LINDER FOR ROYAL WORCESTER: A “HACKNEY STALLION” PORCELAIN FIGURE c.1975, modelled in the form of a horse, painted in polychrome, limited edition no. 168, printed marks, with wooden plinth, 28cm high (inc stand)

£200-300 453 ZSOLNAY PECS: AN ART NOUVEAU LUSTREWARE CHARGER circular form, the centre decorated with a profile of a lady, the border with foliate sprigs on a pink ground, painted and impressed marks, 34cm dia

£200-300

Provenance: The John Noakes Collection £100-200 168

454 CHARLES NOKE FOR ROYAL DOULTON: A "DOUBLE SPOOKS" PORCELAIN FIGURE painted and modelled as a pair of becloaked spooky goblins, adapted by Charles Noke from a single figure designed by Harry Tittensor for Doulton Burslem, painted marks "Spook" "C.J. Noke. SC" H.N.88" impressed mark, 19cm high £500-1,000

457 AESTHETIC MOVEMENT “TILE TOP” CHOPPING BOARD the tiles that probably of MAW or Minton, each with repeat flower head decoration, the wooden surround with brass fittings, 33cm sq

455 GEORG KLIMT FOR BERNARD BLOCH: AN ART NOUVEAU LUSTREWARE CENTREPIECE oval form with two handles, impressed marks, incised “G Klimt” 43cm long

£100-200

Provenance: The John Noakes Collection 458 GEORG BANKEL: A MODERNIST GERMAN THREE TILE PANEL decorated with a repeating spearhead and sheild outlines in relief on blue and grey grounds, set within a limed oak surround, impressed marks, 18cm H x 48cm W

£100-200 456 PAIR OF WEST GERMAN POTTERY TABLE LAMPS cylindrical form, decorated in relief with a raised abstract design, glazed in tones of yellow and black, 52.5cm high (ex fittings) (wired for electricity) (2)

£200-300

£300-500 169

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Lot 459

461 SMALL COLLECTION OF ANTIQUE PORCELAIN AND CONTINENTAL REFERENCE BOOKS including Art Nouveau, Jugendstil and modern style (7)

459 MINTONS: AN ART NOUVEAU NINE TILE PANEL each decorated with a repeating design of stylised water lily pads in tones of greens and aqua blues, H 45cm x W 45cm

Provenance: The John Noakes Collection

£600-900

£50-100

460 SERVAIS WERKE EHRANG: A GERMAN DOUBLE TILE PANEL decorated in relief with a stylised design in tones of dark green, set within a light oak surround, impressed marks, 32cm long

462 KEITH MURRAY: A “MOONSTONE” FOOTED CHARGER circular form, fascimile signiature, 36cm dia £100-200

£100-200 170

Lot 464

463 IN THE MANNER OF KEITH MURRAY: A “CANDY WARE” WESTCOUNTRY POTTERY VASE oviform with everted rim, graduated ribbed band design, probably thrown by Sid Dart, printed marks, 31cm high £50-100 464 GOLDSCHEIDER: AN ART DECO PORCELAIN FIGURE “ROSE” modelled in the form of a female dancer in floral dress, painted in polychrome, impressed and painted marks, 15cm high £500-800 465 SIR EDMUND ELTON: A SUNFLOWER POTTERY THREE-HANDLE TIG circular form, incised stylised flowers on a mottled ground, lustrous glazes, signed marks, 19cm high

Lot 467

£100-200 466 BERNARD MOORE: A BOWL with a bright red glaze, slightly darker around the rim, the base with a painted mark “Bernard Moore” and impressed marks, 30cm dia.

Provenance: Uploders Place, Bridport, Dorset £200-300 467  LINE VAUTRIN: THREE GLAZED CERAMIC BUTTONS incised stylised decoration, incised marks, 2.5cm dia (3)

Lot 468

£100-200 468 PRIMAVERA POTTERY: AN ART DECO CRACKLE-GLAZE VASE AND COVER cast in relief with a stylised female face, covered in a cream glaze, printed marks, 23cm high £100-200

171

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Lot 469 469  SALVADOR DALI FOR MAURICE DUCHIN: LA SUITE CATALANE; AN “ARROWS” TILE c.1954, painted in polychrome, signed marks, 27cm sq (framed) £100-150 470  SALVADOR DALI FOR MAURICE DUCHIN: LA SUITE CATALANE; A “STARFISH” TILE c.1954, painted in polychrome, signed marks, 27cm sq (framed) £100-150

Lot 470

471  MARY ROSE YOUNG (b.1958) A BREAD CROCK AND COVER cylindrical form, the body applied with ceramic “jewels” and flowers, painted in polychrome with gold lustres, on a red ground, painted marks, 41cm high £100-200 472  KATE MALONE FOR JAMES KENT: A “SEALIFE” MAJOLICA PITCHER globular form with flared rim, single-handle, the body decorated with sea creatures in relief, printed and signed marks, 24.5cm high £300-500 473  KATE MALONE FOR JAMES KENT: A “SEALIFE” MAJOLICA BOWL the border decorated with sea creatures in relief, raised on three mollusca form feet, 26cm dia

Lot 472

£150-200 474  RICHARD AND SUSAN PARKINSON STUDIO: A PORCELAIN FIGURE modelled in the form of a cat, decorated with a sgraffito design, 14.5cm high and a large Parkinson Studio owl, with incised decoration, 20cm high (2) £150-200

172

475  ALISON WILDING FOR ROYAL DOULTON: A PAIR OF CERAMIC WALL HANGING SCULPTURES designed as part of the ‘At Home With Art’ project, 1999-2000, in collaboration with the Tate Gallery and Homebase, impressed marks, 23cm dia (2) £100-200 476 TROIKA: A “SLAB” VASE painted in polychrome and decorated in relief with Aztec decoration, by Honor Perkins, white-glazed sides, painted marks, 17cm high £100-200 477 TROIKA: A “CHIMNEY” VASE decorated in relief with an Aztec design,

by Avril Bennet and painted in polychrome, painted marks, 20cm high £150-250 478  ANTHONY THEAKSTON (b.1965): A STONEWARE SCULPTURE “NIGHT OWL” modelled in the form of a stylised barn owl, raised on a circular plinth, flecked blue salt-glaze decoration, incised features, signed marks, 31cm high Provenance: Acquired by the vendor directly from the Artist's studio £600-800 479  ANTHONY THEAKSTON (b.1965): A STUDIO POTTERY “PENGUIN” JUG stylised with incised decoration, single-handle, blue salt-glazed, signed marks, 23.5cm high Provenance: Acquired by the vendor directly from the Artist's studio £150-250

Lot 478

173

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Lot 480

480 ALDERMASTON INTEREST: A LAWRENCE MCGOWAN STUDIO POTTERY VASE ovoid form with raised rim, painted in polychrome and decorated with a stylised bird amongst reeds, 16cm high, and one other similar, 14.5cm high, painted marks (2)

483 JOHN SLATER FOR BERRY HILL POTTERIES: A VASE tapering form, high-fired mottled glaze, raised on a circular foot, printed marks, 41cm high

£150-250

484  MIKE DODD (b.1943): A STUDIO POTTERY VASE ovoid form with raised rim, two handles, incised “sprig” decoration and covered in an ash glaze, impressed seal mark, 28.5cm high

£80-150

481 ALDERMASTON INTEREST: A LAWRENCE MCGOWAN STUDIO POTTERY VASE ovoid form with raised neck, tin-glazed and painted in polychrome, decorated with a stylised bird amongst foliage, within segmented panels, painted marks, 22cm high

£100-200 485 ROGER VEAL: A TOLCARNE STUDIO POTTERY SLAB VASE rectangular form, brown brush strokes on raised relief over speckled ochre ground, impressed marks, 27cm high, and a STUDIO VASE, signed “Hubbard”, 27cm high (2)

£100-200 482  CAROLYN GENDERS (b.1957) A STUDIO POTTERY VASE shouldered form, slip-glazed with an abstract design, impressed signature, 25cm high

£80-150

£100-200

174

486  JIM MALONE (b.1946) AN AINSTABLE STUDIO POTTERY VASE fluted bottle form, incised with a comb decoration, covered in a tenmoku and ash glaze, impressed seal mark, 29.5cm high £150-250

487  GUNNAR NYLUND FOR RORSTRAND: A “CHAMOTTE” GREEN TEXTURE STONEWARE VASE ovoid form with raised rim, impressed marks, 16cm high £150-250

488  GUNNAR NYLUND FOR RORSTRAND: A “CHAMOTTE” TEXTURE STONEWARE VASE ovoid form with raised rim, impressed marks, 16cm high £150-250

175

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489  JANET LEACH: A LARGE ST IVES STONEWARE VASE shouldered form with everted rim, incised decoration under a grey glaze, tenmoku glazed shoulder, impressed seal mark, 37cm high £500-800

490  DENIS MOORE (1908-1977) FOR GREEN DENE POTTERY: FOUR STONEWARE FOOTED BOWLS circular form, rust red, aubergine and green ash glazes, incised marks, largest 15cm dia (4)

492  DENIS MOORE (1908-1977) FOR GREEN DENE POTTERY: A STONEWARE VASE cylindrical flared form, rust red, green ash glazes, incised marks, 21.5cm high, and two dishes (3)

£100-200

£80-150

491  DENIS MOORE (1908-1977) FOR GREEN DENE POTTERY: COLLECTION OF EIGHT STONEWARE BOWLS circular form, rust red, aubergine and green ash glazes and drip glazes, incised marks, largest 11cm dia (8)

493 MARIE LINDELL, SWEDISH: A STUDIO POTTERY STONEWARE TEAPOT pumpkin form, pull-off cover, arched cane handle, 26cm high (inc handle) £80-150

£100-200 176

Silver and Jewellery

Detail of lot 495 177

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

494 ARCHIBALD KNOX FOR LIBERTY & CO: A SET OF SIX “CYMRIC” ART NOUVEAU SILVER AND ENAMEL SPOONS Birmingham, 1904, the finials with stylised leaf design, in original fitted presentation case, 11cm long (c.1.7oz) £300-500

178

495 OLIVER BAKER FOR LIBERTY & CO: AN ART NOUVEAU SILVER AND MATRIX TURQUOISE STONE SET BUCKLE rectangular form with stylised pierced scrollwork, later converted to a brooch, 7cm L x 5.5cm H (c.0.9oz) £400-600

496 LIBERTY & CO: A SILVER ART NOUVEAU PHOTOGRAPH FRAME Birmingham, 1917, no.5943, rectangular form with planished border, embossed with a frieze of leaves oak leaves and acorns, oak easel back, 15cm high x 10cm wide (interior) 21.5cm high x 15.5cm wide £100-200

179

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497 CARTIER: AN ART DECO SILVER CIGARETTE / CIGAR CASE rectangular form, ribbed banded decoration, no.65901, 10cm long (c.5.4oz) £700-900

498 TIFFANY & CO: AN ART DECO 14CT GOLD PURSE MIRROR bevelled mirror plate within a rope-twist border, loop, the reserve with woven and texture decoration, 8cm long (41g total weight) £500-800 180

499 PAIR OF MOORISH SILVERED AND ENAMEL PRICKET CANDLESTICKS decorated in relief with stylised green enamel decoration, 11.5cm high (c.7oz) £400-600

500 PAINTED SPANISH ENAMEL PLAQUE “La Crianza” after Aurelio Arteta Errasti, the rectangular panel within a silver border, mounted in an oak frame, 13cm W x 20.5cm H (ex frame) £200-300

181

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501  JEAN DESPRES: A FRENCH SILVER CENTREPIECE circular form, planished decoration, raised on a circular foot, signed “J. DESPRES”, 33.5cm dia x 19cm high (c. 73.5oz) £2,000-3,000

502 SILVER WAITER

by Guild of Handicraft, London, 1972, circular form with reeded border, 25cm dia (c.16.7oz) £300-500

504 CONTINENTAL ART DECO SILVER PLATED CENTREPIECE circular dish supported on a ribbed central column, terminating on a circular foot, impressed marks, 20cm high

503 MAPPIN AND WEBB: AN AESTHETIC MOVEMENT SILVER PLATED TOAST RACK After a design by Dr Christopher Dresser, two four-piece cruet sets and a two-section condiment dish (4)

£100-200

£100-200 182

506  LINO SABATTINI FOR CHRISTOFLE: AN ART DECO SILVER PLATED “WINDSOR” COCKTAIL SHAKER impressed marks, 24.5cm high £500-800

505 RAVISSANT: A MODERNIST SILVER VASE conical tapering form, embossed stylised decoration, raised on a textured black marble plinth, 37cm high £200-300 183

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

507 STUART DEVLIN: A SILVER AND PARCEL-GILT KNIFE AND FORK London, 1968, (c. 5.6oz) £150-250

508 GEORG JENSEN: TWO PAIRS OF STERLING SILVER SALAD SERVERS no. 57, 21.5cm long (c. 11.2oz) £250-450

184

509 ART DECO SILVER AND ENAMEL POT Makers mark WTB, Birmingham, 1940, circular form with pull-off cover, the cover decorated with a mottled geometric design, 12.5cm dia (c.4.5oz)

Lot 510

£80-150 510 PAIR OF MODERNIST SILVER AND PARCEL-GILT SALT AND PEPPER POTS London, 1977, circular form with textured decoration, 4.5cm dia, and an associated silver stand (c.8.2oz) (3) £100-200 511 PAIR OF CONTEMPORARY ITALIAN SILVER COASTERS

by Donato Zaccaro, circular form, the borders decorated with a leaf border in relief, 11.5cm dia (c.6.5oz) (2)

Lot 513

£80-120 512  IN THE MANNER OF TAPIO WIRKKALA: A SILVER PLATED DISH oblong form, 61cm long £80-150 513 ASPREY: A CONTEMPORARY SILVER DICE each side engraved with an activity “Gym, Holiday, Sleep, Cinema, Sports, Drinks” with presentation box, 3cm sq, (c. 1.2oz)

Lot 514

£50-100 514 CHARLES HORNER: SEVEN SILVER HAT PINS together with a collection of similar and other hat pins (49) £150-250

185

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515  FLEMMING ESKILDSEN FOR GEORG JENSEN: A PAIR OF SILVER CUFFLINKS stylised form, with presentation case, 3cm, (c. 18g)

Lot 515

£200-300 516 HOLLAND AND HOLLAND: A PAIR OF NOVELTY SILVER CUFFLINKS London, 2004, modelled in the form of ski’s, in fitted presentation case, 2cm (c. 9g) £50-100 517 HOLLAND AND HOLLAND: A PAIR OF NOVELTY SILVER CUFFLINKS London, 2009, modelled in the form of gun cartridges, in fitted presentation case and outer sleeve, 2.5cm (c. 11g)

Lot 518

£50-100 518 MODERNIST FAUX BLUE HARDSTONE AND YELLOW METAL RING size M (tests as 18ct) £250-450 519 COLLECTION OF MODERNIST SILVER RINGS late 20th century, mixed designs, some import marks London (c.0.9oz)

Lot 519

£100-200 520 CONTINENTAL WHITE METAL PANELLED LINK BELT AND MATCHING BRACELET each pierced link joined with a single round link, hook fastener with safety chain, 81cms long, and matching bracelet 19cms long (2) £80-150

186

20th Century design and Collectables

Detail of lot 542 187

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 521

523 BRITISH RAIL POSTERS: A QUAD ROYAL POSTER MAP ‘London’s Railways’ designed by T.P. Demuth, March 1973, 101cm x 126cm; Three Inter-City Overground posters screen printed by Planet Displays (one green top and two red tops), each 101.5cm x 63cm; One Jubilee Line poster ‘Get out of Charing Cross Fast’ printed by C.J. Petyt Ltd, 101.5cm x 63cm; and two Railair Link posters for Gatwick and Heathrow, each 101.5cm x 63cm (all unframed) (7)

521 MURRAY SECRETAN (1888-1945) ‘100 Years of Progress 1835-1935’ An advertising poster for Great Western Railway (GWR) depicting the Cornish Riviera Express at Dawlish, printed by J. Weiner Ltd, framed and glazed, 100cm x 126cm £100-200 522 BRITISH RAIL AND OTHER RAILWAY POSTERS: ‘Inter-City - Have a good trip!’ 101.5cm x 63cm; ‘Inter-City - The Journey Shrinker’ 101.5cm x 63cm; ‘Motorail - Winter 79/80’ 101.5cm x 63cm; ‘British Rail - How to spend a day in historic Britain’ 101.5cm x 63cm; ‘British Rail - Now teddy bears and under-5’s travel free’ 101.5cm x 63cm; and ‘A Railway Spectacular - Rocket 150’ to commemorate the 150th anniversary of the Liverpool and Manchester Railway, 101.5cm x 63cm (all unframed) (6)

£100-200 524 BRITISH RAILWAYS (SOUTHERN REGION) POSTER: ‘The Channel Islands - Go there by British Railways’ designed

by Frederick Griffin, printed by Jordison & Co, 100cm x 127cm; together with a British Railways poster ‘Harrogate - Britain’s Floral Resort’ 101.5cm x 63.5cm; another British Railways poster ‘Train and Steamer Service to your Winter Sports’ 101cm x 63.25cm; and two further British Railways (Southern Region) posters ‘Normandy & Brittany by Train and Ship’ 101.5cm x 63cm and ‘Royal Tunbridge Wells - Britain’s Sunniest Inland Resort’ 101.5cm x 63.25cm (all unframed) (6)

£100-200

£200-400 188

525 BRITISH RAILWAYS (SOUTHERN REGION) POSTERS ‘Winter Sports - Go By Train’ designed by John Cort, 101.5cm x 63.5cm; and three ‘Served by Fast & Frequent Trains’ County posters for Kent, Sussex and Hampshire (all unframed) (4)

Lot 527

£150-250 526 EUROPEAN TRAVEL POSTERS: comprising five posters for Seaspeed Hovercraft, two posters for ‘Europabus’, a poster for Inter-City Sealink and a French Government poster for Normandy (all unframed) (9) £100-200 527  AFTER DAVID HOCKNEY (b. 1937) ‘Painting on Paper’ an exhibition poster for a Hockney exhibition at Annely Juda Fine Art, 23 Dering Street, London, 17th January - 1st March 2003, the poster featuring the Artist’s portrait of Tom and Charles Guard, 94cm x 64cm £100-200 528 THE BEATLES: JOHN LENNON AND PAUL MCCARTNEY SIGNATURES in blue ink on lined paper, framed and glazed, 6cm x 14cm Provenance: Acquired from the musicians at RAF West Malling, Kent, in April 1966, during the filming of ‘The Magical Mystery Tour’ £800-1,500

Lot 528

189

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529 WMF: AN ART NOUVEAU PEWTER JEWELLERY CASKET rectangular form with domed hinged cover, decorated in relief with stylised flowers, 12cm long, and a small Osiris box and cover, 9cm dia (2) Provenance: The John Noakes Collection £80-150

530 ART DECO PEWTER AND MACASSAR EBONY OVERSIZED TEAPOT circular form, pull-off cover with domed wooden finial, the body embossed and decorated in relief with flowers, signed “A.Vittren” 25cm high £200-300

531  ELEANOR KEARNEY: A CONTEMPORARY PEWTER TEAPOT AND CANISTERS c.1993, globular form with straight wooden turned handle, wooden detachable ball cover, surmounted on a turned wooden stand, and a pair of canisters, of similar form, unmarked, 27.5cm high.

Note. Original design drawings held in the V&A, Museum no. E.641-1998 Provenance: Private Collection, Wiltshire £200-300

190

532  JACQUES ADNET: AN ART DECO CRYSTAL LIQUOR SET AND TRAY comprising a decanter and eight liquor glasses, on a shaped limed oak tray with tubular chromed gallery, 60cm wide £500-800

533 FRENCH ART DECO CHROME AND LUCITE BOX AND COVER pull-off cover, faux tortoiseshell with chromed border, 18.5cm long x 11cm wide £80-150 534 CONTEMPORARY BRASS AND STEEL TABLE BOX c.1970, rectangular form with hinged cover, 18.5cm long x 10cm wide £80-150

191

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Lot 535

Lot 536 Lot 537

535  ALDO TURA FOR MACABO CUSANO MILANINO: A RED LACQUERED GOATSKIN ICE BUCKET with plated mounts and cover, 33.5cm high

537  ALDO TURA FOR MACABO CUSANO MILANINO: A MOTTLED RED LACQUERED GOATSKIN ICE BUCKET with plated mounts and cover, ring brass handles, 21cm high

£150-250

£150-250

536  ALDO TURA FOR MACABO CUSANO MILANINO: A RED LACQUERED GOATSKIN FLASK with plated mounts and cover, 32.5cm high

538  PIERO FORNASETTI FOR FORNASETTI, MILANO: A WASTE PAPER BIN cylindrical form, lithographed with a repeating geometric design, printed marks, 28.5cm high, and one other, 21.5cm high (2)

£150-250

£200-300

Lot 538

192

539  ANTHONY REDMILE: A COCO DE MER ON METAL STAND further raised on an ebonized wooden plith, stamped “ Redmile, London”, 37cm high £300-500

540 ROBERT INDIANA FOR GALERIE-F: A LIMITED EDITION “LOVE / LIEBE” WOOL RUG c. 2005, no.321/999, with label, and one other (no label) 60cm x 56.5cm (2) £300-500

193

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541 ASPREY: AN ART DECO SHAGREEN MANTLE CLOCK circular engine turned dial with black Roman numerals, domed cased, raised on four ivorine feet, 14.5cm high £150-250

542 METAMEC: A “SUNBURST” WALL CLOCK gold and black painted fins, Roman numerals, quartz movement, 58.5cm dia

543 METAMEC: A “SUNBURST” WALL CLOCK silver and black painted fins, black Arabic numerals, quartz movement, 58.5cm dia

£100-200

£100-200

194

544 HAC (HAMBURG AMERICAN CLOCK COMPANY): AN OAK WALL CLOCK circular form with Roman numerals, 30cm dia £100-200

545 WELLS COATES FOR ECKO: AN ART DECO BAKELITE RADIO probably the AD-65, 40cm high £150-250

546 “LIFE AND HEALTH” ELECTRIC TREATMENT SLOT MACHINE

by Charles W. Brecknell Ltd, Birmingham, c.1920, 42cm high x 37cm wide £100-200

195

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547 MAISON ARLUS, PARIS: A BRASS AND PAINTED STEEL FLOOR LAMP c.1955, .182cm high (inc. shade) Literature: Journal De L’ameublement, Meubles et Décors, no.926, c.1955 £400-600 548 PAIR OF MODERNIST BRONZED WALL APPLIQUES four trumped shaped branches mounted on a disc (wired for electricity) (2)

Lot 547

£100-200 549 ART NOUVEAU SECESSIONIST BRASS WALL LIGHT engraved cranberry glass shade, 26cm high x 34cm wide £250-450

Lot 549

196

550 CONTINENTAL ARTS AND CRAFTS BRONZE TABLE LAMP the mushroom form shade inset with clear and amber naturalistic glass “jewels”, the band pierced with panels depicting a hunting scene, the blockwork stem flanked by two knights caryatid’s on a stepped verde marble base, impressed monogram, 60cm high (af ) £100-200 551  IN THE MANNER OF JOSEF LORENZL:AN ART DECO FIGURAL LAMP BASE modelled in the form of a stylised silvered nude, raised on a circular base, 61cm high £100-200 552 FRENCH ART DECO STYLE LIGHT PENDANT disc shade supported by an arched frame, 56cm high approx.

Lot 553

£100-200 553 MOULDED AND CUT GLASS FOUR LIGHT ELECTROLIER second quarter 20th century, the baluster and lustre hung upper stem above a disc with upturned leaves around the edges, above faceted glass pendants and a further clear glass disc with engraved foliate wreath, with inverted obelisk terminal, 93cm high, 41cm wide £300-500 554 PIFCO: A BANKERS STYLE DESK LAMP model no. 993, adjustable shade, brown colourway, 38cm high approx £100-150 555 PIFCO: A BANKERS STYLE DESK LAMP model no. 995, adjustable shade, blue colourway, 44cm high approx £100-150

197

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556 HT HUANG FOR HUANGSLITE: A “TOUCAN” ADJUSTABLE DESK LAMP 34.5cm high

557 HT HUANG FOR HUANGSLITE: A “TOUCAN” ADJUSTABLE DESK LAMP 34.5cm high

£100-150

£100-150

558 TOM DIXON: A “JACK” FLOOR LAMP c.1990, 53cm H x 59cm Dia £150-250

198

559 MAISON CHARLES: A RESIN “OSTRICH” EGG TABLE LAMP red with plated mounts, raised on a marble base, 44cm high (inc. fittings) £400-600 560 MAISON CHARLES: A RESIN “OSTRICH” EGG TABLE LAMP brown with plated mounts, raised on a marble base, makers plaque, 44cm high (inc. fittings) £400-600 561 GERMAN LUCITE LIGHT PENDANT 44.5cm dia. £200-300

Lot 559

562 MANVILLE INTERIORS, FRANCE: A LUCITE AND FAUX MARBLE TABLE LAMP probably designed by Eric Maville, raised on a mirrored base, 38.5cm high approx. £100-200

199

Lot 560

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

563 PAIR OF BRUTALIST PIERCED BRASS WALL APPLIQUES c.1970’s, rectangular form, 50cm long x 12cm wide (2) £500-800 564 MAISON CHARLES: A PAIR OF SILVERED “EPIS DE MAIZE” TABLE LAMPS impressed marks, 48.5cm high £600-800

565 NOVOPLAST: A SPUN FIBREGLASS ROCKET LAMP c.1960’s, raised on three teak supports, 105cm high £150-250 200

Sculpture

Detail of lot 570 201

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

566 AFTER AUGUSTE MAILLARD (1864-1944): AN ART NOUVEAU SILVERED AND GILT BRONZE cast and modelled as a nude maiden emerging from a shell, cast signiature “A. Maillard”, 20cm high £300-500

567 VIENNESE COLD PAINTED BRONZE GROUP OF AN ARAB ON A CAMEL mid 20th century, the rider portrayed in traditional garb and holding a long-gun, the underside stamped with a ‘B’ in an urn for the Bergmann Foundry, 13cm high, 13cm long; and two further Austrian cold painted bronze camel groups, 20th century £500-800

202

568 HENRI FUGERE (1872-1944): “DANSEUSE” AN ART DECO GILT AND COLD PAINTED BRONZE AND IVORY FIGURE modelled as a female dancer, in long sweeping dress, raised on a green onyx base, signed in cast “Fugere”, no. 5329, 37cm high £2,500-4,500

203

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569  PETER HAYES (b.1946): A LARGE RAKU SCULPTURE c.2006, raised on a plinth, signed marks, 127cm high £1,000-2,000

Reverse 204

570  MARK CORETH (b. 1958) ‘Fish Eagle and Prey’ limited edition bronze sculpture depicting the large bird pulling a fish from the water with its talons, signed and numbered 3/6, on a black slate base and wooden plinth, 45cm overall, the base 27cm x 14cm, the eagle’s wings 42cm tip to tip £600-1,200

205

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571 ISAAC TAKAVADA (b.1972) : A POLISHED SERPENTINE SCULPTURE “NUN” incised decoration, raised on a red painted wooden plinth, paper label, 23cm high, £80-150

572 CONTEMPORARY PATINATED BRONZE FIGURAL SCULPTURE raised on an oval wooden base, 22.5cm high £300-500

206

Furniture

Detail of lot 576 207

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

Lot 573 574 ARTS AND CRAFTS OAK EXTENDING DINING TABLE shaped rectngular top on four tapered legs terminating on castors, 126cm long (207cm fully extended) x 73.5cm high

573 MANNER OF CHARLES BEVAN: A GOTHIC REVIVAL INLAID ASH WARDROBE the moulded and castellated cornice above a central mirrored door flanked by two further doors, each with line and dot inlay and diagonal tongue and groove panels, enclosing a fitted interior raised on a plinth base, bears stamp verso Williams & Evans/ Late Francis Styles/ Cabinet Makers/ 68 Argyle Street/ Birkenhead 201cm wide, 209cm high, 61cm deep

£100-200

Provenance: By repute Marton Hall, near Baschurch £300-500 208

Lot 576

575 SET OF FOUR OAK GORDON RUSSELL STYLE ARTS AND CRAFTS DINING CHAIRS lattice adzed back with leatherette cushion seat pad, 84cm high x 45cm wide x 43cm deep

576 EMILE GALLE: A FINE NEST OF THREE ART NOUVEAU ROSEWOOD AND MARQUETRY INLAID TABLES each of rectangular form and inlaid with lillies, tulips and crocus, largest 60cm L x 36.5cm D x 72.5cm H

£100-150

£500-800 209

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

577 ART DECO WALNUT VENEERED CABINET central column flanked by arched glazed doors with fitted glass shelves, raised on a rectangular plinth, 125cm H x 90cm L x 37cm D £1,000-2,000

578  BETTY JOEL FOR TOKEN WORKS: A PAIR OF ART DECO AMERICAN WALNUT SIDE CABINETS shaped rectangular top with open single shelf and cupboard below, signed, 76cm H x 53cm W x 30cm D £800-1,200

210

579  MAURICE JALLOT: A FRENCH ART DECO SYCAMORE OCCASIONAL TABLE circular top with radial veneer and beaded border, raised on cast bronze capped sabre legs, 41cm H x 72cm W x 72cm D £2,000-3,000

580 HARRY AND LOU EPSTEIN: AN ART DECO BIRDSEYE SATIN MAPLE OCCASIONAL TABLE the circular top with radial veneers, supported on twin in-scolling supports on a stepped rectangular base, 65 cm H x 75 cm dia £2,000-3,000

211

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

581  ATTRIBUTED TO LEON JALLOT: A FRENCH ART DECO SATINWOOD AND BURR ELM DINING SUITE comprising sideboard, extending table and six cream upholstered chairs.

Table 73cm H x 131cm W x 105cm D (not extended) 266cm W (extended), Sideboard 101cm H x 180cm W x 54cm D, Chairs 89cm H x 44cm W x 44cm D £5,000-8,000

212

213

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582  ATTRIBUTED TO JACQUES ADNET: AN ART DECO CHROME AND MIRRORED BAR CART / DRINKS TROLLEY two tiers, tubular steel frame, supported on four castors, 82cm long x 66cm high x 44.5cm wide £500-800

583 ART DECO STYLE BLACK LACQUERED AND BURR ELM VENEERED FURNITURE SUITE in the manner of Jacques Adnet, the dining table with rectangular top, raised on two central pillars, matching sideboard and a set of six cantilever chairs, after Marcel Breuer, the table 145cm long x 91.5cm wide x 78cm high (extended) the chairs 84.5cm high x 46.5cm wide x 47cm deep the sideboard 153cm long x 91.5cm wide x 78cm high £200-300

214

Lot 584

584 ART DECO MIRROR circular form, peach tinted and decorated with a leaping gazelle, 61cm dia £150-250

585 ATTRIBUTED TO BAUMANN FILS ET CIE: AN ART DECO STAINED WOOD ARTICULATED PARAVENT SCREEN 200cm high

Lot 586

£300-500

586 EDITIONS AV: A FRENCH ART DECO SYCAMORE ARMOIRE the central gilt-mirrored plate flanked by two doors, raised on four sabre legs, 178cm wide x 177cm high x 56cm deep £200-300

587 STUDIO GROPPI: AN ART DECO PAINTED WALL MIRROR the arched mirror plate with stylised etched border, within a painted wooden surround, 85cm high x 58.5cm wide x 4cm deep (inc. frame)

Lot 588

£100-200

588 ART DECO BURR ELM “CLOUD” DRESSING TABLE AND STOOL circular mirror plate flanked by two graduated drawers, 169cm long x 160.5cm high x 54cm deep; with matching stool, 57cm long x 42cm high x 38cm deep £300-500

215

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

589 ATTRIBUTED TO MAISON JANSEN: A FRENCH BRASS FRAMED AND VITROLITE GLASS LOW TABLE rectangular top supported on an “X” frame, loop ring handles to corners, 85cm long x 47.5cm wide x 48.5cm high £300-500

590 MANNER OF MAISON BAGUES: A PAIR OF PAINTED WROUGHT IRON AND GREEN STONE OCASSIONAL TABLES 54.5cm high, the tops 45.5cm dia. (2) £300-500

591 IN THE MANNER OF MAISON BAGUES: A NEO-CLASSICAL STYLE LOW TABLE the rectangular verde marble top supported by a gilt-metal and black painted frame, raised on cast hoof feet, 107.5cm long x 46cm wide x 49cm high £200-300 216

Lot 596

592  MANNER OF PIER LUIGI COLLI: A BRASS CONSOLE TABLE AND MATCHING MIRROR the console 80cm wide x 79.5cm high x 30cm deep the mirror 99cm high x 64cm wide (inc frame) £200-300 593  PIER LUIGI COLLI: A GILT WROUGHT IRON, GLASS AND SIENNA MARBLE CONSOLE TABLE AND MIRROR the serpentine fronted thick glass top supported by a stylised planished scrollwork frame, raised on a arched marble plinth, 91cm wide x 81.5cm high x 28cm deep: with associated mirror, 104.5cm high x 84cm wide £200-300 594 ITALIAN BRASS MIRROR the shaped mirror plate within a stylised brass frame, 62cm high x 43.5cm wide

596  MANNER OF FRANCOIS LEMBO: A FRENCH “JEWELLED” WALL MIRROR rectangular plate with round corners, set within a brass frame, applied with coloured glass “jewels”, 62cm x 55cm (inc frame)

£100-200 595 ITALIAN BRUSHED ALUMINIUM AND BLACK GRANITE CONSOLE TABLE rectangular top supported on a central curved column, terminating on a rectangular base, 76.5cm H x 140cm L x 45cm D

£200-300

£800-1,500

Lot 595

217

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597 SWEDISH BEIDERMEIR BURR ELM SIDE TABLE circular top supported on a baluster column, terminating on a quatrefoil base with ebonised bun beet, 64.5cm H x 70cm dia £1,000-2,000 598 PAIR OF PLYWOOD SIDE CABINETS with two open shelves and drawer below, raised on four castors, the castors stamped “Amsterdam Metz & Co”, 76cm H x 45cm W x 40cm D £800-1,500

218

Lot 599

601 TEAK DESK rectangular top with two drawers below, 183.5cm wide x 91.5cm wide x 74cm high

599  ARNE HOVMAND OLSEN FOR MOGENS KOLD: A DANISH TEAK SIDEBOARD the rectangular shaped top with four drawers and two cupboards below, raised on four tapered legs, 95cm H x 212cm L x 48cm D

£100-200 602 © ROSEWOOD SIDEBOARD c.1960, rectangular shaped top with two cupboards below and four graduated drawers to side, the cupboards open to reveal a birdeye maple veneered interior with fitted shelves, below a single cross-stretcher raised on four tapered legs, 246.5cm long x 41.5cm wide x 78.5cm high

£1,500-2,500 600 TRIOH: A DANISH TEAK METAMORPHIC DINING TABLE raised on four tapered legs, 150cm long x 53cm high x 57.5cm wide (not extended)

£400-600

£150-250

Lot 602

219

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

603  NIELS OTTO MOLLER FOR J.L. MOLLERS MOBELFABRIK: A SET OF SIX TEAK FRAMED “75 EDITION” DINING CHAIRS paper cord seats, tapered legs, foil label, 75cm high x 42.5cm deep x 50.5cm wide (6) £1,000-2,000

604 LUTERMA FOR ISOKON VENESTA: A BAUHAUS BIRCH PLYWOOD STOOL c. 1936, paper label, 45cm H x 33cm sq The Isokon company was founded in London in 1929 by the entrepreneur Jack Pritchard (1899-1992), the architect Wells Coates (1895-1958) and others.

The company designed, built and made up-to-date architecture and furniture, often using plywood. Stools, such as this, were sold by Isokon from 1933. The extraordinarily lightweight and surprisingly strong stools were manufactured by the Estonian company Luterma from the early 1930s and were imported by their British distributor Venesta. Comparables of these can be found in the V&A. £200-300

220

609 ERCOL: A “MINERVA” ELM COFFEE / SOFA TABLE shaped rectangular top with two drawers and lower shelf, 39.5cm high x 123cm long x 53cm wide

605 SET OF FOUR TEAK FRAMED DINING CHAIRS with grey plush uphostery, 77cm H x 42.5cm D x 43cm W £100-200

£100-200

606 TEAK LOW OCCASIONAL TABLE the circular top supported on four arched legs, 85.5cm dia. x 48cm high

610 ERCOL: AN ASH DINING TABLE AND SIX CHAIRS four stick back and two arch back chairs, the table 127cm long x 114cm wide x 71cm high

£100-200

£150-250

607 STAINLESS STEEL FRAMED MIRROR oval form, the border applied with a freize of ceramic tiles in the form of leaves and flowers, 49.5cm high x 72.5cm long (inc. frame)

611  JOHN MAKEPEACE OBE (b.1939): A BEIGE AND PALE TERRACOTTA LEATHER CONCEPT CHAIR with tubular arms continuing to form the supports, 103cm high

£200-300 608 ERCOL: A “WINDSOR” MODEL 468 ASH SIDEBOARD shaped rectangular top with three cupboard doors and two drawers below, the cupboards open to reveal a fitted inteior, raised on four castors, 69cm high x 155.5cm long x 43.5cm wide

£300-500 612 FONTANA ARTE: A GLASS DINING TABLE designed by Renzo Piano, with a heavy circular glass top on four square section legs, model TESO 2736/4/8, circa 1986, 73cm high x 150cm wide

£150-250

£800-1,200

Lot 612

221

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613 20TH CENTURY ARMCHAIR upholstered in a “hot pink” fabric, 85cm high x 85cm wide x 81cm deep Provenance: Gifted to the vendor by Julian Trevelyan, reputedly part of his and Mary Fedden’s studio / home in Durham Wharf, London £100-200

614  ARNE JACOBSEN FOR FRITZ HANSEN: A “SWAN” 0363 LOUNGE CHAIR plush orange upholstery, raised on a satin polished aluminium swivel support and four legs, foil label, 81.5cm H x 72cm W x 49cm D £300-500

615  CHRISTIAN LIAIGRE: A CREAM UPHOLSTERED CHAIR raised on four tapered legs, 75cm high x 68cm wide x 71cm deep Provenance: commisioned by Liaigre for the current vendor £100-200 222

616 FLORENCE KNOLL: AN OAK AND CHROME CONFERENCE DESK rectangular top supported on a chrome central column, ending on four splayed legs, 91.5cm wide x 183cm long 73cm high £200-300

618  AFTER MARCEL BREUER: A “WASSILY” CHROME ARMCHAIR tubular frame, impressed mark “2.04 G Made In Italy” 78cm W x 68cm D x 73.5cm H

617  AFTER MARCEL BREUER: A “WASSILY” CHROME ARMCHAIR black hide with tubular frame, 71cm H x 78cm W x 65cm D £100-200

£100-200 223

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

619  AFTER EERO AARNIO: A “BUBBLE” CHAIR originally designed in 1968, clear open shell suspended on chromed steel frame, 107cm dia (inc clamp) £200-300

620  TIM BATES FOR PIEFF: A “MANDARIN” TWO SEATER SOFA upholstered cushions in grey leather with lemon piping, chrome metal frame, 73cm high x 164cm wide x 83cm deep £300-500

224

621  HANS WEGNER FOR CARL HANSEN & SON: A SET OF FOUR “WISHBONE” CH24 DINING CHAIRS with weaved paper cord seats, with label, 76.5cm high x 53cm wide x 42cm deep (4) £300-500

622  ARNE JACOBSEN FOR FRITZ HANSEN: A PAIR OF VITRA “SERIES 7” DINING CHAIRS c.1997, dark blue, raised on chrome metal supports, 77.5cm high x 41.5cm wide x 42cm deep £100-200

225

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

623  MANNER OF ROMEO REGA: A CHROME AND FLAMED WALNUT VENEER COFFEE TABLE 37cm high x 79cm wide x 119.5cm high £200-300

624 JONATHAN ADLER: A “DELPHINE BAR” COCKTAIL CABINET the mirrored cabinet with polished brass quatrefoil escucheons and handles, robin blue painted interior and mirror back, four fitted glass shelves and two drawers, terminating on a brass stand, 148cm high x 91.5cm wide x 46cm deep £400-600

226

625 AFTER SORI YANAGI: A “BUTTERFLY” STOOL possibly by Vitra, unmarked, 43cm high x 43cm wide x 31cm deep £50-100 626 ADRIAN PEARSALL FOR CRAFT ASSOCIATES: A BRUTALIST COMPOSITION ETAGERE the sculpted bronzed resin frame with three smoked-glass shelves, 193cm H x 93cm W x 45cm D £300-500 627 FORMICA “MARBLED” SIDEBOARD / COCKTAIL CABINET the front with two clear glass sliding doors, fitted interior, raised on a two angular black painted legs, printed marks, 116cm wide x 105cm high x 39.5cm deep £100-200 628  V.B. WILKINS FOR E GOMME / G-PLAN: A “FRESCO” TEAK SIDEBOARD rectangular top with four drawers below, flanked by two cupboards, central cross-stretcher, raised on four tapered legs, 80 x 214 x 46 cm

Lot 626

£300-500

Lot 628

227

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Lot 629

632 SET OF SEVEN BIRCH FRAMED ELBOW CHAIRS upholstered in a neutral cream beige, 76.5cm wide x 50.5cm high (7)

629  © DAVID BOOTH AND JUDITH LEDEBOER FOR GORDON RUSSELL: A MAHOGANY AND ROSEWOOD “DOUBLE HELIX” SIDEBOARD the double doors enclosing fitted internal shelves and a cutlery drawer, raised to tapered legs, 84cm high x 122cm wide x 46cm deep

£100-200 633 PAIR OF CONTEMPORARY GILT-METAL OCASSIONAL TABLES circular clear-glass top supported by a metal frame, 51.5cm high x 48cm dia. (2)

£400-600 630 HUGHES BOLCKOW: A TEAK GARDEN TABLE AND CHAIRS probably retailed by Heals, used from the timber of H.M.S Powerful, table 84cm sq x 71cm high, chairs 42.5cm sq x 70.5cm high (5)

£100-200 634 ARCADE MANIA GAMING COFFEE TABLE manufactured for Mightymast Leisure Ltd, no. 000285, 105 cm x 74 cm x 56 cm

£100-200 631 PAUL MCCOBB FOR WINCHENDON FURNITURE (PLANNER GROUP): A PAIR OF 1535 DINING CHAIRS black painted wrought-iron frame with maple back rest, later black leatherette upholstery, 73.5cm H x 48cm D x 51.5cm W (2)

£200-400 635 CONTEMPORARY LIGHT OAK OPEN BOOKCASE with five adjustable shelves, 210cm H x 100.5cm W x 30cm D

£100-200

Provenance: Purchased at Heals c.1997 £100-200 228

Notes

229

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

GLOSSARY OF CATALOGUING TERMS The auctioneers are always pleased to discuss individual lots with prospective purchasers prior to the auction and will provide condition reports on request. If you require clarification of any terms employed in the catalogue please do not hesitate to seek advice.

The auctioneers are also pleased to discuss lots which may have been altered, repaired, or restored.

The term basically used in conjunction with a date (ie. basically 18th century) indicates that, in our opinion, the item may have undergone restoration, repair, or alteration. It also indicates that only an element of the piece may date from the period stated in the description.

The absence of the term basically does not imply that an item is without restoration, repair, or alteration. The use of inverted comas around a word or phrase (ie. “pearl”) indicates that the piece, or object, may not be what it is purporting to be. (ie. a simulated pearl). If you are in doubt our specialists are available prior to the auction to offer guidance and advice.

With Chinese ceramics and works of art, if the catalogue states that the object in question bears a mark, but it does not state “and of the period” it indicates that we believe the lot in question may not date from the period suggested by the mark. Clearly, references to the colour of jade are subjective and again buyers are advised to inspect personally any items on which they intend to bid to ensure the colour meets with their expectation.

Care is taken to ensure that any statement as to authorship, attribution, origin, date and provenance is reliable and accurate, but all such statements of opinion and are not to be taken as statement or representations of fact. Hy. Dukes & Son reserve the right, in forming their opinion, to consult and rely upon any expert or authority reasonably considered by them to be reliable.

Descriptions of property in this catalogue do not always indicate condition, repair or damage. Buyers are earnestly advised to inspect personally any lot they intend to purchase. Weights and measurements are approximate and should be verified by intending purchasers

PAINTINGS, DRAWINGS AND PRINTS A work catalogued with the forename(s) and surname or recognised designation of an artist is, in our opinion, a work by the artist, e.g.

NICHOLAS CHEVALIER Attributed to NICHOLAS CHEVALIER ... in our opinion a work of the period of the artist which may be in whole or in part the work of the artist.

Manner of NICHOLAS CHEVALIER ... in our opinion a work executed in the style of the artist but of a later date.

Studio of NICHOLAS CHEVALIER ... in our opinion a work by an unknown hand, which may have been executed in the studio of the artist.

After NICHOLAS CHEVALIER ... in our opinion a copy of any date after a work by the artist.

Signed/inscribed/dated NICHOLAS CHEVALIER ... in our opinion the work has been signed/inscribed/dated by the artist.

Circle of NICHOLAS CHEVALIER ... in our opinion a work from the period of the artist and showing his influence.

Bears signature/inscription/date NICHOLAS CHEVALIER ... in our opinion the signature/inscription/date are probably not by the. hand of the artist.

Follower of NICHOLAS CHEVALIER ... in our opinion a work executed in the style of the artist but not necessarily by a pupil.

The addition of a question mark after any of the cataloguing terms in the above glossary indicates an element of doubt.

The term 'ascribed to' may in certain cases be used to denote a traditional attribution based on style.

A work catalogued as 'School' accompanied by the name of a place or country and a date mean that in our opinion the work was executed at that time and in that location, e.g. Dutch School, circa 1700.

All reference to signatures, inscriptions and dates refer to the present state of work, i.e. as at the time of inspection for the purpose of cataloguing.

The use of onverted comas around the name of an artist, or date, in connetion with a signature, or inscription (ie. signed “Nicholas Chevalier”) indicates that the signature, or inscription, may have been added by another hand.

ARTIST’S RESALE RIGHT From mid February 2006 living artists are entitled by law to receive a resale royalty each time their work is resold by or to an art market professional.

From 1st January 2012 the Right has been extended to include sales of works by artists who have died within the last 70 years (following the existing term of copyright). Royalties will be payable to the families and beneficiaries of these artists. An art work must be resold for more than 1,000 Euros to qualify for the right. The rates payable are calculated as a percentage of the hammer price and are set out in a sliding scale from 4% to 0.25%. The charge is exclusive of VAT. The auctioneers reserve the right to pass all of the cost to the person buying the qualifying art work

230 230

CONDITIONS OF SALE Duke’s 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.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions

1 DEFINITIONS

In these Conditions: (a) “auctioneer” means the firm of Duke’s 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 Duke’s 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; (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; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

9

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 shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this 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.

12 AGENCY

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

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 of 25% plus VAT on the premium at the rate imposed by law.

5

VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. 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. *VAT payable at 5.00% on the hammer price and 20% on the buyers premium.

6 PAYMENT (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due in cash or in such other way as is agreed by us.

(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.

(3) The Auctioneer may require a deposit of 5% of the hammer price immediately. If the buyer is unable to meet this requirement to the Auctioneer’s satisfaction they reserve the right to cancel the sale immediately.

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 3 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 insurance charges.

(3) No purchase can be claimed or removed until it has been paid for.

8 REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (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 our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the 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 not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 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.

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 Whilst 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 will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. 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 The seller warrants to the auctioneer and 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.

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 DESCRIPTIONS AND CONDITION (1) The Catalogue contains an Entry about each Lot. Each Lot is sold by its respective Seller to the Buyer of the Lot as corresponding only with that part of the Entry which is printed in bold letters and with any photograph of the Lot in the Catalogue.

The remainder of the Entry, which is not printed in bold letters, represents Duke’s opinion (given on behalf of the seller) about the Lot only and is not part of the Contractual Description in accordance with which the Lot is sold by the Seller.

(2) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor 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”.

(3) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

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

16 GENERAL

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

(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.

(3) Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

(4) Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

(5) 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.

(6) English law applies to the interpretation of these Conditions.

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Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

CONDITIONS OF SALE (continued) DEBIT AND CREDIT CARDS Due to problems with fraudulent debit and credit card transactions payments over the telephone cannot be made for invoices totalling more than £500 unless the Buyers are known to Duke’s. Payment can be made in person using a chip and pin number, bank transfer, cash up to £9,000, or cheque (allow six working days for clearance).

CHEQUES The Auctioneers regret that they are unable to accept cheques in payment for purchases, except where arrangements have been made beforehand, well in advance of sale day.

Intending purchasers are asked to instruct their bank to contact the Auctioneer’s bank (Natwest, 49 South Street, Dorchester) as early as possible, to confirm clearance in writing up to a stated maximum amount to ensure that a cheque will be accepted on sale day.

A Banker’s Draft, a Building Society cheque or cash will be required to allow removal of goods on sale day. Purchasers may not otherwise remove goods until their cheques are cleared by the Auctioneers’ bank.

LIVE BIDDING Duke’s Auctioneers offer an online bidding service via the-saleroom.com for bidders who cannot attend the sale. In completing the bidder registration on www.the-saleroom.com and providing your credit card details (unless alternative arrangements are agreed with Duke’s Auctioneers) you: 1. authorise Duke’s Auctioneers, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com, and 2. confirm that you are authorised to provide these credit card details to Duke’s Auctioneers through www.the-saleroom.com and agree that Duke’s Auctioneers are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.

P lease note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 4.95% commission charge + VAT at the rate imposed on the hammer price. Clicking the bid button is a commitment to buy.

THIRD PARTY LIABILITY Any person or his personal property at or on the auctioneers premises, before, during, or after the auction, shall be deemed to be there at their own risk and will have no claim against the auctioneers in respect of any injury sustained, or accident which may occur.

IMPORTANT NOTICE TO BUYERS OF FURNITURE All items are held at the risk of the Buyer. If they are not removed within 5 working days of the sale the Auctioneers will instruct a carrier to remove them to storage. The Buyer will be responsible for paying the aforementioned carrier all charges incurred and for making arrangements in advance for the removal of items from their store after payment of their charges on production of our reciept for the items.

IMPORTANT NOTICE TO BUYERS OF WILDLIFE MATERIAL Property made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife, including but not limited to, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone and certain species of coral, together with Brazilian rosewood, may require permits or certificates (e.g. a CITES permit) from the relevant regulatory agencies to be exported or imported. Prospective purchasers are also advised that some countries prohibit altogether the importation as well as exportation of such materials.

Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country.

Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered or protected wildlife material. The inability of a client to export or import property containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale.

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Duke’s AUCTIONEERS SINCE 1823

Bidding Form I hereby instruct Duke’s to bid the following amounts on the lots stated, without any legal obligation on their part.

I agree that these bids are subject to buyers premium and VAT as applicable, and to the conditions of sale printed in the auction catalogue.

Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tel ...................................................

Address .............................................

Mobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Signed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot No:-

£’s

Avenue Auctions Telephone: (01305) 257544 Facsimile: (01305) 259953

Lot No:-

£’s

Lot No:-

£’s

The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101 233 233

Duke’s

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

AUCTIONEERS SINCE 1823

Bidding Form I hereby instruct Duke’s to bid the following amounts on the lots stated, without any legal obligation on their part.

I agree that these bids are subject to buyers premium and VAT as applicable, and to the conditions of sale printed in the auction catalogue.

Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tel ...................................................

Address .............................................

Mobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Signed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot No:-

£’s

Avenue Auctions Telephone: (01305) 257544 Facsimile: (01305) 259953

Lot No:-

£’s

Lot No:-

£’s

The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101 234 234

235

Each lot is subject to a buyer's premium of 30% inclusive of VAT @ 20%

PRINTED IN DORCHESTER BY EPIC PRINT 236