Woolley & Wallis by Jamm Design Ltd

WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

20th Century Design

Wednesday 10th September 2014

Specialist Departments Please dial +44 (0)1722 followed by the number listed below

20TH CENTURY DESIGN Michael Jeffery Amanda Lawrence

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ASIAN ART John Axford MRICS ASFAV Sophie Lister Alex Doméracki Freya Yuan

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CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price — 07741 242421 Gemma Bush — 339752 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 Amanda Lawrence — 329477 FURNITURE Mark Richards Jim Gale Anna Brown JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA PAINTINGS Victor Fauvelle Jo Butler SILVER Rupert Slingsby Lucy Chalmers

ACCOUNTS Janice Clift (Office Manager) — Ruth Pike

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MARKETING Tamzin Corbett

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GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young SALEROOM MANAGER David Jordan

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BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs — Gemma Bush —

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Members of The Society

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598

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COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift Clare Durham

of Fine Art Auctioneers

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508

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20TH CENTURY DESIGN

Wednesday 10th September 2014 at 10.30am Viewing Times Saturday 6th September Monday 8th September Tuesday 9th September Wednesday 10th September

10.00am – 1.00pm 10.00am – 4.30pm 10.00am – 4.30pm 9.00am – 10.30am

ENQUIRIES Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows:

Amanda Lawrence 01722 329477 amandalawrence@woolleyandwallis.co.uk

4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy.

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

Front cover: Lot 1496 Back cover: Lot 1566 Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

LIVE BIDDING

Please register by 4pm on Tuesday 9th September. There is no surcharge for using this service.

CONDITION OF LOTS Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults. COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Salt Lane office on Monday 15th September and Furniture will be removed to our Old Sarum warehouse for collection. If you are collecting items after this date please contact the department to arrange in advance.

INDEX

Glass Including Lalique Sam Herman Studio

Ceramics Including A private collection of Clarice Cliff A private collection of Charles Catteau

Works on Paper Including Dodo Burgner Eric Ravilious and Edward Bawden The Collection of Roger Rousell Design Leslie Gooday Paintings Furniture Works of Art, Metalware and Jewellery

LOTS

1001-1146 1069-1095 1120-1135 1147-1444

1200-1250 1364-1437 1445-1487

1445-1454 1455-1466 1489-1562 1563-1603 1604-1613 1614-1635 1636-1728

GLASS 1001. An Aesthetic Movement stained glass window, rectangular, painted with a dragonfly by bull-rushes and waterlily in a pond, three sides with a spacer border 60 x 52cm. £100-200 1002. An Arts and Crafts stained glass window, painted with a medieval figure holding a scroll 46 x 25cm. £300-400 1003. An Arts and Crafts stained glass window, rectangular, painted with a Shakespearian figure of Titania, unsigned 46 x 25cm. £300-400 1004. An Arts and Crafts stained glass window, rectangular, painted with a Shakespearian figure of Hamlet holding a skull, unsigned 46 x 25cm £300-400

1001

1002

1005. A small Thomas Webb cameo glass vase, yellow glass cased in pink and white, acid-etched with trailing convolvulus flowers unsigned 10cm. high £300-500 1006. A Stevens & William wheel-cut decanter and stopper, waisted, square section, each side decorated with a stylised chrysanthemum flowerhead 31cm. high £150-200 1007. A James Powell & Sons Whitefriars Sea Green glass Maidstone vase, twin-handled form, with applied bands to neck rim, unsigned 20cm. high £150-200 1008. A James Powell & Sons Whitefriars glass solifleur vase, ovoid with knopped slender tapering neck and everted rim, purple glass with white striations and aventurine inclusions 24cm. high £500-1,000 Literature Wendy Evans. Catherine Ross and Alex Werner Whitefriars Glass James Powell & Sons of London, Museum of London, page 98 plate 104 for exhibition vases comparable. 1003

1005

1006

1007

1004

1008

1010

1009

1011 1012 1009. A Webb’s Aesthetic Movement glass vase, the opal body enamelled with storks flying above grasses, between acid-etched red glass bands unsigned 20cm. high £150-200 1010. A Webb’s Agate bowl and two vases, the bowl blue glass with red and blue mottled decoration, on applied foot, the vases purple glass with yellow streaks, cased in clear unsigned bowl 30cm. diam. £200-300 1011. Six James Powell & Sons Whitefriars Sea Green M.54 beer glasses designed by Barnaby Powell, and four en suite R.154 wine glasses unsigned 16.3cm. high £200-300

1013

1014

Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons Richard Dennis Publications, page 129 plate 128 for comparable glasses illustrated 1012. A tall Straw Opal footed vase, probably John Walsh Walsh, fluted form with flaring rim, a Straw Opal tazza a finger bowl and a plate unsigned 22.5cm. high £150-200 1013. A James Powell & Sons Whitefriars flint wine glass, the rim engraved with a simple frieze of ivy, inscribed For Auld Lang Syne, and another similar unsigned, second glass with fused foot 18.5cm. high £200-300

1015

1014. A Heath and Middleton silver mounted glass decanter, compressed gourd form with trilobed neck, with mushroom stopper stamped marks, Birmingham 1900 28cm. high £150-250

1016

1015. A James Powell & Sons Whitefriars glass Arrowhead decanter and stopper designed by Harry Powell, shouldered square section with crimped stopper, a glass Leather Bottle decanter , another decanter and five tot glasses unsigned 24.5cm. high £120-180 Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons Richard Dennis Publications, page 113 plate 77 for a comparable decanter and stopper 1017

1018

1016. A James Powell & Sons Whitefriars Spanish Cut flint glass decanter and stopper, shouldered square section, cut with flower stem designs, another James Powell Spanish decanter and stopper, and two Roman cut glasses unsigned 19.5cm. high £150-200 1017. Three Art Deco engraved clear glass wine glasses, each on square feet, engraved with geometric decoration unsigned 17cm. high £100-200 1018. A James Powell & Sons Whitefriars Sea-Green glass coupe, probably designed by Harry Powell, the cylindrical stem applied with blue glass prunts, the swollen bowl applied with twin blue glass lug handles, unsigned 18.5cm. high £600-800

1019 front and back

1019. A Northwood cameo glass vase, shouldered form, clear glass cased in pale pink, acid-etched with a stag being chased by hounds and a man on horseback in a woodland landscape unsigned 26cm. high £200-300

1020. A Gray-Stan pedestal base, the domed clear glass ribbed foot supporting swollen body with everted rim, the bowl pale blue glass with white internal trails, and a Gray-Stan bowl etched Gray Stan mark, 16cm. high £200-300

1021. ‘Adam and Eve’ a large goblet vase by Noel Billinghurst, probably Gray-Stan glass, etched and frosted with Adam tempted by an apple whilst the serpent confronts Eve, etched Noel Billinghurst 32, 32cm. high £100-200

1020

Noel Billinghurst was chief designer for the Graydon Studios a glassworks, owned by Mrs E Graydon-Stannus, who produced a line of art glass under the Gray-Stan name, for which Billinghurst was responsible.

1021

1022. A James Powell & Sons Whitefriars sky blue glass vase probably designed by Barnaby Powell, shouldered form with amethyst spots unsigned 26cm. high £250-300 Literature Lesley Jackson Whitefriars Glass the Art of James Powell & Sons Richard Dennis Publications, page 124 plate 113 for comparable vases

1023. A James Powell & Sons Whitefriars sky blue glass lampbase probably designed by Barnaby Powell, shouldered form with amethyst spots unsigned 22cm. high £150-250

1022

1023

Literature Lesley Jackson Whitefriars Glass the Art of James Powell & Sons Richard Dennis Publications, page 124 plate 113 for a comparable lampbase

1024. A James Powell & Sons Whitefriars Cloudy glass vase designed by Marriot Powell, cloudy pink glass streaked with white, a Whitefriars Cloudy green glass vase and a streaky glass footed vase, unsigned 15.5cm. high £150-250

1024

Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 118 plate 93 for comparable shapes illustrated.

1025. A Monart glass vase, flaring cylindrical form, green graduating to yellow with whorls, white streaks and air bubble inclusions, cased in clear, and another vase probably Vasart unsigned 21.5cm. high £100-200

1025

1026. A Monart glass vase, shouldered form, surface decorated with spiralling stripes, green lines and blue dots, over milky off-white liner 19.5cm. high £200-300 Literature Ian Turner & Frank Andrews Ysart Glass, Volo Publishing, page 108-109 figure 112 for a comparable vase

1027. A large Monart glass vase, ovoid with cylindrical neck, mottled green glass with aventurine and air bubble inclusions, cased in clear remains of paper label on pontil 32cm. high £100-200

1026 1027

1028. Five silver backed mirrored Vita glass panels designed by Hector Whistler for the Marine Spa Torquay, 1929 each painted in black with simple boating and seaside scenes panels 96 x 188cm, central domed panel 96 x 206cm. ÂŁ2,000-3,000 Provenance Vita Glass sun lounge, Marine Spa Torquay, 1929 removed from Spa in 1971 Hector Whistler (Reginald Whistler), reputedly the cousin of the artist Rex Whistler, was a camouflage office during World War I, returning to set up a design studio in Oxford after the war. along with this commission he produced a series of decorative glass panels for the Philharmonic Hall, Liverpool designed by Herbert J Rowse and built between 1933-1939. These panels were shown to Paul Atterbury on the Antiques Road Show in 2009.

1029

1030

1031 front and back

1033

1032

1029. An engraved clear glass whisky decanter, tapering cylindrical form, engraved with a Whisky label to the shoulder, the ground engraved with star repeat unsigned 29.5cm. high £100-200 1030. A Stevens & Williams Chameleon glass vase, shouldered form with everted rim, mottled green glass cased in clear with applied lustre surface decoration unsigned 22.5cm. high £100-150 1031. A Whitefriars etched glass vase probably by Geoffrey Baxter, flaring cylindrical form, cut with a stylised fish chasing a shoal of smaller fish unsigned 21.5cm. high £100-200 1034

1035

Literature Wendy Evans, Catherine Ross and Alex Werner, Whitefriars Glass James Powell & Sons of London Museum of London, page 331 plate 581 from the 1960 catalogue reproduced, this vase illustrated 1032. A Kosta glass bowl, asymmetric form, brown glass with cut column decoration, an Orrefors vase, a moulded bottle vase and a collection of modern glass etched Kosta mark 9cm. high £100-200 1033. A cut-glass decanter and stopper, possibly Stevens & Williams, and a James Dixon & Sons cruet set with etched glass bottles stamped marks to cruet 18.5cm. high £50-100 1034. A Stevens & William cut glass vase designed by Keith Murray, flaring form, cut with column design on faceted ground acidetched mark, facsimile signature 12.5cm. high £200-300 1035. A Stevens & Williams glass vase designed by Keith Murray, smoky grey ovoid body with tapering neck, acid etched mark and facsimile signature 22cm. high £200-300

1036. A Stevens & Williams etched and cut glass vase designed by Keith Murray, footed, flaring cylindrical form, cut and etched with a shoal of angel fish acid-etched mark, facsimile signature 27cm. high £300-400 1036

1039 1037

1040

1038

1037. A Loetz glass vase designed by Michael Powolny, waisted cylindrical opalescent glass body with applied blue stripes and rim, unsigned 13cm. high £100-200 1038. A Loetz Olympia glass vase designed by Jutta Sitka, shouldered cylindrical form, the shoulder and neck with trailed decoration, covered in a golden iridescence unsigned 21cm. high £250-300 1041

1039. A Loetz glass vase, Ausf. 237, pale green glass cased in clear and surface decorated with red, orange and yellow whorls, unsigned 11.5cm. high £300-500 1040. A Loetz May Green Metallin glass vase, tapering cylindrical body with flaring, fluted rim, unsigned 12cm. high £200-300 1041. An Austrian iridescent glass vase possibly Loetz, footed, compressed body with dimpled cylindrical neck, streaked pink and white cased in clear with a golden iridescent finish, and a collection of iridescent glass unsigned 15.5cm. high £100-200 Provenance Nick Rocke collection

1042

1042. An Austrian iridescent glass vase probably Loetz, compressed form with flaring, fluted neck, covered in a golden iridescent finish with green stripes, and a collection of ten other iridescent glass items unsigned 11.5cm. high £100-200 Provenance Nick Rocke collection 1043. An Austrian iridescent glass vase probably Loetz, shouldered form with swollen neck and pinched rim , covered in a green lustre glaze, another similar with twisted stem, a pair of Austrian iridescent glass candlesticks and a small collection of iridescent glass unsigned 27.5cm. high £100-200 Provenance Nick Rocke collection

1043

1044. An Austrian iridescent glass vase probably Loetz, square section with inverted rim, the surface decorated with trailing, covered in a golden-green iridescence, and another iridescent glass vase probably Loetz unsigned 12.5cm. high £100-200 Provenance Nick Rocke collection 1045. A large Austrian iridescent glass Propeller vase probably Loetz, with everted, pulled rim, with trailed decoration, green iridescent finish unsigned 39.5cm. high £100-200 Provenance Arts and Crafts Woolley and Wallis 3rd June 2009 lot 8 Nick Rocke collection

1045 1044

1046. An Austrian iridescent glass Propeller vase probably Loetz, twisted form with flaring and pulled rim, covered in a splashed iridescent finish, two other Propeller vases and two other vases similar, unsigned 24.5cm. £100-200 Provenance Nick Rocke collection 1046

1048 1047

1049

1050

1047. A Wiener Werkstatte amber glass vase, faceted, flaring form, and two other vases acid etched WW mark to first vase 13.5cm. high £300-400 1048. A Wiener Werkstatte amethyst faceted vase, and an amethyst covered pot acid etched WW mark, 10cm. high £300-400 1049. A Vedar enamelled glass goblet, the bowl enamelled with a frieze of putti, in colours on a black ground, and another Vedar goblet decorated with figures and peacock in a formal garden setting unsigned 19.5cm. high £150-200 1050. An Orrefors engraved glass vase and saucer by Edward Hald, engraved with panels of birds flying and perched amongst berried foliage etched marks to rim 12cm. high £400-600

1051

1051. A Daum Nancy enamelled glass vase, diamond section, enamelled with aubretia sprays , in pink and green on a mottled white to orange ground enamelled signature Daum Nancy 10.5cm. high £1,800-2,200 1052. A Daum Nancy enamelled glass vase, slightly swollen form, enamelled with slipper orchids in shades of red and green, before acid-etched spiders’ webs, on a graduated yellow ground acid etched Daum Nancy signature 9cm. high £1,800-2,200

1052

1053 1053. A Daum Nancy enamelled glass bowl, compressed form with pinched top rim, enamelled with yellow marguerite flowers acid etched and enamelled Daum Nancy mark, 15cm. diam.£1,800-2,200

1054

1054. A Daum Nancy enamelled glass vase, ovoid with flaring neck, enamelled with blue cornflowers, on a mottled pink and blue glass body acid etched Daum Nancy signature 9cm. high £1,500-2,000

1055. A Daum Nancy enamelled glass miniature vase, swollen cylindrical form enamelled with fuchsia flowers in shades of pink, purple and green on a mottled blue glass acid etched and enamelled Daum Nancy France signature 4.5cm. high £1,500-2,000

1056. A Louis Comfort Tiffany Favrile glass vase, waisted, twinhandled form with everted solifeur rim, covered in a golden lustre iridescence applied paper label, etched 6555, 7.5cm. high £300-500

1057. A Louis Comfort Tiffany Favrile glass tazza, covered in a golden iridescence etched L C Tiiffany Favrile to foot rim 19.5cm. diam. £500-800

1055

1056 1057

1058

1059

1059A 1058. A large Verlys clear and frosted glass bowl, the rim cast with tightly looping frieze, signed in the cast A Verlys France 42.5cm. diam. £100-150 1059. An Art Deco enamelled glass vase by Jean Luce, smoked grey glass enamelled with a band of stylised flowerheads, unsigned 15cm. high £100-200

1060 1061

1059A. An Art Deco Schneider glass vase, thick, heavy clear glass, flaring form with applied disks, and an orange glass vase in the manner of Michael Powolny for Loetz, acid etched Schneider, 19cm. high £300-500 1060. A De Latte enamelled glass vase, ovoid with everted rim, enamelled with a band of stylised flowers acid etched De Latte Nancy mark 19cm. high £150-200 1061. An Art Deco enamelled glass plate in the manner of Marcel Goupy, painted to the well with a naked, masked female dancer, unsigned 28cm. diam. £200-300

1062

1063

1062. A Muller Fres footed glass vase, the ovoid body streaked pink, blue and green cased in clear heavy glass etched Muller Fres Lune to foot rim 21cm. high £200-300 1063. A Daum Nancy acid etched amber glass bowl, circular footed form, acid etched with three bands to the bowl, the foot with cut decoration etched Daum & Nancy France 23.5cm. diam. £100-200

1064

1064A

1064. A Daum Nancy glass vase, thick clear glass vase, flaring form, internally decorated with bubbles etched Daum Nancy France to side 15cm. high £150-250 1064A. A pair of clear glass vases after a design by René Lalique, moulded in low relief with spiky foliage fronds, unsigned 28cm. high £400-600 René Lalique designed the Acanthes pattern vase in 1921, model no.902 staying in production until 1947. 1065. An Art Deco acid etched glass ceiling light, the central square section frosted shade with four semi-circular flanges, etched with stylised flower stems, chrome fittings 40cm. high £100-200 1066. A Leerdam Unica frosted glass figure of the Madonna and Child, a Poole Pottery jug, a pair of patinated metal elephant bookends and a collection of items cast mark 37cm. high £100-200

1065

1066

1067. A large La Verre Francais cameo glass vase, waisted, shouldered cylindrical form, pale blue glass overlaid with darker blue stylised pendulous flowers apparently unsigned 62cm. high £400-500

1067

1068

1068. An Amalric Walter pate de verre dish, from a model sculpted by Henri Berge, hexagonal, cast in low relief with a dragonfly, in shades of blue and green cast A Walter Nancy mark and Berge Sc. 17cm. wide £1,500-2,000 Literature Keith Cummings Amalric Walter 1870-1959 (A Private Collection), Broadfield House Glass Museum, Dudley, page 66 catalogue number 103 for a comparable dish.

LALIQUE GLASS

1069. ‘Ronces’ No.946 a Lalique cased opalescent vase designed by René Lalique, with blue staining intaglio mark R Lalique 24cm. high £2,000-3,000 1069

1070. ‘Domremy’ No.979 a Lalique cased opalescent glass vase designed by René Lalique, with remains of staining, stencilled R Lalique wheel cut France marks 22cm. high £500-700

1071. ‘Moissac’ No.992 a Lalique Topaz glass vase designed by René Lalique, intaglio moulded R Lalique 14cm. high £1,200-1,800

1070 1072. ‘Bandes de Roses’ no.910 a Lalique clear and frosted glass vase designed by René Lalique, with blue staining, an Art Deco opalescent glass bowl possibly Verlys and a vase decorated with classical figures intaglio R Lalique signature 25cm. high £100-200

1073. ‘Ormeaux’ No.984 a Lalique cased opalescent glass vase designed by René Lalique, with blue staining, engraved R Lalique France No.984 to foot rim 17cm. high £1,200-1,800 1071

1074. ‘Bahia’ No.3179 four Lalique clear and frosted water glasses designed by René Lalique, stencilled R Lalique 12.5cm. high £100-200

1072

1073

1074

1076

1075

1077

1075. ‘Lys’ No.382 a Lalique opalescent bowl designed by René Lalique, moulded R Lalique, etched France 23.5cm. diam. £500-600

1076. ‘Nemours’ no.404 a Lalique clear and frosted glass bowl designed by René Lalique, with black enamel and sepia staining, intaglio moulded R Lalique France, etched 404, 25.3cm. diam. £400-600

1078 1077. ‘Roger’ no.75 a Lalique enamelled glass box and cover designed by René Lalique moulded Lalique mark to rim of cover 13.6cm. diam. £200-400

1078. ‘Gui’ No.948 a Lalique cased opalescent glass vase designed by René Lalique, with blue staining, engraved R Lalique France 17cm. high £1,200-1,800

1079. ‘Monnaie de Pape’ No.897 a Lalique opalescent glass vase designed by René Lalique, with blue staining, wheel cut R Lalique France No.897 23.5cm. high £800-1,200 1079

1080. Three Lalique clear and frosted bottles and stoppers designed by René Lalique, each cast with a frieze of finches, stencil R Lalique mark, chips 13.5cm. high £80-120

1081. ‘D’Orsay - Le Lys’ a Lalique clear glass scent bottle and stopper, with sepia staining, intaglio moulded R Lalique 21.5cm. high £500-700 1080 1082. ‘Dahlia’ No.4 a Lalique frosted and enamelled glass scent bottle and stopper designed by René Lalique, enamelled in blue, stencil mark R Lalique France 13cm. high £200-300

1083. ‘Sirenes’ No.2651 A Lalique opalescent glass bottle with sterling silver atomiser mount, designed by René Lalique £400-600

1081

1082

1084. ‘Duncan’ No.667 a Lalique clear and frosted glass atomiser, originally designed by René Lalique, with chrome metal mount, etched Lalique France 19.5cm. high £100-200

1085. ‘Le Parisien’ No. 6653 a Lalique sepia stained atomiser, with brass mounts, and a bronze Exposition Internationale Paris 1925 plaque cast from a model by Pierre Turin, stamped marks to mount, moulded R Lalique to glass, flat frit chips to base 6.5cm. high £150-250

1083

1084

1086. ‘Fleurs D’Amour’ a Lalique clear and frosted glass box and cover designed by René Lalique, cast mark R Lalique to side of cover 8.5cm. diam. £100-200

1087. ‘Vallauris’ No.84 a Lalique clear and frosted glass box and cover designed by René Lalique, engraved R Lalique France 16cm. diam. £50-100

1085

1086 side and top

1088. ‘Lapin’ No.285 a Lalique opalescent glass cendrier, designed by René Lalique, etched R Lalique France No.285, 9.5cm. diam. £200-300

1087

1088

1089 front and back

1090

1091

1089. ‘Perche’ No. 1158 a Lalique clear and frosted glass car mascot or paperweight, with blue staining moulded R Lalique and stencilled R Lalique France marks 16cm. wide £1,000-1,500

1090. ‘Bulbes’ a Lalique opalescent glass bowl, stencilled R Lalique France to well 25cm. diam. £400-500

1091. ‘Bagatelle’ a Lalique clear and frosted glass vase, designed 1939, etched Lalique France, small chips to foot rim 17cm. high £150-200 1092

1092. ‘Muguet’ No. 10-3045 a set of six Lalique clear and frosted glass plates designed by René Lalique, etched Lalique France, 21.5cm. diam. £150-250

1093

1094

1093. ‘Lapin’ No.285 a Lalique opalescent glass cendrier designed by René Lalique, and a Dindon clear and frosted glass Cendrier, etched R Lalique France No.285, 9.5cm. diam. £300-400

1094. A pair of Lalique large clear and frosted glass pigeon table centrepieces, etched Lalique France 27cm. wide £300-400

1095. ‘Charmes’ No.2458 a Lalique clear and frosted glass plaffonier designed by René Lalique, with chrome chains set with glass rectangular panels intaglio moulded R Lalique 34cm. diam. £800-1,200 1095

1097

1097A

1096

1096. A fluted glass water jug and eleven glasses, probably Italian, the slender ewer with applied handle and foot, two Austrian inkwells 37cm. high £200-300

1098 1099

1097. Three Murano Aquarium glass blocks possibly Cenedese, each internally decorated with fish and waterweed in colours, with air bubble inclusions, largest 15 x 10.5cm. £300-500

1097A. A Venini glass bowl designed by Tapio Wirkkala, decorated with a broad band of fine white lines, above ruby band and clear glass well with aventurine inclusions, cased in clear, and a Czechoslovakian glass glass bowl applied label, etched Venini Italia and TW monogram 31.5cm. diam. £100-200

1098. A Murano Italian glass model of a swan, in the manner of Dino Martens, white blue and brown striped glass, cased in clear, with applied blue glass eyes, four others similar and a vase and a bowl 25cm. high £100-200 1100

1101 1099. A comical glass decanter and stopper, possibly Murano, modelled as a rotund man, his turbaned head the stopper, and four glass sculptures unsigned 21cm. high £100-150

1100. A glass jug probably Murano, clear glass surface decorated with golden iridescence, applied prunts and handle unsigned 20cm. high £100-150

1101. A Kosta glass bottle vase, emerald green glass with white stripes, cased in clear, and six other glass vases etched Kosta LH1056 33cm. high £100-150 1102 1102. A pair of Murano glass twin-branch candelabra, clear glass with aventurine inclusions, each set with a butterfly highlighted in yellow unsigned, minor losses 21.5cm. high £150-250

1103. A Venini glass egg, mottled brown and white canes, cased in clear, on a later onyx stand, etched Venini Italia to base 12cm. wide £100-150

1104. A Barovier & Toso glass bowl, fluted and pulled heavy clear glass, internally decorated with gold aventurine panels, etched Barovier Toso Murano 29cm. wide £200-300

1103

1104

1105 1105. A Fontana Arte clear glass dish, asymmetric clear glass form, acid etched mark to corner, original retail paper label 45.5cm. wide £200-300

1106. A large Italian cased glass vase attributed to Barovier & Toso, tapering, swollen faceted body black glass with aventurine inclusions, cased in clear remains of paper label etched Barovier & Toso 1951 to base 39cm. high £200-300

1106

1107

1107. A Venini glass bottle vase, shouldered form with tall solifleur neck, white glass with central sand coloured band indistinct acidetched mark to base 30cm. high £100-150

1108. A large Murano Italian glass ceiling light shade probably Venini, flaring circular form, white spiralling stripes cased in clear, with gilt metal mounts unsigned 72cm. diam. £500-600

1108

1109. ‘Picasso’ a glass sculpture by Gio Colucci, amber glass with air bubble inclusions, with applied glass features, painted GC monogram 43cm. high £400-600 Provenance David Cripps Gio Colucci, painted, Sculptor and Potter was born in Florence in 1892, attended the Ecole nationale des Beaux-arts, Paris in 1911 - and exhibited alongside Metzinger, Delauney and Duchamp.

1110. A Venini Inciso amber glass vase, flaring cylindrical form, acid etched Venini Murano Italia mark 20.5cm. high £200-300 1109

1110

1111. A Baccarat glass Narcisse decanter and six goblets designed by Boris Tabakoff, faceted stem with offset body, acidetched mark, decanter 40.5cm. high £200-400

1112. A Kosta glass vase by Vicke Lindstrand, the thick clear glass with green colour to base, etched and frosted with a salmon angler, in waders, a large leaping salmon on the end of his line, etched marks, 29cm. high £150-250

1112

1111

1113. A Kosta Boda glass ewer, the flattened blue glass disk body with flaring cylindrical orange striped neck, applied yellow handle, on applied clear glass foot, a Kosta Boda clear glass sculpture, and nine other glass items paper Kosta label 35.5cm. high £150-200

1114. An Orrefors Graal glass vase by Sven Palmquist, pale purple glaze with blue net motif, cased in heavy clear glass, and two others similar etched marks and signature, tallest 23.5cm. high £200-400 1113

1115. A large Orrefors glass plate by Olla Alberius, thick clear glass internally decorated with turquoise panel and blue dots, and an Orrefors clear glass vase etched marks 49cm. diam. £100-200

1114 1115

1116. An Iittala Kantarelli/Chanterelle glass vase designed by Tapio Wirkkala, the tapering cylindrical body with broad flaring rim, cut with veins etched Tapio Wirkkala Iittala 14.5cm. high £400-600 Literature Iittala 125 Years of Finnish Glass, Arnoldsche, page 72 for another variation

1117. A Sklo Union glass vase by Jiri Suhajek, thick, flattened clear glass surface decorated with amber panels and green trailing, unsigned 23cm. high £150-250 1116

1117 1118. A Mdina glass fish vase, mottled brown and yellow stripes cased in clear with textured finish, applied paper label, etched Mdina 1983 25cm. high £150-200

1119. A studio glass charger by Ruth Dresman, acid etched and frosted with an octopus and fish, etched Dresman 44cm. diam. £150-250

1118

1119

1120 1121

SAM HERMAN GLASS 1120. A Sam Herman glass vase, dated 1975, shouldered rectangular section, swirling green and yellow, cased in clear original paper label SA620, etched marks and date13cm. high £150-200

1121. A Sam Herman glass vase, flattened asymmetric form with aperture to the side of the neck, textured finish with coloured streaks and inclusion, surface lustre, etched marks 30cm. high £150-200

1122 1123

1122. A Sam Herman glass vase, ovoid clear vase with pink and yellow patches, surface decorated with trails and lustre finish etched signature to side of base 11cm. high £100-200

1123. A Sam Herman glass vase, dated 1975, tapering, shouldered form with everted irregular rim, mottled red and yellow glass with lustre surface finish original paper label, etched signature and date 14cm. high £100-200 1124

1124. A Sam Herman swollen glass vase, dated 1970, opalescent glass body with air bubbles and yellow and purple streaks, applied purple rim etched signature and date 1970, 25cm. high £200-300

1125. A Sam Herman glass vase, dated 1973, flattened, slightly waisted form with pulled lip, clear glass internally decorated with green and surface decorated with white pulls, etched Sam Herman 1973, 22.5cm. high £200-300 1125

A PRIVATE COLLECTION OF ART GLASS

1126. A large Sam Herman glass vase, dated 1978, amorphic, ovoid form with small aperture, streaked red glass cased in clear, surface decorated with blue and mushroom trails etched signature and date 37cm. high £500-700

1127. A Sam Herman glass vase, dated 1972, tapering cylindrical form, mottled red and green, cased in clear with applied band to neck rim, surface decorated with lustrous decoration etched signature and date 36cm. high £300-500

1128. A Sam Herman glass vase, swollen cylindrical form with small aperture, sand yellow cased in clear glass with inclusions and air bubbles, surface decorated to the shoulder with a lustrous band etched Ipsen? to side 25cm. high £100-200

1126

1129. A Sam Herman glass vase, dated 1974, shouldered form with collar rim, line green and yellow glass cased in clear, surface decorated with lustrous streaks and panels, etched mark and date 23cm. high £150-200

1130. A Sam Herman glass vase, dated 1972, flaring, shouldered form, mottled yellow and brown glass cased in clear, surface decorated etched signature and date 13cm. high £100-200

1127

1130 1128

1129

1131. A Sam Herman glass vase, dated 1975, ovoid with collar rim, streaked yellow glass cased in clear, surface decorated with lustrous bands etched mark and date 13cm. high £100-200

1132

1131

1132. A Sam Herman glass vase, dated 1975, shouldered, elliptical section, streaked blue/green glaze, surface decorated with lustrous panels etched signature and date 15cm. high £100-200

1133. A Sam Herman glass vase, dated 1977, cylindrical form with inverted rim, pale green and aubergine glass cased in clear, surface decorated with lustrous whorls and bands etched signature and date 18cm. high £100-200

1133

1134

1134. A Sam Herman glass vase, dated 1970, shouldered, flaring square section, white glass cased in clear, surface decorated with lustrous panels, with applied purple glass band to neck rim, etched signature and date 20cm. high £100-200

1135

1135. A Sam Herman glass vase, dated 1982, swollen cylindrical form, streaked orange glass, cased in clear, surface decorated with brown and white etched signature and date 22cm. high £150-250

1136. A Bob Crook glass bowl, footed form, flaring blue glass with fine orange bands to the rim, cased in clear etched signature 22cm. diam. £100-150

1136

1137

1138

1137. A large Venini glass Kukinto vase by Timo Sarpaneva, dated 1991, cylindrical foot supporting flaring, fluted bowl, red, blue, aubergine and green columns, cased in clear, etched Venini mark, applied Venini label to side 42cm. high £1,000-2,000 Literature Venini Collection August Warnecke, Christie’s Paris, 21st November 2012, lot 133 for a comparable vase

1138. A Venini glass vase designed by Timo Sarpaneva, dated 1994, cylindrical with flaring, pulled neck, red, blue, aubergine and green columns, cased in clear etched mark, signature and date, applied label 25.5cm. high £100-200

1139. A large Venini glass vase designed by Fulvio Bianconi, compressed form with embedded aquamarine, sapphire, red and aubergine bands etched Venini Italia mark 30cm. high £3,000-5,000 Literature Venini Catalogue Raisonne, Skira, page 161 plate 120, catalogue number 170 for comparable example illustrated and dated 1953 Provenance Private collection

1139

1140. A tall Murano glass bottle and stopper possibly Cenedese, green glass cased in clear, and a Cenedese frosted glass bottle and stopper applied paper label to second bottle 51cm. high £100-200

1141. A Murano glass bottle and stopper, shouldered square section, yellow and black spiralling design cased in clear, and another bottle and stopper decorated blue, turquoise and red spiralling bands unsigned 44.5cm. high £100-200

1140

1141 1142. A Venini glass bottle and stopper, dated 1982, tapering cylindrical form, alternate green and red columns, with ball stopper etched marks 46.5cm. high £200-300

1143. A Venini glass bottle and stopper, tapering cylindrical form with ball stopper, fine white striped glass cased in clear applied paper label 36.5cm. high £100-200 1143 1142 1144. A Vistosi glass vase, compressed form, clear glass body with green stripe and red shoulder and neck, and a Venini glass apple paperweight, clear glass with applied green glass leaf, red and amber patches applied Vistosi paper label 12.5cm. high £100-200 1144

1145

1145. A Murano Italian glass egg in the manner of Venini, blue and green striped cased in clear, and two other glass eggs smaller, etched Murano 91 19cm. high £100-150

1146. A large Chance glass handkerchief vase, clear glass enamelled with yellow and orange grid design, and five other smaller handkerchief vases applied paper label 18.5cm. high £100-150

1146

CERAMICS 1147. A Mintons four tile planter with bronze frame the tiles designed by John Moyr Smith, each tile printed with Shakespearian Scenes in blue and brown on a white ground impressed marks, chip to inside 20cm. high £300-400 1148. A pair of Royal Worcester Aesthetic Movement vases, waisted cylindrical form, cast in relief with Chinese Dogs of Fo, glazed blue impressed marks, chips, 22cm. high £100-200

1147 1148

1149. Two J.C. Edwards tile stands designed by Charles Francis Annesley Voysey, each modelled in low relief with a devil creature glazed pale blue and blue impressed marks, professionally restored, 16cm. square £200-300 1150. ‘Seven Ages of Man’ a rare set of seven Maw tiles, each printed with a medieval portrait roundel, flanked with flower panels, in dark brown on a blue ground impressed marks, 15cm. square £300-500

1149

Literature Terrence Lockett Collecting Victorian Tiles ACC, figure 14 part of the set illustrated 1151. A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1903, incised and painted with slipper orchids, dragonflies and insects, in brown, highlighted in white 3-1903 Martin Bros London & Southall, professional restoration to inside of top rim, 24cm. high £800-1,200 1152. A Martin Brothers stoneware trough by Robert Wallace Martin, dated 1892, deeply incised with a band of scrolling flowering and fluting vine, in shades of blue and brown on a buff ground incised 41892, R W Martin & Brothers London & Southall, chip to top and base rim, 32cm. wide £150-200 1150 1153. A large Martin Brothers stoneware jardiniere by Walter & Edwin Martin, dated 1899, incised with dragonflies, butterflies and insects flying above grasses and wild flowers, in shades of brown, white and green on pale brown ground incised 5-1899 Martin Bros London & Southall, 24cm. high £700-1,000

1151

1152 1153

1154

1155

1156

1157

1154. A Compton Potter’s Guild figure of St George, modelled standing, resting on his sword, glazed in colours impressed seal mark, minor chips, 23cm. high £200-400 1155. A Royal Doulton stoneware vase by Francis Pope, swollen cylindrical form, incised and painted with Art Nouveau decoration, in blue and ochre on a green ground, and another similar impressed and incised marks, chips 39cm. high £50-100 1156. A Royal Doulton vase by Ruth Cartlidge, shouldered form, painted with a classical figure in a stylised landscape, walking amidst pear trees, a flock of birds flying in the distance printed mark, painted signature 20cm. high £100-200

1158

1159

1157. A Sunflower Pottery vase by Sir Edmund Elton, ovoid with tapering neck and three loop handles, slip decorated with flower bough on streaked yellow and blue ground painted Elton to base, minor frits to flowers 16cm. high £100-150 1158. A pair of Minton plates designed by William S Coleman, dated 1877, each painted with a child resting in a tree, inside chevron border, painted in colours impressed marks, 25cm. diam. £250-300 1159. Three Aesthetic Movement porcelain plates in the manner of Dr Christopher Dresser, the pierced border, cast in low relief with stylised foliate frieze, painted in shades of red, turquoise, highlighted in gilt and silver, the well with monogram and gilt vine border, unmarked 24cm. diam. £300-400

1160

1161

1160. ‘Pomegranate’ a Moorcroft Pottery jardiniere designed by William Moorcroft, painted in colours on a mottled green ground painted green signature 22.5cm. high £500-600 1161. A Ruskin Pottery high-fired stoneware vase, dated 1910, shouldered form with cylindrical neck and everted rim, covered in a streaked strawberry pink glaze over silver impressed marks, professional restoration 21.5cm. high £100-200 1162. A pair of Lefco ware stoneware jardiniere and stands, Leeds Fireclay Company, cast with foliate panels, glazed oatmeal minor damages 92cm. high £500-800

1163. A pair of Lefco ware stoneware jardiniere and stands, Leeds Fireclay Company, cast with foliate panels, glazed oatmeal cast marks to base, minor damages 92cm. high £500-800 1162

1163

1164

1165

1166

1167

1164. A Shelley Late Foley Intarsio casket and cover, designed by Walter Slater, model no. 3606, tapering rectangular form, printed and painted in colours, and a pair of Foley Intarsio vases printed marks, 16.5cm. wide £150-200 Literature Chris Watkins, William Harvey and Robert Senft Shelley Potteries, Barrie & Jenkins, page 60 colour plate IV for comparable designs

1168 1169

1165. A pair of Thomas Parnall pottery book ends, each modelled in low relief and pierced with two young classical boys holding a rabbit, glazed in blue and red painted signature Th Parnall London, paper label A64, 21cm. high £100-200 1166. ‘The Emir’ H.N. 1605 a Royal Doulton figure designed by Charles Noke, painted in colours 19cm. high £100-200 1167. ‘Flower Seller’s Daughter’ HN.1342, a Royal Doulton figure, painted in colours printed factory marks, 20cm. high £80-120 1168. A Wemyss Pottery model of a pig, modelled seated resting on its haunches, painted with three-leafed clover, in green and pink on a white ground, painted Wemyss mark, minor glaze loss to snout and ear tips, 15cm. wide £100-200

1170

1171

1169. A Wemyss Pottery Biscuit box and cover, painted with strawberries, a Wemyss Pottery Biscuit box decorated with cherries and a small plate similar impressed and painted marks, damages 12.5cm. diam. £100-200 1170. A Bernard Moore flambe vase, shouldered form, covered in a yellow crystalline flambe glaze painted BM mark 23cm. high £100-200 1171. ‘The Abbot Bromley Chalice’ a Moorcroft Pottery limited edition vase designed by Joe Hobbs, painted in colours painted green monogram 27cm. high £200-300 Literature Paul Atterbury Moorcroft, Richard Dennis Publications, page 200 plate 2 for an example. 1172. ‘Flambe Leaf and Berry’ a tall Moorcroft Pottery vase designed by William Moorcroft, dated 1940, shouldered cylindrical form with everted rim, painted in colours under a rich flambe glaze impressed marks, painted blue signature dated 1940, 32cm. high £1,000-2,000 1172

1173. A Poole Pottery biscuit barrel and cover, pattern GPA, painted with geometric flowers and foliage in shades of green, grey and black on a white ground, two Poole Pottery bluebird vases and three other items impressed and painted marks, damages 15cm. high £80-120

1174

1173

1174. A Poole Pottery vase by Ann Hatchard, shape no.435, painted with a columns of yellow spots inside a blue trellis borders, on an off white ground impressed marks, painted cipher, restored top rim and shoulder, 28cm. high £150-250

1175. A Poole Pottery charger, painted to the well with fruit and foliage in pink, mushroom and black, and another similar, impressed, printed and painted marks, 32cm. diam. £80-120

1176. A Carter Stabler & Adams Poole Pottery Love birds book end designed by John Adams, covered in a white cracked glaze impressed mark, 21.5cm. high £100-150

1175 1176

1178 1177

Literature Leslie Hayward and Paul Atterbury, Poole Pottery Richard Dennis Publications, page 51 for a comparable figure. This model was exhibited at Gieve Gallery Exhibition 1930.

1177. ‘Leapfrogging Elves’ a Wedgwood Fairyland lustre bowl designed by Daisy Makeig Jones, printed in colours and gilt on a midnight black lustre ground printed and painted marks, professionally restored 11.5cm. diam. £500-600

1178. ‘Zodiac Bull’ a Wedgwood pottery figure designed by Arnold Machin, printed in colours with zodiac signs impressed marks,38cm. wide £150-200 Literature Maureen Batkin Wedgwood Ceramics, Richard Dennis Publications, page 197 plate 481 for two comparable examples. British Art & Design 1900-1960 Victoria & Albert Museum catalogue, pages 178-179 for a comparable example Austerity to Affluence Fine Art Society catalogue, page 57 catalogue number C1 for an example of the Zodiac bull.

1179

1180

1179. A Wedgwood Pottery vase designed by Erling B Olsen, shouldered cylindrical form with inverted rim, cast in low relief with sea horses before a sunset, covered in a cream glaze impressed marks, hairline to top rim 17.5cm. high £50-100 Literature Maureen Batkin Wedgwood Ceramics 1846-1959, page 199 plate 491 this vase illustrated in a contemporary photograph, circa 1932

1180. A Wedgwood Pottery vase by Norman Wilson, ovoid with asymmetric neck, covered in a mushroom brown glaze impressed marks and NM monogram 19cm. high £100-200

1181. ‘Travel’ a Wedgwood part service designed by Eric Ravilious, printed in black and blue on a grey ground with travel vignettes, comprising; small platter, breakfast bowl, two dinner, three side and a breakfast plate, and a Garden soup bowl and plate printed marks, platter 26cm. wide £250-350

1181

1182

1183

1184

1182. ‘Garden-Harvest Festival’ a Wedgwood part service designed by Eric Ravilious, comprising two egg cups, a covered jug, one tray, a soup bowl and a saucer, printed in black on a a blue band, and a ‘Golden Persephone’ soup bowl decorated in gilt printed marks, bowl 23cm. diam. £100-200 1183. ‘Garden - Persephone’ a Wedgwood part service designed by Eric Ravilious, printed in black on a yellow band, comprising; sauce boat, slop basin, sugar basin, one large tea cup and saucer, one side and entree plate and four dinner plates printed marks, 25.5cm. diam. £100-200 1184. ‘Persephone’ a Wedgwood part service designed by Eric Ravilious, printed in black on a green ground, comprising three entree plates, a side plate, a sugar basin, one tea cup and saucer printed marks, plate 23.5cm. diam. £100-200 1185. ‘Garden Implements’ a Wedgwood lemonade jug and beaker designed by Eric Ravilious, printed with garden tools, the reverse of the jug with nine garden vignettes in black on a pale yellow ground printed and painted marks, jug spout professionally restored 19.5cm. high £200-400

1185

Literature Alan Powers Eric Ravilious Imagined Realities, Philip Wilson Publishers page 28 for the original watercolour designs for the Garden Implements jug illustrated. 1186. ‘Alphabet’ a Wedgwood jug designed by Eric Ravilious, printed in black over blue bands printed marks, 10.5cm. high £100-150 Literature Bryan Webb and Peyton Skipworth Design,Edward Bawden Eric Ravilious ACC page 59 for an example of this jug illustrated. 1187. ‘Alphabet’ two Wedgwood mugs designed by Eric Ravilious, printed in black on pink and yellow bands printed marks, 8.5cm. high £200-400 Literature Alan Powers Eric Ravilious Imagined Realities, Philip Wilson Publishers page 27 for the original watercolour design for Alphabet illustrated, dated 1937 1188. ‘King George VI and Queen Elizabeth Coronation 1937’ a Wedgwood commemorative mug designed by Eric Ravilious, printed in colours on a blue band printed factory marks, 10.5cm. high £300-500

1186

1189. ‘King Edward VIII Coronation 1937’ a Wedgwood commemorative mug designed by Eric Ravilious, printed in colours on a blue band printed factory marks, 10.5cm. high £300-500 Literature Bryan Webb and Peyton Skipworth Design,Edward Bawden Eric Ravilious ACC page 57 for an example of this mug illustrated. 1190. ‘Queen Elizabeth II - 1953’ a Wedgwood commemorative mug designed by Eric Ravilious, printed in colours on a pink band printed factory marks, 10.5cm. high £100-150

1188

1189

1187

1190

1191. ‘Travel’ a Wedgwood part service designed by Eric Ravilious, printed in black with travel vignette on a grey ground, comprising coffee can and saucer, side, entree and dinner plate, and a sandwich plate printed marks, dinner plate 25.5cm. diam. £100-200 1192. ‘View from the Railway Carriage’ a Dennis Chinaworks mug, designed by Sally Tuffin from the original painting by Eric Ravilious, 2005 printed marks 12cm. high £100-200 Literature Alan Powers Eric Ravilious Imagined Realities, Philip Wilson Publishers page 52 for the original watercolour by Ravilious, 1939, which inspired this mug.

1191

1193. ‘Queen Elizabeth II 1952-2002 Golden Jubilee’ a Wedgwood commemorative mug, after the original design by Eric Ravilious, printed in colours and gilt printed factory mark 10.5cm. high £100-150 1194. ‘The Shepherd’ HN.1975 and ‘The Orange Lady’ HN.1759 two Royal Doulton figures, painted in colours, and three Royal Worcester figures printed marks, 22cm. high £100-200 1193 1195. A Poole Pottery vase by Nellie Bishton, pattern YN, painted with stylised flowers and foliage in colours on a white ground, a pair of Continental figural book ends and a OKT42 novelty teapot and cover impressed and painted marks, 17cm. high £100-200

1192

1196. A Carlton Ware dish, pattern 3948, diamond shape with flange handles, printed and painted in enamels and gilt with stylised flowers and foliage, on a turquoise ground, a Carlton Ware vase, a collection of ceramics including Ruskin stones, Poole Pottery and a Doulton dish printed and painted marks, 24.5cm. wide £100-200 1194

Provenance Albert E Wade collection 1197. A Carlton Ware porcelain model of woman designed by John Hassall, with articulated head, modelled wearing apron, and a Carltonware model of a Policeman by John Hassall, printed mark, damages and repairs 12cm. high £100-200

1195

1198. ‘Purple Emperor’ a Beswick wall plaque, model no. 1487, printed and painted in colours, with applied metal antennae, impressed and printed marks, 15cm. wide £200-300 1199. ‘Cockatoo’ 1180 and ‘Owl’ 1046 two Beswick birds, painted in colours, a Mallard duck, five graduated walking Mallard ducks and a dachsund and finch impressed and printed marks, repaired damages 20cm. high £100-200

1196 1197

1198

1199

A PRIVATE COLLECTION OF CLARICE CLIFF

1200. ‘Crocus’ a Clarice Cliff Bizarre Tankard coffee set for eight, painted in colours between yellow and brown bands, comprising; coffee pot and cover, milk-jug, two sugar basins, eight cans and saucers printed marks, 19cm. high £300-500

1201. ‘Crocus’ a Clarice Cliff Bizarre Globe teapot and cover, painted in colours between yellow and brown bands, and a large collection of Clarice Cliff Crocus items printed factory marks, 12cm. high £400-600

1200

1202. ‘Crocus’ a Clarice Cliff Bizarre Hiawatha bowl, painted in colours between yellow and brown bands, and three Clarice Cliff graduated Crocus bowls, printed factory marks, 19cm. diam. £150-250

1202

1203. ‘Crocus’ a Clarice Cliff Bizarre Biscuit barrel, shape no.335, painted in colours between yellow and brown bands, and two Clarice Cliff Crocus Chester fern pots printed factory marks, 15cm. high £200-300

1201

1204. ‘Crocus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between yellow and brown bands, and a Clarice Cliff Crocus Lynton sifter printed factory marks, tiny frits to the vents on the Lynton sifter14cm. high £100-200

1203

1204

1206. ‘Amberose’ a pair of Clarice Cliff Bizarre Lynton coffee cans and saucers painted in colours, a brown banded Conical cruet and grapefruit bowl set, two Viscaria Lynton coffee cans and a collection of Clarice Cliff various marks, damages7.5cm. high £200-400

1206

1205

1205. ‘Gay Day’ a Clarice Cliff Bizarre Beehive honey pot and cover, painted in colours, another Gay Day Beehive honey pot and cover, an Odilon bowl and a collection of Gay Day items printed marks, chip to finial of one beehive, 10cm. high £250-350

1207. ‘Secrets’ a Clarice Cliff Fantasque Bizarre candlestick, shape no.310, painted in colours, and a Clarice Cliff Rhodanthe candlestick printed marks, 11.5cm. diam. £150-200

1208. ‘Rhodanthe’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours, and a Clarice Cliff Rhodanthe Bon Jour sugar sifter printed marks, 14cm. high £150-200

1207

1208

1209. ‘Rhodanthe’ a pair of Clarice Cliff Bizarre vases, shape no.365, painted in colours printed factory marks, 21cm. high £300-500

1210. ‘Red Gardenia’ a Clarice Cliff Fantasque Bizarre vase, shape no.342, painted in colours printed factory marks, 20cm. high £400-600

1209

1210

1211. ‘Swirls’ a Clarice Cliff Bizarre plate, dated 1929, painted in shades of green, orange and yellow, outlined in black printed factory mark, light surface wear, 22.5cm. diam. £300-500

1212. ‘Swirls’ a Clarice Cliff Athens jug, painted in colours printed factory marks, restored chip to foot rim, 16.5cm. high £150-200

1211

1213. ‘Circles and Squares’ a Clarice Cliff Fantasque Bizarre jug, painted in colours between orange and blue bands printed factory marks, 13cm. high £200-300

1212

1214. ‘Fruit’ a Clarice Cliff Fantasque Bizarre Coronet jug, painted in colours between orange bands, and a Cafe au Lait Oranges jug printed gilt mark, chips to spout, 16cm. high £200-300 1214 1213

1215. ‘Coral Firs’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between grey, yellow and brown bands printed factory marks, small chip to foot rim, 14cm. high £200-300

1216. ‘Honolulu’ a Clarice Cliff Bizarre Candlestick, shape no.384, painted in colours printed factory marks, fine hairline crack to rim, 11.5cm. diam. £100-200

1216 1215

1217. A Clarice Cliff George jug, modelled in low relief and painted in colours, a Viscaria Lynton bowl, a Gay Day bowl and a collection of Clarice Cliff printed marks, wear and damages 17cm. high £200-400

1218. ‘Orange Bridgewater’ a Clarice Cliff Bizarre dish, painted in colours, a Nuage Fruit Conical bowl and four other items printed marks, 11.5cm. square £150-200

1217 1218

1219. ‘Blue Chintz’ a Clarice Cliff Bizarre Perth jug, painted in colours, a Green Chintz dish, a Blue Chintz salt and pepper cruet and a Gibraltar pattern mustard pot printed factory marks, jug 11cm high £100-200

1220. ‘Blue Chintz’ a Clarice Cliff Fantasque Bizarre Top-Hat bowl and flower brick, painted in colours printed factory mark, chips to flower-brick, 26cm. wide £200-300 1220 1219 1221. ‘Anemone’ a Clarice Cliff pedestal bowl, painted in colours on a mushroom ground, and two Clarice Cliff Hydrangea pieces printed marks, 30cm. diam. £150-250

1222. ‘Original Bizarre’ a Clarice Cliff candlestick, painted with orange and blue triangles, outlined in black, a Clarice Cliff Original Bizarre preserve pot and cover, plate and bowl printed factory marks, chip to plate, wear, 11.5cm. diam. £150-200

1221 1222

1223. ‘Original Bizarre’ a pair of Clarice Cliff candlesticks, shape 310, painted with radiating green diamonds outlined in black inside an orange band, the sconce blue, printed factory marks, 11.5cm. diam. £200-300

1223 1224

1224. ‘Original Bizarre’ a Clarice Cliff Chester Fern pot, painted with alternate red and purple triangles, outlined in green, and two Clarice Cliff Original Bizarre Heath fern pots printed marks, 9cm. high £100-200

1225. ‘Original Bizarre’ a Clarice Cliff Bizarre vase, shape no.362, painted with a band of yellow and purple diamonds, outlined in black between orange bands printed factory mark 20.5cm. high £300-400

1226. ‘Original Bizarre’ a pair of Clarice Cliff Bizarre Octagonal candlesticks, painted with orange and brown diamonds and purple bands, outlined in green between orange bands printed factory marks, flat chip to base rim 20.5cm. high £200-400

1225

1226

1227. ‘Alton’ a Clarice Cliff Bizarre Bon Jour coffee set for six, dated 1933, painted in colours, comprising; Bon Jour coffee pot and cover, Stamford milk jug and sugar basin, six demi-tasse conical coffee cups and saucers printed factory marks, coffee pot 19cm. high £800-1,200 Provenance Private collection

1227 1228. ‘Orange Trees and House’ two Clarice Cliff Fantasque Bizarre clogs, painted in colours, one with orange rim, the other black, printed factory marks, 13cm. wide £300-500

1229. ‘Oranges’ a Clarice Cliff Bizarre inkwell and cover, shape no.457, painted in colours printed factory marks, 11cm. high £200-400

1228 1229

1230. ‘Forest Glen’ a Clarice Cliff Lynton vase, shape no.583, painted in colours printed factory marks, 14.5cm. high £100-200

1231. ‘Gay Day’ a pair of Fantasque Bizarre vases, shape no.362, painted in colours between brown, green and yellow bands printed marks, 21cm. high £150-200 1230

1231

1232. ‘Gay Day’ a Clarice Cliff Bizarre ginger jar and cover, painted in colours between yellow and brown bands printed factory marks, 21cm. high £100-200

1233. ‘Gay Day’ a Clarice Cliff Bizarre Chippendale jardiniere, painted in colours between yellow and brown bands printed and painted marks, 20cm. high £100-200 1232

1233

1234. ‘Solitude’ a Clarice Cliff Fantasque Bizarre cruet set, painted in colours, comprising salt and pepper pots, a Melon salt pot, and two Lynton sugar sifters printed marks, 8.5cm. high £100-200

1235

1234

1235. ‘Rhodanthe’ two Clarice Cliff bowls, painted in colours, a Gay Day biscuit barrel and cover and a Newport bowl printed marks, 19cm. diam. £100-200

1236. ‘Flora’ a Clarice Cliff Bizarre dinner service, printed and enamelled in colours, comprising; three graduated platters, Odilon shape sauce boat, two Odilon shaped tureen and covers, seven dinner, entree and side plates, printed marks, largest platter 43cm wide £300-500 1237

1236

1237. A Clarice Cliff Bizarre Biarritz dinner service, dated 1935, painted with purple and black bands, with FR monogram to the corner, comprising one platter, two tureens, one cover, sauce jug, five soup bowls, covers and six saucers, six side and entree plates, five dinner plates printed factory marks, minor damages platter 31cm. wide £150-200

1238 1238. ‘Red Gardenia’ a Clarice Cliff Bizarre bowl, painted in colours, a Clarice Cliff Nasturtium bowl and two Liberty banded bowls printed marks, 19.5cm. diam. £200-300

1239. A Clarice Cliff Novelty vase modelled as a flat fish, model no.799, painted in colours, a Clarice Cliff Seagull wall pocket and as Crinoline Lady wall pocket printed marks, 23cm. high £150-200

1239

1240. A Clarice Cliff Celtic Harvest jug, painted in colours, and a large collection of moulded and later Clarice Cliff ware printed marks 20cm. high£100-200

1240 1241. A Clarice Cliff Waterlily bowl, painted in colours, and a large collection of later Clarice Cliff ware various marks, 22cm. wide £100-200

1241

1242. ‘House and Bridge’ a Clarice Cliff Fantasque Bizarre Cauldron, painted in colours printed factory marks, 7.5cm. high £200-250 1243. ‘Autumn’ a Clarice Cliff Fantasque Bizarre Hiawatha bowl, painted in colours inside an orange band, and a Clarice Cliff Autumn bowl printed marks, wear to paint work 25cm. diam. £100-150 1244. ‘Double V’ a Clarice Cliff Bizarre vase, shape no.186, painted in colours between orange and yellow bands printed marks, 14.5cm. high £200-300

1242 1243

1245. A pair of Clarice Cliff Bizarre book ends, shape no.406, cast in low relief with flowers, painted in shades of red, blue, yellow and black printed factory marks, 16cm. high £300-400 1246. ‘Nuage’ a Clarice Cliff Fantasque Bizarre sugar sifter, with electroplated cover, and a My Garden sugar sifter printed factory marks, 16cm. high £100-200 1247. ‘Orange Trees and House’ a Clarice Cliff Fantasque Bizarre preserve pot and cover, painted in colours, a Clarice Cliff Windbells preserve and cover and a Summerhouse Beehive preserve pot printed factory marks, 8.5cm. high £100-200

1245 1244

1248. A Clarice Cliff Bizarre Bon Jour tea for two, dated 1934, painted with mushroom and yellow bands, highlighted in orange, comprising teapot and cover, Stamford milk and sugar, two cups, saucers and a side plate printed factory marks, hairline to well of one saucer, small chip to rim of sugar basin, teapot 14cm. high £300-500 1249. ‘Knight Errant’ a Clarice Cliff Inspiration Bizarre plate, painted in colours printed and painted marks, 22.5cm. diam. £200-300

1247 1246

Literature Richard Green and Des Jones The Rich Designs of Clarice Cliff page 111 for a comparable plate 1250. ‘Nasturtium’ a Clarice Cliff Bizarre sandwich set for six and George jug, dated 1933, painted in colours, comprising; octagonal tray, six side plates and a jug printed marks, tray 30cm wide £300-400 1248

1249

1250

1253 1252 1251

1251. ‘Crocus’ a collection of Clarice Cliff Bizarre items, comprising; Conical pepper, egg cup, cylindrical preserve pot, two Grapefruit bowls, two side plates, a saucer and a sandwich plate, two coasters, and a Spring Crocus jug printed marks, sandwich plate 23cm. wide £100-200 1252. ‘Crocus’ four Clarice Cliff Bizarre Tankard coffee cans and saucers, painted in colours printed factory marks, 5.5cm. high £100-200 1254 1255

1253. A Wilkinson Pottery model of a heron spill vase, painted in colours, and a Celtic Pottery model of a bull by Maggi Fisher printed marks, 18cm. high £80-100 1254. ‘Coral Firs’ a Clarice Cliff Bizarre Biarritz platter, dated 1933, painted in colours printed factory marks £100-200 Provenance Clarice Cliff Christie’s South Kensington 24th May 1996 lot 276. Albert E Wade collection

1256

1257

1255. ‘Moonflower’ a Clarice Cliff Bizarre wall plaque, painted in colours inside yellow, green and brown bands printed factory mark, 26cm. diam. £250-350 1256. ‘Idyll’ a Clarice Cliff Bizarre plate, dated 1936, painted in colours inside green and blue bands printed marks, 23.5cm. diam. £200-300 1257. ‘Gibraltar’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside yellow, pink and blue bands, two Denby Electric Blue stoneware vases and a Denby vase by Glyn Colledge printed mark, chips and wear to plate 22.5cm. diam. £100-200 1258. ‘Sliced Circle’ a rare Clarice Cliff Bizarre Tankard part coffee set for six, dated 1928, comprising coffee pot and cover, milk-jug, six cans and saucers, painted in colours, printed marks, milkjug handle re-stuck coffee pot 16cm. high £800-1,200

1258

1260 1259 1259. ‘Alton’ a Clarice Cliff Bizarre side plate, dated 1933, painted in colours inside green band, printed factory mark 17cm. diam. £100-150

1260. ‘Autumn’ a Clarice Cliff plate, painted in colours inside an orange band, and a Clarice Cliff Bizarre ‘Newlyn’ plate impressed and printed marks, 25.5cm. diam. £150-200

1261 1261. ‘Orange House’ a Clarice Cliff Fantasque Bizarre plate, dated 1930, painted in colours to the well inside green and black bands printed factory marks, 21.5cm. diam. £350-450

1262. ‘Farmhouse’ a Clarice Cliff Fantasque Bizarre wall plate, dated 1931, painted in colours inside orange and brown bands, and a collection of ceramics impressed and printed marks, 25.5cm. diam. £150-250

1263

1262

1263. ‘Mountain’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside yellow and orange bands printed marks 22.5cm. diam. £300-500

1264. ‘Red Roofs’ a Clarice Cliff Fantasque Bizarre tea set for four, dated 1931, retailed by Lawleys, comprising Conical milk-jug and sugar basin, four cups, saucers, side plates and a sandwich plate printed factory marks,, sandwich plate cracked 23cm. diam. £500-1,000

1264

1265. ‘Rhodanthe’ a Clarice Cliff Bizarre plate, painted in colours, three graduated platters, a Bon Jour tureen and cover and two other plates printed marks, 23cm. wide £80-120 1266. ‘Forest Glen’ a Clarice Cliff Bizarre Bon Jour preserve pot and cover, painted in colours printed factory mark, chip to corner of cover 11cm. high £100-200

1266

1267. ‘House and Bridge’ a Fantasque Bizarre Beehive preserve pot and cover, painted in colours printed marks, small chip to cover rim 10cm. high £150-200 1268. ‘Bridgewater’ a Clarice Cliff Bizarre preserve pot and cover, painted in colours printed factory marks, cover professionally restored 8cm. high £150-200

1265

1269. ‘Bridgewater’ a Clarice Cliff Bizarre Bon Jour preserve pot and cover, painted in colours printed factory mark, professionally restored, 10cm. high £150-250 1270. ‘Berries’ a Clarice Cliff Fantasque Bizarre Cylindrical preserve pot and cover, painted in colours, and a ‘Bobbins’ preserve pot and cover printed marks, chips 8.5cm. high £100-200 1267

1268 1271. ‘Pastel Melon’ a Clarice Cliff Bizarre Clog, painted in colours printed factory marks 10.5cm. wide £200-300 1272. ‘Blue Chintz’ a Clarice Cliff Bizarre Conical milk-jug, painted in colours and an Original Bizarre milk-jug printed factory mark, restored, 6.5cm. high £100-200

1270 1269

1273. ‘Secrets’ a Clarice Cliff Fantasque Bizarre preserve pot and cover, painted in colours, a ‘Cabbage Flower’ Bon Jour sugar sifter and a preserve pot printed marks, Secrets 10cm. diam. £100-200 1274. ‘Orange House’ a pair of Clarice Cliff Fantasque Bizarre salt and pepper pots, painted in colours, a Blue Firs coaster and preserve pot and a Latona Flowerheads Conical sugar basin, printed marks, damages 8cm. high £100-200

1272

1275. ‘Cafe au Lait Autumn’ a Clarice Cliff Bizarre double inkwell, shape no.462, painted in colours on a mottled yellow ground printed factory mark, chips to rim and cover 10.5cm. wide £100-200

1271

1273

1275 1274

1276. ‘Honolulu’ a Clarice Cliff Bizarre biscuit barrel and cover, shape no.336, painted in colours between narrow black and green bands printed factory mark 16cm. high £350-450

1277. ‘Windbells’ a Clarice Cliff Fantasque Bizarre biscuit barrel and cover, shape no.336, painted in colours between green and orange bands printed factory mark, professional restoration to orange bands on cover, 16cm. high £250-350

1276

1277

1278. ‘Melon’ a Clarice Cliff Fantasque Bizarre vase, shape no.119, painted in colours between orange bands printed factory marks, repaired damages 24cm. high £80-120 1279

1278

1279. ‘Viscaria’ a Clarice Cliff Bizarre single-handled vase, painted in colours printed factory mark, 19cm. high £100-200

1280. ‘Inspiration Flowers’ a Clarice Cliff Bizarre twin-handled Lotus jug, painted in shades of blue, brown and yellow on a turquoise ground factory mark, cracked and stapled 30cm. high £100-200

1281

1280

1281. ‘Inspiration Rose’ a Clarice Cliff Bizarre vase, shape 200, the triangular section vase painted in shades of blue, brown, pink and orange on a turquoise ground printed marks, professionally restored top rim, 19cm. high £500-800

1282. ‘Sungleam Crocus’ a Clarice Cliff Bizarre Single-handled Lotus jug, painted in colours between yellow bands printed marks, 29cm. high £500-800 1282

1283. ‘Orange Capri’ a Clarice Cliff Bizarre pedestal bowl, painted in colours, printed factory mark, small chip to foot rim 20cm. high £80-120

1284. A Clarice Cliff Fantasque Bizarre footed Conical bowl, retailed by Lawleys, painted with bands, with flower brick printed marks, 18.5cm. diam. £100-200

1283 1284

1285. ‘Gay-Day’ a Clarice Cliff Bizarre side plate, painted in colours, a Crocus side plate and a Biarritz plate printed marks, 18cm. diam. £100-150

1286. ‘Ravel’ a Clarice Cliff Bizarre part dinner service, painted in colours, comprising; one large tureen, two small tureens and one cover, two ceramic ladles, four dinner plates and seven entree plates, printed marks, damages large tureen 20cm. diam. £150-250

1286 1285

1287. ‘Green Erin’ a Clarice Cliff Bizarre Lynton coffee set for five, painted in colours, comprising coffee pot and cover, milk-jug and sugar basin, five cups and saucers printed factory marks, coffee pot 18cm. high £700-1,000

1288. ‘Butterfly’ a rare Clarice Cliff Fantasque Bizarre sandwich set for six, dated 1930, painted in colours inside black and brown bands, comprising octagonal tray and six side plates printed factory marks, tray 29.5cm. wide £1,000-2,000

1289. ‘Sunrise’ a Clarice Cliff Fantasque Bizarre Conical bowl, painted in colours to the interior, the exterior with yellow band printed marks, 19cm. diam. £150-200 1287

1289

1288

1290. ‘The Lucky Haw-Haw Cat’ a Louis Wain porcelain cat, painted in shades of blue, green and red with black notes printed and painted marks, facsimile signature, minor paint loss 13cm. high £200-300 1291. ‘The Lucky Pig’ a Louis Wain porcelain pig, painted in shades of green and yellow highlighted in red impressed marks, facsimile signature 12cm. high £200-300 1292. A Susie Cooper Productions trefoil serving dish, pattern 274, painted with daisies in shades of yellow and orange, a Susie Cooper bowl entitled Margaret, decorated with a terrier, and a small collection of Susie Cooper printed marks, 22cm. wide £100-200 1293. A Susie Cooper Studio vase, model no.283, shouldered form, painted with scrolls in brown and mushroom over fine yellow and rush bands incised marks, 22cm. high £80-120

1290

1291

1294. ‘Crocus’ a Shelley China lemonade Eve shape jug, pattern 11952, printed and enamelled in colours, a Shelley Eve shaped coffee set for four painted with green bands, a Shelley Vogue Sunray coffee cup, saucer and milk jug, and a large collection of Shelley table ware, printed and painted marks, minor damages lemonade jug 18cm. high £200-400 1295. A Shelley Harmony Ware teapot, cover and stand, painted with running bands in shades of green, grey and mushroom, a watercress drainer and stand, egg cup set, two vases and a flower trough similar printed marks, teapot 16.5cm. high £100-150

1292 1293

Literature Chris Watkins Shelley Potteries, Barrie & Jenkins, page 102-103 for comparable examples of Harmony Ware. 1296. A Royal Worcester Art Deco cased coffee set for six, pattern 1086, printed in gilt and enamelled in coral with stylised flower design, comprising, six cups and saucers and six enamelled silver spoons, printed marks, spoons hallmarked saucers 9.5cm. diam. £500-800 1297. ‘Autumn Leaves’ a wall charger designed by Charlotte Rhead, pattern 4921, tubeline decorated with falling leaves in shades of orange and brown on a cream ground, and five others facsimile signature 32cm. diam. £100-200

1294

1298. A Maling Pottery Dragon vase, pattern 3311, printed in colours on a blue lustre ground, highlighted in gilt, a Maling vase decorated with butterflies and flowers pattern 5955, another vase and a collection of Maling items printed and painted marks, 25.5cm. high £100-200

1295 1296

1297

1298

1299 1300

1301

1299. A Poole Pottery Studio vase probably by Robert Jefferson, ovoid with resist decoration, in ochre and white and another Poole Pottery Studio vase printed Poole Studio marks, 13cm. high £100-200 1300. A Poole Pottery Freeform vase designed by Alfred Read and Ruth Pavely, pattern PY, painted with columns of Totem design in turquoise, red and amber, a Poole Contemporary vase, two Cucumber dishes a bowl and a wall plate printed and painted marks, 27cm. wide £100-200 1303

1302

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 108 for comparable examples. 1301. Four Bovey Pottery Our Gang World War II figures, comprising soldier, ARP warden, nurse and an Anzac, covered in a matt buff glaze, and a Bristol Pottery model of Winston Churchill, glazed matt white printed marks, repaired damages 21cm. high £300-500 1302. A Richard Parkinson model of Pigtails a Schoolgirl designed by Susan Parkinson, painted in shades of blue impressed marks 20.5cm. high £300-500 Literature Carol Cashmore and Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, page 35 for a comparable example of Pigtails illustrated with Haystack hair. 1303. A Hornsea Concept teapot and cover designed by Martin Hunt RCA, moulded in low relief with concentric circles, the cover with a swan finial, matt bisque finish with glazed central roundel, with applied metal handle, and another Hornsea Swan Lake teapot and cover glazed white printed marks, 13cm. high £100-150

1305

1304

Martin Hunt studied at the Royal College of Art. 1304. A Denby Pottery Cheviot vase, designed by Glynn Colledge, CH.502, tapering cylindrical form, painted with abstract panels on a black ground printed mark, painted signature 47cm. high £500-600 Literature Irene and Gordon Hopwood Denby Pottery 1809-1997, Richard Dennis Publications, page 126 for the original Cheviot advert from the 1950s reproduced.

1306

1307

1305. A Troika Pottery Chimney vase, cast in low relief with geometric panels, in blue and ochre on a black ground, a small Troika Wheel and a marmalade pot painted marks, small chip to corner, 20cm. high £100-200 1306. A Troika Pottery Perfume flask, resist decorated with flowerhead roundel in blue on a white ground, the reverse a black and blue roundel painted marks, 17cm. high £200-300 1307. A Troika Pottery Footed Smooth Cube vase, square section, each side printed and painted with an abstract roundel in brown on a white ground painted marks to feet 11cm. high£100-200

1308 side and top

1308. A rare large Troika Pottery bowl, square section glazed black the circular well glazed blue, painted marks, 23cm. square £300-500

1309

1310

1312

1311

1309. A Poole Pottery Ionian charger by Carolyn Wills, resist decorated with a floral abstract, and a Poole Pottery Aegean charger impressed and painted marks, painted S mark for possible sample piece, 32cm. diam. £60-100

1310. A Fulper Pottery vase, ovoid with three looped handles to shoulder, covered in a streaked purple glaze, and another small Fulper Pottery vase, impressed marks, small glaze fault to foot rim, 16.5cm. high £100-200

1311. Katharine Pleydell-Bouverie (1895-1985) a stoneware vase, faceted ovoid form with solifleur aperture, covered to the foot with an ash glaze, a Winchcombe jug and a mug with painted decoration impressed seal marks 9.5cm. high £100-200

1313

1314 1312. Christine Gittins a burnished pot and cover, the cover with gilded decoration a John Ward earthenware vase and a David Whiting vase impressed and incised marks, John Ward broken and repaired 21cm. high £80-120

‡ 1313. John Maltby (born 1936) a stoneware pot and cover, with over-slung bamboo handle, painted with iron red flowers on a buff ground, with tenmoku rim and cover impressed seal mark, 12cm. high £100-200

1316

1315

‡ 1314. John Maltby (born 1936) Family Group with Hedge, a stoneware sculpture signed and titled 30cm. high £200-300

‡ 1315. Edmund de Waal OBE (born 1964) a porcelain vase and cover, footed form pale blue glaze impressed seal mark decoration impressed seal mark, 11.5cm. diam. £200-300

‡ 1316. Edmund de Waal OBE (born 1964) a porcelain bowl, footed form pale blue glaze with sang de boeuf spots impressed seal mark, 11.5cm. diam. £100-200

‡ 1317. Gabriele Koch (born 1948) a large textured sphere vase, burnished terracotta and black surface, with elliptical aperture incised signature to base 36cm. high £500-800 1317

1318. Christy Keeney Woman Holding a foliate stem, a pottery figure sculpture, painted in colours incised signature, impressed 1396, 50cm. high £150-200 1319. Six studio pottery unomi by various makers, and a small bowl, various marks, largest 9.5cm. high £50-100 1320. Judy Trim (1943-2001) a raku Tear Jar vase, pale blue and pink burnished T material, 45cm. high £200-300

1319

Provenance David Cripps 1318

1321. Michael Palmer & Andrew Harding a stoneware bottle vase, covered to the foot in a textured grey glaze, another smaller, and a bowl with inverted rim, impressed seal marks, 32cm. high £100-200 1322. Carol McNicoll (born 1943) a bowl form, angled triangular form, abstractly painted in black and white highlighted in blue painted signature 36cm. wide £150-200 1323. Antonia Salmon (born 1959) a raku Holding Piece sculptural form, spherical with loose cup form inside, burnished sky blue and black impressed seal mark 13.5cm. high £200-300 Literature Annie Carlano Contemporary British Studio Ceramics, Yale, page 137 for a comparable example.

1321 1320

1324. A pottery plate by Jill Fanshawe Kato, modelled in low relief with a bird hovering above grasses, glazed pale blue, and a bowl by Alan Spencer Green impressed seal mark, 23.5cm. diam. £100-150 1325. Edgar Campden An Aldermaston Pottery dish, elliptical form, painted with abstract design in blue on a white ground painted marks, 51cm. wide. £50-100 1322

1323

‡ 1326. David Roberts (born 1947) a large raku bowl, interior and exterior glazed with white crackle finish, impressed seal mark, 53cm. diam. £300-500 Provenance David Cripps

1325

‡ 1327. Martin Smith RCA a unique red earthenware table, 1988, red earthenware tiles with glass cement, on turned, birch laminate plywood, and red earthenware foot chips to foot rim 69cm. high, 54cm diam. £800-1,200 Provenance Lord Parmoor Private collection

1324

Exhibited Contemporary Applied Arts, London 1988

1326 top and side

1327

DENNIS CHINAWORKS 1328. ‘Penguin’ a pair of Dennis Chinaworks stepped candlesticks designed by Sally Tuffin, dated 2006, painted in colours impressed and painted marks, 21.5cm. high £250-350

1329. ‘Penguin’ a Dennis Chinaworks tazza and preserve pot and cover designed by Sally Tuffin, dated 2004 and 2005 painted in colours impressed and painted marks, tazza 15cm. diam. £150-250

1329

1328

1330. ‘Penguins’ a Dennis Chinaworks pot and cover designed by Sally Tuffin, dated 2006, the cover mounted with three penguins, painted in colours impressed and painted marks, 16cm. diam. £200-300

1330

1331. ‘Kingfisher’ a Dennis Chinaworks tazza designed by Sally Tuffin, dated 2005, the foot decorated with waterlily, in colours on a royal blue ground impressed and painted marks, 15cm. diam. £180-220

1332. ‘Kingfisher’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2003, painted in colours impressed and painted marks, 32.5cm. high £300-400

1332 1331

1333. ‘Bee and Snowdrop’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2002, painted in colours, and a preserve pot and cover impressed and painted marks, 16cm. high £100-200

1334. ‘Bee’ a Dennis Chinaworks vase and cover designed by Sally Tuffin, dated 2006, the cover modelled with a bee finial, painted in colours impressed and printed marks, 22cm. high £150-250 1333

1334

1335. ‘Iris’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 1994, painted in colours, and a Tulip Dennis Chinaworks vase dated 1996, impressed and painted marks, 19.5cm. high £100-200

1335 1336. ‘Ocelot’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2004, painted in colours on a midnight blue ground impressed and painted marks, 21cm. high £150-200 1336

1337. ‘Eagle’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, shouldered form, painted in colours, impressed and painted marks, 39.5cm. high £300-500

1338. ‘Indian Elephant’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2000, swollen drum form, painted in colours on a royal blue ground impressed and painted marks, 19cm. high £250-300

1337

1338

1339. ‘Datura’ a large Dennis Chinaworks vase designed by Sally Tuffin, dated 2004, painted in colours on a black ground impressed and painted marks, 40.5cm. high £400-600

1340. ‘Datura’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2004, painted in colours on a black ground impressed and painted marks, 30cm. high £200-300

1339

1340

1341

CONTINENTAL CERAMICS 1341. A Royal Copenhagen porcelain vase, model 323, elliptical form cast with dragonfly handles, painted with prunus blossom in colours on a pale blue ground, and a collection of eleven Royal Copenhagen, Rosenthal and other pieces impressed, printed and painted marks, damages 31cm wide £100-200 There is a similar bowl decorated with Orchids in the Cooper Hewitt Smithsonian Design Museum Collection 1342. A large Royal Copenhagen figure Wave and Rock designed by Theodor Lundberg, model no.1132, glazed in colours, printed and painted marks, 46cm. high £300-500

1342

Literature Nick and Caroline Pope A Collector’s Guide to Royal Copenhagen, Schiffer, page 104 for a comparable example. 1343. ‘Weeping Faun on Stand’ a rare Royal Copenhagen model designed by Gerhard Henning, designed 1910, model no.1188, covered in a blanc de chine glaze, on octagonal plinth printed wave mark, small flat chip to top of plinth 17.5cm. high £100-150 Literature Nick and Caroline Pope, A Collector’s Guide to Royal Copenhagen Porcelain page 105 figure 1188 for another example illustrated 1343 1344. A Meissen group of Ballet Russe dancers Amazon with Amor, after the model by Paul Scheurich, model no. 287, painted in colours incised marks, painted crossed swords mark, 28cm. high £100-200

1344

Provenance Albert E Wade collection Literature Robert E Rontgen The Book of Meissen, Atglen, page 36 plate 12 for an example of this figure group 1345. A set of ten Rosenthal plates, designed by Julius Vilhelm Guldbrandsen 1910, each cast in low relief with a fish swimming amongst waterweed, in blue on a pale blue to white ground printed factory marks, 22cm. diam. £300-500 Literature Rosenthal Hundert Jahre Porzellan, Kestner Museum Hannover, page 34 and 35 for six plates illustrated dated 1911. 1345

1346. A Royal Copenhagen model of a trout, painted in colours, and nine other figures various marks, 20cm. wide £100-150 1347. A Rorstrand Pottery model of a child holding a fish, covered in a white glaze, a Royal Dux model of a seated woman, a model of a monkey playing with a ball and five other figures various marks, 13cm. high £100-150

1346 1347

1348. A Rosenthal model of a monkey, seated scratching his foot, glazed in colours, a Heubach model of a seated Pierrot, a Lladro Pierrot figure group and three other figures printed marks, 20cm. wide £100-200 1349. A pair of Royal Copenhagen bears designed by Knud Kyhn, model numbers 21432 and 21435 one modelled lying on its back playing, the other seated, covered in a matt brown glaze printed marks, incised marks, 9cm. high £100-150 1350. A Secessionist stoneware ewer the design attributed to Peter Behrens, model no.1690, cast in shallow relief with a Secessionist entrelac design glazed blue on a grey ground with hinged pewter cover, impressed marks, 31cm. high £200-300

1348

1349 1351. A Eckhardt & Engler Secessionist pottery tureen and cover, model no.1697, in the manner of Albin Muller, fluted form, on three scroll feet with lion mask terminals, glazed matt mint green, the fluted cover with similar mask finial stamped marks, 36cm. high £100-200 1352. An unusual Primavera pottery vase, compressed ovoid form with collar rim, incised with a frieze of middle eastern fertility goddesses under a running blue glaze impressed mark, 25cm. high £300-350 1353. A French Art Deco vase by Lionel Dufrasne, shouldered form, printed and enamelled with stylised flowers and foliage in yellow, grey and black on a yellow ground printed and painted marks, 35cm. high £200-400 1354. A Boch Freres Keramis vase designed by Charles Catteau, pattern D1434, shouldered form, decorated with deer in a stylised forest, in colours on a white ground, and another Boch Freres Keramis vase printed and painted marks, 29cm. high £100-200

1351

1350

1353 1352

1354

1355. An Art Deco Katshutte Pottery figure of a woman with a beach ball, painted in colours, and another pottery figure of a woman in a green trouser suit impressed and printed marks, 25cm. high £100-200 1356. A Goldscheider Pottery figure group of two tennis female tennis players designed by Stephan Dakon, model no.7778, painted in colours impressed marks, facsimile signature, missing one arm and one racket 32cm. high £500-1,000 1357. A Royal Dux Pottery figure of a woman playing the accordion, wearing broad rimmed sun hat and blue waistcoat and pantaloon suit, highlighted in gilt, a small bronze model of a child holding bunches of grapes by Sv Lindhart impressed and printed marks 25cm. high £120-180

1355

1356

1358. A Lenci Pottery model of a young girl, modelled walking holding a bouquet of flowers in one hand and a basket of flowers on the other arm, in colours painted marks, 21cm. high £100-200 1359. A pair of pottery bookends designed by Marcel Bouraine, each modelled as a fan-tailed pigeon, glazed in colours impressed signature, chips 14cm. high £150-250

1357

1358

1360. ‘Morning in the Gum Forest’ a ceramic bowl by Arthur Merric Boyd, painted to the interior with a frieze of kangaroo in a Gum tree forest, in colours incised marks, painted title and artist signature, small chip tot top rim, 22.5cm. diam. £100-200 1361. A Bernardaud & Co Limoges pottery vase, shouldered form, printed with Art Deco maidens on colours, in mushroom and black on a red ground printed marks, 14.5cm. high £100-200

1359 1360

1362. A Theodore Haviland Limoges coffee set designed by Edouard Marcel Sandoz, comprising; coffee pot and cover, milk-jug and cover, sugar basin and cover, four cups and saucers on a rectangular tray, the covered vessels modelled as birds, glazed pink and green printed marks, facsimile signature, tray 40cm. wide, largest pot 16cm. high £300-500 Literature Jean Claude Segonds Les Creations en Porcelaine De Limoges D’Edouard Marcel Sandoz, Herme, page 142 this design reproduced catalogue number 9. 1361 front and back

1363. A pair of Theodore Haviland Limoges dishes designed by Edouard Marcel Sandoz, triangular shape, one modelled in low relief with a moth, the other a beetle, in colours on a gold and white ground printed mark, facsimile signature 10.5cm. wide £100-150 Literature Jean Claude Segonds Les Creations en Porcelaine De Limoges D’Edouard Marcel Sandoz, Herme, these dishes illustrated on the end papers.

1363 1362

A PRIVATE COLLECTION OF BOCH FRERES CERAMICS BY CHARLES CATTEAU 1364. A Boch Freres Keramis vase designed by Maurice Dufrene for La Maitrise, pattern no.D.710, enamelled with sky blue columns, outlined in black on a crackled white ground printed and painted marks, 27cm. high £200-400 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 647 1364

1365

1365. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.983, enamelled with two bands of stylised flowers in rust red and green on a crackled white ground printed and painted marks, facsimile signature 29cm. high £200-300 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 219 catalogue number 265 for a comparable vase 1366. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1174. shape 844, enamelled with geometric flowers and foliage in shades of blue, yellow and black on a crackled white ground printed factory marks, professionally restored rim, 31.5cm. high £200-300 1367. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.745, shape 895, enamelled with fruit amongst ribbons in shades of yellow, red, purple and blue on a crackled white ground printed and painted marks, 30cm. high £200-400

1366

1367

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 209 catalogue number 220 for a comparable vase 1368. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.922, enamelled with columns of circular geometric patterns, in mushroom and black on a lightly crackled cream ground printed, painted and incised marks, 28cm. diam. £200-300 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 656 1369. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.746, flaring cylindrical form, enamelled with columns of bell flowers in orange and yellow, on a crackled white ground printed and painted marks, facsimile signature 31cm. high £200-300

1368

1369

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 221 catalogue number 276. This design was exhibited at the Paris International, Exposition, 1925. 1370. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.815, enamelled with columns of stylised flowers in shades of black, white and yellow on a vivid lemon yellow ground impressed, printed and painted marks, 33cm. high £150-250 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 210 catalogue number 229 for a comparable vase 1371. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.815, painted with columns of stylised flowers in white, black and yellow on a vivid crackled lemon ground printed and painted marks, 29cm. high £150-250 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 210 catalogue number 228 for a comparable vase

1370

1371

1372. A Boch Freres Keramis vase designed by Charles Catteau, pattern 963, shape 2334, enamelled with a band of stylised flowers and foliage in pink and yellow on a crackled off white ground impressed and printed marks, 32cm. high £300-500

1372

1373. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1099, painted with columns of stylised flowers and foliage in shades of pink, yellow and black on a crackled white ground printed and painted marks, 31cm. high £500-800 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 630 catalogue number 135 for a comparable vase

1373

1374. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1208, painted with stylised crocus flowers in green, yellow and black on a crackled white ground printed and painted marks, 31.5cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 633 catalogue number 1327

1374

1375. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.750, painted with stylised flowerheads in shades of yellow and orange on a crackled white ground impressed and printed marks, facsimile signature 35cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 556 catalogue number

1375

1376. A Boch Freres Keramis vase designed by Charles Catteau, pattern D960, painted with a band of geometric flowers in colours on a black and white ground printed and painted marks, 27cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 322 catalogue number 623

1376

1377

1377. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1111, shape 896, painted with panels of stylised flowerheads and foliage in orange and yellow on a black and white trellis ground printed mark, facsimile signature 29cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 340 catalogue number 705 for a comparable vase.

1378. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1084, painted with scrolling flowers and foliage in colours on a matt brown ground printed and painted marks, 31cm. high £200-400

1379. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1847, shape no.914, painted with stylised flowers and foliage in colours on a matt brown ground printed and painted marks, 34cm. high £200-400 1378

1379 1380. A Boch Freres Keramis vase designed by Charles Catteau, painted by Leon Delfant, pattern D.1733, painted with stylised flowers in colours on a matt brown ground printed and painted marks, painted LD monogram 32cm. high £200-400

1381. A Boch Freres Keramis vase the design attributed to Valdemar Jorgensen, pattern D2784, painted with stylised flowers and foliage in green, blue and yellow on a brown ground printed and painted marks, VJ monogram 32cm. high £200-400 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 305 catalogue number 556 for a comparable vase

1380

1381 1382. A Boch Freres Keramis vase designed by Charles Catteau, pattern 2233, shape no.975, painted with geometric flowers and foliage in vivid enamels, on a cracked white ground and back rims, printed and painted marks, 30cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 708 for a comparable vase

1383. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.2233, painted with bell flowers and foliage in bright enamels on a crackled cream ground printed and painted marks, 31cm. high £500-700 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 708 for a comparable vase

1382

1383

1384. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1849, shape 909, painted with exotic birds amongst stylised flowers and foliage, printed and painted marks, 30cm. high ÂŁ300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 376 catalogue number 820 for a comparable vase

1384

1385. A Boch Freres Keramis vase designed by Charles Catteau, pattern D1849, painted with flowers and foliage on a brown ground printed and painted marks, 27cm. high ÂŁ200-400 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 376 catalogue number 815 for a comparable vase

1385

1386. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1740, painted with an exotic bird amongst stylised flowers and foliage, in colours printed and painted marks, 36.5cm. high ÂŁ300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 376 catalogue number 815 for this pattern illustrated.

1386

1387. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1739, shape 1190, stepped, cylindrical form, painted with bands of stylised flowers and geometric designs in colours printed and painted marks, 18cm. high £100-200 1388. A Boch Freres Keramis vase designed by Charles Catteau, by Marcel Bougard for Atelier Fantaisie, pattern D.1093, painted with bell flower roundels in colours on a brown ground printed and painted marks, 31cm. high £200-400 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 306 catalogue number 559 1389. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1366, shape 894, painted with a frieze of flying birds in colours on a cream ground 24cm. high £500-800

1387 1388

1390. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1348, painted with birds perched on a stylised foliate bough, in colours on a cream ground printed and painted marks, facsimile signature 24cm. high £500-800 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 394 catalogue number 879 for a comparable vase 1391. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1111, shouldered square section vase, painted with stylised flowerhead and foliage panels in yellow and orange on a white and brown ground printed and painted marks, facsimile signature 25cm. high £600-1,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 304 catalogue number 705

1389

1390 1392. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1349, painted with squirrels before pine tree boughs, between geometric borders, in colours on a brown ground, printed and painted marks, facsimile signature 23cm. high £500-800 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 396 catalogue number 890 for a comparable vase. 1393. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1349, shape 1024, shouldered square section enamelled with panels of longeared squirrels in colours on a brown ground printed and painted marks, facsimile signature 25cm. high £500-800 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 398-399 catalogue number 895 for a comparable vase

1391 1392

1394. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1366, shouldered form, painted with a frieze of birds in brown and yellow on a cream ground printed and painted marks, facsimile signature, 25.5cm. high £500-1,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 400 catalogue number 897 for a comparable vase

1393 two sides

1394

1395. A rare Boch Freres Keramis vase designed by Leon Delfant, pattern D.2333, shape 975, enamelled in white on a terracotta ground with a frieze of deer, painted and incised marks, LD monogram 31cm. high £2,000-3,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 370 catalogue number 789 for a similar vase illustrated 1396. A Boch Freres Keramis vase designed by Leon Delfant for Atelier Fantaisie, pattern 2166, swollen cylindrical form, enamelled in resist in white with a frieze of stylised Ibex, on a terracotta ground printed and painted marks, LD monogram 30cm. high £500-800 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 389 catalogue number 864 for a comparable vase illustrated. 1397. A rare Boch Freres Keramis vase designed by Charles Catteau, pattern D.2531, ovoid with collar rim, enamelled in white, sand and black on a terracotta ground with exotic cranes wading before trees printed and painted marks, 23cm. high £2,000-3,000

1395

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 370 catalogue number 794 for this design illustrated. 1398. An unusual Boch Freres Keramis vase designed by Charles Catteau, pattern D2531, footed form with four lug handles, enamelled in white, cream and black with cranes wading in a river, on a terracotta vase, painted marks restoration to foot rim, 34cm. high £500-1,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 370 catalogue number 794 for a similar vase

1396

1397

1398

1399. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.974, painted with panels of stylised bell flowers in black enamel on a crackled white ground impressed, printed and painted marks, 28.5cm. £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 437 catalogue number 1042 for a comparable vase 1400. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.914, decorated with panels of bell flowers in black enamel on a crackled white glaze impressed, printed and painted marks, 24.5cm. high £300-500 1399

1400

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 553 for a comparable vase. 1401. A Boch Freres Gres Keramis stoneware vase designed by Charles Catteau, pattern D.776, decorated with a band of stylised honesty seedheads above zig-zag stems, in brown on a crackled white glaze printed marks, facsimile signature 22.5cm. high £500-600 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 433 catalogue number 1011 for a comparable vase

1401

1402

1402. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.776, decorated with a band of honesty seedheads on zig-zag stems, in brown on a crackled white ground impressed, printed and painted marks, facsimile signature 25cm. high £500-1,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 433 catalogue number 1011 for a comparable vase 1403. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.1010, decorated with a band of stylised flowerheads with pendulous fronds, in black on a crackled white ground impressed, printed and painted marks, facsimile signature 28cm. high £300-500

1404 1403

1404. A Boch Freres Gres Keramis stoneware vase designed by Charles Catteau, pattern D.775, painted with stylised foliate fronds in brown on a crackled white ground impressed and printed marks, 25cm. high £400-600 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 433 catalogue number 1014 for a comparable vase

1405

1406

1407

1405. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.1024, decorated with columns of foliage in thick white enamel on a black ground impressed, printed and painted marks, facsimile signature, 28.5cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 439 catalogue number 1050.

1406. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.8926, decorated with columns of foliage enamelled in a thick crackled white glaze over brown impressed, printed and painted marks, facsimile signature 25.5cm. high £300-400 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 439 catalogue number 1050 for a comparable example

1408 two sides

1407. A Boch Freres Gres Keramis stoneware vase designed by Charles Catteau, pattern D.820, shouldered ovoid form, decorated with a band of scrolling foliage in brown on a crackled white ground printed marks, Pomone mark 13cm. high £500-700 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 433 catalogue number 1013 for a comparable vase.

1408. ‘Perseus and the Gorgons’ a fine Boch Freres Keramis vase designed by Charles Catteau, enamelled in black with warriors fighting the Gorgons, on a red crackled glaze, highlighted in gilt printed and painted marks 36cm. high £3,000-5,000

1409. A rare Boch Freres Keramis vase designed by Charles Catteau, pattern 2254, flattened, shouldered form, painted with a reindeer leaping over grassland in mushroom on a mottled brown ground printed and painted marks, facsimile signature 23.5cm. high £3,000-5,000

1409 two sides

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 390 catalogue number 869 for a comparable vase

1410. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1831, shape 268, enamelled with overlapping palmettes in orange and black on a crackled white ground printed and painted marks, 27cm. high £200-300 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 238 catalogue number 1318

1410

1411

1411. A Boch Freres Keramis vase designed by Jacque Adnet for La Maitrise, pattern D1017, shape 901, enamelled in blue and burgundy with a band of chevron, on a crackled white ground printed and painted marks, facsimile signature Adnet, 24.5cm. high £500-1,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 233 catalogue number 306 for a comparable vase

1412

1413

1412. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.787, painted in colours with columns of stylised flowers in colours on a green ground printed and painted marks, 23.5cm. high £100-200

1413. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1109, gourd form, painted with stylised flowers and foliage in colours on a white ground printed and painted marks, facsimile signature 29cm. high £200-400 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 312 catalogue number 625 for a comparable vase

1414. A Boch Freres Keramis vase designed by Charles Catteau, by Jules Chaput, dated 1937, footed, urn shape, enamelled stylised roses in colours on a black, between red and green bands painted marks, 35cm. high £400-600 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 577 form 1305

1414

1415 1416 1415. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1297, shape 1082, shouldered, cylindrical form, enamelled with a frieze of swallows in blue, turquoise and black on a lightly crazed white ground printed and painted marks, 28cm. high £500-700 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 268 catalogue number 416 for an identical vase

1416. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1506, enamelled with ostrich birds in blue, turquoise and green on a crackled white ground printed and painted marks, professional restoration to base, 31cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 279 catalogue number 466

1417

1417. A Boch Freres Keramis vase designed by Charles Catteau, pattern 943, shape 1270, decorated with fallow deer and does in blue and green enamels on a crackled white ground impressed mark to base 24cm. high £400-600 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau,, page 274 catalogue number 447 for a comparable vase in this design

1418. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1288, painted with stylised birds in blue, turquoise and black on a crackled white ground impressed and printed marks, 31cm. high £400-600 1418

1419. A Boch Freres Keramis vase designed by Charles Catteau, pattern 878, shape 899, enamelled with columns of stylised round flowers in sand and brown on blue bands, on a white ground printed and painted marks, CC monogram 27cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 655

1420. A Boch Freres Gres Keramis stoneware vase designed by Charles Catteau, pattern D.779, painted with columns of geometric chevrons below a band of circles in yellow and blue on a crackled white ground printed marks, facsimile signature 25cm. high £500-800 1419

1420

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 454 catalogue number 1101 for a comparable vase

1421. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.1000, shape 960, slender, swollen cylindrical form with everted rim, painted with geometric columns in green and black on a pale green ground printed, incised and painted marks, facsimile signature 30cm. high £400-600 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 426 catalogue number 994

1422

1421

1422. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.771, slender, swollen cylindrical form, painted with flowerhead roundels in brown and back on a gun-metal grey ground impressed, printed and painted marks, facsimile signature 27cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 424 catalogue number 989 for a comparable vase

1423 front and back

1423. A Boch Freres Keramis vase designed by Maurice Dufrene for La Maitrise, Octagonal form, moulded in low relief and glazed in crackled turquoise, mounted with silvered bronze geometric panels, printed factory mark 26cm. high £800-1,200

1424. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.984, enamelled with a frieze of pelicans in yellow and cream crackled glaze on a striped blue and turquoise border printed and painted marks, 35cm. high ÂŁ400-600 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 261 catalogue number 393 for a comparable vase

1425. A fine Boch Freres Keramis vase designed by Charles Catteau, pattern D.1104, enamelled with a huddle of penguins in black and grey on a crackled white ground printed and painted marks, 31cm. high ÂŁ3,000-4,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 281 catalogue number 471. This design is also illustrated on the cover.

1424

1426. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1431, enamelled with a leaping deer chased by three hounds, in colours on a crackled white ground printed and painted marks, 31cm. high ÂŁ400-600 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 269 catalogue number 425 for a comparable vase illustrated

1425

1426 three sides

1427. A Boch Freres Gres Keramis stoneware vase designed by Charles Catteau, pattern D.1360, shape 1062, painted with geometric flowers and foliage panels in mushroom and brown impressed, printed and painted marks, facsimile signature 21cm. high £500-800 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 446 catalogue number 1077 for a comparable vase 1428

1427

1428. A Boch Freres Gres Keramis stoneware vase designed by Charles Catteau, pattern D.1242, drum form on stepped foot, painted with a band of stylised flowers and foliage in mushroom and brown impressed, printed and painted marks, facsimile signature, bruise to top rim, 20cm. high £300-400 Literature page 446 catalogue number 1077 for a comparable form Judith Miller Art Deco Dorling Kindersley Book, page 119 this vase illustrated. 1429. A Boch Freres Keramis vase the design attributed to Charles Catteau, pattern D.2854, shape 909, painted with a band of birds amongst flowering foliage on blue and rust on a white ground printed and painted marks, 31cm. high £500-800

1430

1429

1430. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern E.2466, barrel form, decorated with a chevron band in brown on a rust coloured ground impressed, printed and painted marks, hand painted signature 20cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 564 for a drawing of this design, the signature is hand painted by Charles Catteau. 1431. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.1009, shape no.909, painted with panels of birds before stylised foliate boughs in dark brown on a pale brown ground impressed, printed and painted marks, 28cm. high £800-1,200 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 482 catalogue number 1181 for a comparable vase illustrated. This design was exhibited at the Paris International Exposition, 1925.

1431

1432

1433

1434

1432. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.2300, painted in mushroom with doves flying by berried foliage fronds, on a pale, speckled brown ground impressed, printed and painted marks, 22cm. high £800-1,200 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 390 catalogue number 868 for a comparable vase

1433. A large Boch Freres Keramis vase designed by Charles Catteau, pattern D.2305, shouldered form, painted with a frieze of scrolling flowers and foliage in mushroom on a brown ground printed and painted marks, facsimile signature 35cm. high £800-1,200

1435

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 316 catalogue number 600 for a comparable design.

1434. A large Boch Freres Keramis vase designed by Leon Delfant for Atelier Fantaisie, pattern D.2300, shouldered form, painted with a frieze of doves in white on a brown ground printed and painted marks, LD monogram, 37cm. high £800-1,200 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 390 catalogue number 867 for a comparable vase

1436 1435. A large Boch Freres Keramis vase designed by Charles Catteau, pattern D.1939, painted with foxglove flowers in brown on a pale blue/white ground printed and painted marks, 37cm. high £500-800

1436. A rare Boch Freres Keramis vase designed by Charles Catteau, pattern D.2359, shouldered form, painted with a mammoth in colours on a stippled brown ground printed and painted marks, 23.5cm. high £3,000-5,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 370 catalogue number 786 for a comparable design on a different vase.

1437. ‘Nude - Piece Unique’ a Boch Freres Keramis vase by Ernest D’Hossche for Atelier de Fantaisie, , incised with a nude figure in the manner of Pablo Picasso, glazed bronze on a mottled green ground incised marks and signature 46cm. high £1,000-1,500

1437

1438

1439 1438. ‘Touriera’ a limited edition Ratton tile designed by Paula Rego, printed in colours, and two other tiles designed by Paula Rego signed and numbered 68/150 to reverse 14cm. square £400-500

1441 1440

1439. Two Upsala-Ekerby plaques by Mari Simmulson, each painted with a flower stem in colours and another rounded rectangular plaque painted with a woman with flowers in her hair, and two others impressed marks, painted signature 46 x 15cm. £100-200 1440. A Gustavsberg stoneware vase by Stig Lindberg, goblet form, with impressed decoration to foot, glazed ochre and brown incised hand mark, paper label 13cm. high £100-200 1441. A Fantoni Italian pottery vase, modelled in low relief with a flying bird, glazed in colours on a crackled white ground indistinct painted marks to vase 14cm. high £150-200 1442. A large Upsala-Ekerby stoneware vase by Ingrid Atterburg, ovoid with painted blue stripes and a large footed bowl covered in a mottled green glaze incised marks to base 30cm. high £200-400

1442

1443. A large Rorstrand stoneware Moon Bear by Lillemor Mannerheim, modelled seated, glazed brown with white crescent to neck, incised marks 21/100 49cm. high £400-600 1444. A unique Madoura Pottery pendant by Pablo Picasso mounted in silver by Gerda Flockinger, cast in low relief and highlighted in white impressed Madoura marks to reverse, minor repair, 10cm. high £800-1,200

1443 1444

DODO BURGNER ORIGINAL ARTWORK

‡ 1445. Dodo Burgner (1907-1998) At Her Dressing Table, watercolour on paper, unframed signed in pencil 33.5 x 20cm. £300-400

‡ 1446. Dodo Burgner (1907-1998) Fashion Study of a Woman in in evening dress - 1925 watercolour on paper highlighted in silver, unframed dated in pencil 55.5 x 32cm (sheet) £100-200

‡ 1447. Dodo Burgner (1907-1998) Fashion Study of a Woman in a shawl pencil and watercolour on paper, unframed 54 x 33cm (sheet) £100-200

‡ 1448. Dodo Burgner (1907-1998) Fashion Study of a Woman in Blue - 1925 watercolour on paper, unframed annotated and dated in pencil 55.5 x 32cm (sheet) £100-200 1445

1446

1447

1448

â&#x20AC;Ą 1449. Dodo Burgner (1907-1998) Fashion Show pencil and watercolour on paper, unframed signed in pencil 38 x 32cm. ÂŁ400-600

‡ 1450. Dodo Burgner (1907-1998) Adam & Eve pencil and watercolour on paper, unframed signed in pencil 32 x 23cm. £100-200

‡ 1451. Dodo Burgner (1907-1998) Seated nude, pencil and ink on paper, unframed signed in ink 28 x 22.5cm. £100-150

1450

‡ 1452. Dodo Burgner (1907-1998) Tree People, - Fancy Dress pen and ink and watercolour on paper, unframed annotated in pen 29 x 22.5cm. £100-200

‡ 1453. Dodo Burgner (1907-1998) The Admirer pen and ink on paper, unframed monogramed DW 23 x 16cm. £100-150

1451 ‡ 1454. Dodo Burgner (1907-1998) Two Nudes under a Parasol, ink on paper, unframed titled in ink 20.5 x 14cm £100-150

1452

1453

1454

A PRIVATE COLLECTION OF ERIC RAVILIOUS & EDWARD BAWDEN DESIGNS 1455

1456

1457

1455. Eric Ravilious (1903-1942) Roses in a Vase and Dove with Bells, a Christmas card a collage and ink on paper, a three sheet Christmas card from Eric Ravilious to Miss Stuart signed 17.5 x 11cm. each sheet £1,200-1,800 1456. Eric Ravilious (1903-1942) Apothecary from High Street lithograph on paper, published by Curwen Press, 1938 framed 13 x 14.5cm image 1457. Eric Ravilious (1903-1942) Knife Grinder from High Street lithograph on paper, published by Curwen Press, 1938 framed 16 x 12.5cm image

£100-200

1458 part £100-200

1458. Eric Ravilious (1903-1942) The Famous Tragedy of the Rich Jew of Malta four engravings on paper, published by Golden Hours Press, 1933 framed 17.5 x 10.5cm. £300-500 Literature Bryan Webb and Peyton Skipworth Design,Edward Bawden Eric Ravilious ACC page 43 for an example of this engraving illustrated. 1459. Edward Bawden R.A. (1903-1989) The Coal Exchange, 1968 lithograph on paper framed signed, dated and number in pencil 45 x 40.5cm image

£500-800

1460. Edward Bawden R.A. (1903-1989) Nekayah Rasselas and Imlac, lithograph in colours, framed signed, titled and number in pencil 28.5 x 21.5cm image

£300-500

1461. Edward Bawden R.A. (1903-1989) Hyde Park Corner, 1950 ink on paper framed signed and dated in ink 30.5 x 24.5cm image

£500-800

Provenance Fine Art Society Private collection

1459

1460

1461

1462

1463

1462. ‘Chestnut Sunday - Bushey Park’ a lithographic poster by Edward Bawden, framed, signed in the print with EB monogram 30 x 25cm (image) £500-800

1463. ‘Aldershot Tattoo’ a lithographic poster by Eric Bawden, for London Transport, framed, signed in the print EB monogram 31 x 24.5cm image £500-800

1464. ‘Kew Gardens’ a lithographic poster designed by Edward Bawden, for London Transport, printed by the Curwen Press, framed, signed in the print EB monogram 101 x 62.5cm image £1,000-2,000 Literature Bryan Webb and Peyton Skipworth Design, Edward Bawden Eric Ravilious ACC page 20 for an example of this poster illustrated.

1464

1465. ‘St James’s Park’ a lithographic poster by Edward Bawden, for London Transport, printed by the Curwen Press, framed signed in the print with EB monogram, 101 x 62.5cm. image £1,000-2,000

1466. York The Historic City a transport poster by Edward Bawden RA, lithographic print by Jordison & Co Ltd, framed 126 x 100cm. £1,000-1,500

1465

1466

1467

1468

1469

1470

1467. ‘Hobby Horse’ The Century Guild magazine, issues no.2, no.3 and no.16, with cover design by Selwyn Image, 31 x 23cm. £100-150

1468. ‘L’Estampe Moderne’ a lithograph cover by Alphonse Mucha, Juin 1897 signed in the print 41 x 31cm. £600-800

1469. ‘The Homeric Hymn to Aphrodite a translation by F.L.Lucas with illustrations by Mark Severin, published by The Golden Cockerel Press, 1948 32 x 19.5cm. £100-200 1471

1472

1470. ‘La Ferronnerie Moderne - a L’Esposition Internationale Des Arts Decoratifs’ a folio book by Henri Clouzot published 1925 45.5 x 33cm. £50-100

1471. ‘British Design Since 1880’ by Fiona MacCarthy, and a collection of books and catalogues on design and and art £80-120

1472. ‘Lino Cutting and Printing’ by Claude Flight, published by B T Batsford Ltd, 1934, 21.5 x 14cm £250-350 This first edition is signed by Lill Tschudi whose work, including Fixing the Wires is illustrated in the book.

1473

1474

1473. ‘Modern English Furniture’ a book published by Country Life, 1930 £50-100

1474. A watercolour architectural drawing of a block of flats by E J Thring, framed, signed in ink, the mount annotated Alex French Chartered Architect 66 x 61cm. £300-500

1475. ‘The Duel’ and ‘The Opium Den’ two pochoir prints by Endre, unframed, and a folio of four small prints ‘Quatre Impressions Arabes’ by G Guinegault, numbered in pencil run of 500 image 35 x 25cm. £150-200 1475

1476

1477 1476. Eric Ravilious (1903-1942) Cheesemonger and Fireworks from High Street two lithographic prints published by Curwen Press, 1938 unsigned images 22 x 14cm. £100-200 1477. Two hand coloured pochoir prints after a design by Romain de Tirtoff (Erte), each a female figure in Art Deco red and black costume, framed stamped Erte signature 43 x 31cm. £100-200 1478. Camouflage a gouache on board book illustration by George Whitelaw, the design published in Pan June 1920, with a copy of the published page signed 43 x 33.5cm. £80-120

1478

1479. L J Green Art Deco Ladies, a pair of ink on paper designs, highlighted in silver, framed signed L J Green in ink 35 x 17cm (image) £100-200

1479

1480. A textile design for Bianchini Ferier, gouache on paper design of fruiting grape vine in purple and green, highlighted in gold on a black ground 32 x 34cm (image) £200-300 1481. A textile design for Bianchini Ferier, gouache highlighted with silver and gold on paper, framed 43 x 28cm. (image) £200-300 1482. A textile design for Bianchini Ferier, gouache on paper, abstract symbols in black, orange and grey on a red ground, framed 29cm. diam. £200-300

1480

1481

1483. A collection of nineteen textile designs for Bianchini Ferier, gouache on paper, unframed, largest 69 x 57cm. £200-300 1484. Six textile design by Clarence Blackburn, gouache on paper, 77 x 56cm. (sheet) £200-300

1482

1483

1484

1485. ‘The North Wind Goes Over the Sea printed illustration by Kay Nielsen, from East of the Sun West of the Moon, and two other prints by Kay Nielsen, framed signed in the prints largest image 15 x 13.5cm. £100-200

1485 ‡ 1486. Barbara Jones (1912-1978) Three Kings, design for a Christmas window, Design Centre Haymarket, 1957 watercolour on paper, unframed unsigned 68.5 x 45cm. (sheet) £500-1,000 Literature Ruth Artmonsky A Snapper Up of Unconsidered Trifles, Artmonsky Arts 2008, page 107 for the final window design illustrated in a contemporary photograph Provenance Artmonsky Arts Private collection

1486

‡ 1487. Osbert Lancaster (1908-1996) Pineapple Poll, Scene I, gouache on paper set design for Sadlers Wells framed 48 x 34.5cm (image) £400-600 The Gilbert & Sulivan Opera Pineapple Poll was performed at Sadler’s Wells on March 13th 1951 as part of the Festival of Britain celebrations. The original gouache on paper design for Scene III H.M.S Hot Cross Bun is held in the Victoria & Albert museum archive. The opening scene is illustrated with the Portsmouth girls swooning at the sight of the gallant captain of H.M.S Hot Cross Bun, Dance and Dancers May 1951.

1488. A French woollen wall hanging, rectangular, depicting a Classical maiden feeding deer, behind a border of stylised flowers, on wooden stretcher unsigned, 112 x 82cm. £300-500

1487

1488

ROGER ROUSELL Roger Rousell’s collection mirrors his eclectic lifestyle. In the 1970s he ran a vintage clothes shop 20th Century Box positioned opposite Vivienne Westwards Sex boutique shop in the King’s Road, he quickly sold a cheaper alternatives to punk fashion. In the 1980s he returned to Somerset – although continued to be seen around the London fairs – leaving Crewkerne at 3am to get to Kempton on time. His interests ran throughout the 20th century and he was a member of the Decorative Arts Society. Roger also shared his time doing voluntary work as a prison visitor, at animal sanctuaries and driving for old people. Frank Watkins, 2014 1489. Don de Groot Bream watercolour and body colour on paper, framed and another smaller Golden Bream signed to paper label on reverse, dated 98 39 x 25cm (image) £100-200

1490. John Hall Thorpe (1874-1947) The Open Gate lithograph in colours on paper, The Caravan by Hall Thorpe, five other Hall Thorpe prints and three other prints signed and titled in pencil 35 x 27.5cm £100-200

1489

1491. Eric Hesketh Hubbard ROI RBA ARWA (1892-1957) On The Road (Gypsy Caravan) woodblock print on paper, and another Windmill signed and annotated in pencil, signed EHH in the print 22.5 x 15.5cm. £100-150

‡ 1492. Victor Hearn Self portrait holding a canvas, 1932 oil on canvas, framed signed and dated, label to reverse 45 x 37cm.

£100-200

1493. Percy Wyndham Lewis (1882-1957), in the manner of Portrait of a young woman pencil on pale blue paper, framed unsigned, sheet 22 x 17.5cm. £100-150 1490 part

1491

1492

1493

1495

1494. No lot

1495. Banburgh Castle an LNER railway poster designed by Sir William Russell Flint, printed by George Risdom, 1925, mounted and framed, signed in the print, reduced 122 x 74cm (image) £100-200

1496

λ 1496. ‘Fencer’ a cold painted bronze and ivory figure cast and carved from a model by Ferdinand Preiss, model no.1136, on shaped triangular marble base, incised F Preiss to base, minor losses to one finger 19cm. high £1,000-2,000 Literature Alberto Shayo Ferdinand Preiss Art Deco Sculptor Antique Collector’s Club, page 143 for a comparable figure illustrated. Bryan Catley Art Deco and Other Figures Antique Collector’s Club page 266 for a comparable figure illustrated.

λ 1497. ‘Dancer’ a cold painted bronze and ivory figure cast and carved from a model by Ferdinand Preiss, on octagonal onyx base, cast F Preiss signature to the base, losses to fingers 21cm. high £800-1,200 Literature Bryan Catley Art Deco and Other Figures Antique Collector’s Club page 266 for a comparable figure illustrated. 1497

1498. A Loetz glass shell, covered in a golden iridescence, an Austrian Iridescent glass vase with pewter mount probably Palme Koenig, and four other iridescent glass items unsigned, chip to foot of shell, 13cm. wide £100-200

1499

1498

1499. A James Powell & Sons Whitefriars amber glass bowl designed by Barnaby Powell, on applied foot, the flaring bowl with bands, a Whitefriars Knobbly vase and five other glass items unsigned bowl 26cm diam. £100-200

1500. ‘Graines D’Asperges no.1’ No. 3220 a Lalique opalescent glass bowl designed by René Lalique cast R Lalique to well 24cm. diam. £80-120

1501. A Flygsfors glass vase, pulled rim, green and blue glass cased in clear, a Murano glass vase, a tall enamelled glass vase and eight other glass items etched marks, 30cm. high £100-200

1500

1501

1502. A Murano glass model of an exotic bird, with long blue feathered tail, on ribbed globe base, with aventuring inclusion, six other glass bird figures and two fish similar unsigned 35cm. high £100-200

1503. A Gouda Pottery vase, ovoid with everted rim, applied with seven looped handles, painted with a frieze of exotic birds, in colours, two other Gouda vases and two continental pottery plates painted marks, minor damages 16cm. high £100-200

1503 1502

1504. A large Royal Dux figure of a pierrot playing a mandolin, model no.3138, glaze in blue and brown on a white ground, highlighted in gilt, and a Continental model of young pierrot lovers, applied pink triangle losses to lovers figure group £100-200

1505. A Lemanceau pottery model of a peacock, covered in a cream glaze, a Lemanceau pottery fox glazed black and a collection of items impressed marks, damages 50cm. high £100-200

1504

1505

1506. ‘Les Trois Matelots’ a Robj Paris decanter and stopper, modelled as three sailors, another German bottle and stopper modelled as a Cossack and an Art Deco Perfume burner modelled as a figure of a naked woman, an ermine lined coat on her shoulders, holding a bouquet of flowers to her face to smell, the flowers pierced to release perfume printed marks, perfume burner cracked 28cm. high £100-150 Literature Vanna Brega Le Ceramiche Robj 1921-1931, catalogue number 232

1507. A collection of continental porcelain half dolls, and a collection of porcelain figures, £100-150

1506

1507

1508. A Goldscheider Pottery wall mask, model no.7654, modelled as stylised female with hand outstretched before her face, glazed in colours, and two other wall masks impressed marks, restored 37cm. high £200-300 1509. A Goldscheider Pottery figure of a Pierrot designed by Josef Lorenzl, model no. 5092, modelled standing holding a mandolin, glazed in colours, impressed and painted marks, facsimile signature to base, mandolin end re-stuck, hairline to base 33.5cm. high £200-300 1508

1510. A Copeland Art Union of London bust of Alexandra, by Mary Thornycroft, 1863, a bust of a gentleman and a Dudson jug impressed marks, small chip to back 39cm. high £100-200 1511. A Sunflower Pottery vase by Sir Edmund Elton, shouldered form with flaring rim, covered in a golden crackled glaze painted Elton mark 12.5cm. high £100-200 1512. A Ruskin Pottery high-fired stoneware vase, dated 1933, ovoid with applied handle, covered in a mottled sang de boeuf glaze over white impressed marks 22cm. high £200-400

1509

1513. A Ruskin Pottery high-fired stoneware vase, dated 1933, ovoid with tapering neck, covered in a speckled sang de boeuf glaze over white impressed marks, 11.5cm. high £100-200 1514. A pottery Owl jug retailed by Liberty & Co, probably Farnham Pottery, incised decoration, glazed blue, and a Owl bowl unsigned, minor glaze frits 25cm. high £100-200 1515. A set of three graduated owl jugs retailed by Liberty & Co probably Farnham Pottery, incised decoration, glazed green, unsigned, chips, tallest 31cm. high £150-250

1510

1516. A Ruskin Pottery stoneware vase, dated 1930, swollen cylindrical form, mottled blue graduating to orange matt glaze, a Ruskin Pottery orange lustre vase and pearl lustre vase impressed marks, facsimile incised signature 27cm. high £100-200

1511

1517. A large Pilkington’s Royal Lancastrian vase, shape no.2218A, ovoid with waisted cylindrical neck, covered in a matt blue glaze, another three Pilkington’s vases similar and two bowls impressed and painted marks, 36cm. high £100-200

1512

1514

1515

1516

1513

1517

1519

1518

1521

1520

1518. A Brannam Pottery jug made for retail at Liberty & Co, incised and painted with a scaly fish in brown on a green ground, two jugs made for Liberty & Co, two Brannam commemorative vases and five other items impressed Liberty roundel mark, 17cm. high £100-200

1522

1519. A Shelley Pottery three piece tea set designed by Mabel Lucie Attwell, comprising a mushroom teapot and cover, Booboo milk-jug and a mushroom sugar basin, printed and enamelled in colours, a Colclough Sabu teapot and cover, and another similar printed marks, facsimile signature, milk-jug damaged and re-stuck, teapot 14cm. high £100-200

1523

1520. A Wilkinson Pottery Lynton coffee set for six designed by Clarice Cliff, painted with flowerheads in colours on a honeyglaze, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed Wilkinson mark, coffee pot 18.5cm. high £100-150 1521. A Thomas Forrester Trogon Ware vase designed by R Dean, tapering cylindrical form, decorated in low relief with an exotic bird in a tree, another similar, an Upchurch vase and a collection of ceramics various marks, damages 37.5cm. high £100-200 1522. A pair of Wedgwood vases designed by Keith Murray, shouldered form, the ribbed body covered in a matt white glaze, printed marks, KM monogram 29cm. high £200-300

1524

1523. A Wedgwood earthenware vase designed by Keith Murray, shouldered form, the ribbed body covered in a matt white glaze, a mug and a Wedgwood Matt White ball vase designed by Keith Murray, impressed and printed marks, facsimile signature, white vase drilled 28cm. high £100-200

1525

1524. A Wedgwood earthenware vase designed by Keith Murray, ovoid with collar rim, covered in a Matt Green glaze impressed marks, printed marks, facsimile signature 19cm. high £100-200 1525. A Royal Worcester vase painted by John Stinton, dated 1901, painted with two sheep in a moorland landscape, in colours highlighted in gilt printed mark, painted signature, shape no. G1040, datecode 1901, 13.5cm. high £50-100

1526

1527

1528

1529

1530

1526. A Carter Stabler & Adams Poole Pottery Bluebird vase, pattern HK, flaring cylindrical form, painted in colours, a Poole Pottery candelabra, glazed matt green, four Poole items and a green lustre charger impressed and painted marks, damages 24cm. high £100-200 1527. A Poole Pottery model of a racing yacht designed by John Adams, glazed Ice Green and white, a ‘Hardy’s Wessex’ Poole charger and three other Poole items impressed marks chips to yacht, 38cm. high £100-200

1531

1532

1528. Gabrielle Koch (born 1948) a tall raku fired vase, flattened form, covered in a burnished black and white glaze, and another smaller, incised signature, chips 47cm high £100-200 1529. ‘Portrait of Pius X’ a Sherwin & Cotton tile designed by George Cartlidge, dated 1904, a Minton’s Art Pottery Studio tile painted with a swan and another tile impressed marks, facsimile signature 22.5 x 15cm. £100-200 1530. A Burleigh Ware Edward VIII coronation mug designed by Dame Laura Knight, the handle modelled as a lion, printed and painted design, two others, a Shelley Mabel Lucie Attwell beaker, an Old Bill plate and four other items printed marks, damages, mugs 8cm. high £100-200 1531. A terracotta planter, possibly retailed by Liberty & Co, square section, cast in low relief with simple leaf motif, unsigned 31cm. high, 42cm wide £50-100

1534 1533

1532. A terracotta Scroll jardiniere probably Compton Art Pottery, designed by Mary Seton Watts cast scroll handles unsigned 29cm. high £300-500 1533. A Leeds Fireclay Lefco Ware stoneware jardiniere and stand, the ovoid bowl with everted rim, on short cylindrical stand, cast in low relief stylised foliate panels, covered in a oatmeal glaze 94cm. high £200-300 1534. A pair of lead garden urns, each cast in low relief with cherubs holding garlands 45cm. high £100-200

1536 1535

1535. A Medieval Revival oak armchair, with carved panels 109cm. high £100-200 1536. A pair of ebonised ash Sussex armchairs, probably retailed by Morris & Co, with rush seating losses and damages 85cm. high £50-100 1537. A Gothic Revival oak wall cabinet, the twin doors with carved linen fold panels, with shelves to interior 67 x 47cm. £100-200 1538. An Anglo-Persian shelf unit possibly retailed by Liberty & Co, oak slats on turned legs, set with Mushraybeh panels, unsigned 95cm. high, 65cm wide £100-200

1538 1537

1541 1540 1539 1539. A Heyo de Monterrey cedar cabinet, with hinged door, stamped Jose Gener, Habana 89cm. high £50-100 1540. A carved wood figure of an athlete, modelled pulling a chain, his right arm raised in victory, and a large carved hand unsigned 44cm. wide £50-100 1541. An Ercol elm wall mounted plate rack designed by Lucian Ercolani, applied label 97cm. wide £50-100 1542. A large Robert Mouseman Thompson oak bench bookcase, thick heavy rectangular bench top with solid sides and adjustable shelves in three bays, carved mouse signature 241cm high, 295cm wide, 58cm deep £500-1,000 1543. A large Robert Mouseman Thompson oak table, rectangular, adzed two plank top, with carved pillar legs, carved inscription to side of base and crosses to top surface, carved mouse signature 244 x 69cm. £800-1,200

1542

1544. A cast brass desk model of stylised bomber aeroplane, with four propeller engines, on stepped chrome base 34cm. wide £50-100 1545. An Art Nouveau metal belt, cast and pierced with intertwined, sinuous stems, set with green glass stones, and two sets of James Dixon & Sons teaspoons in original cases unsigned 50cm. long £80-120 1546. A Tiffany & Co jockey’s cap caddy spoon, stamped Tiffany & Co Sterling 6.5cm wide £50-100

1543

λ 1547. A shagreen mounted cedarwood box and cover, rectangular with hinged cover, another similar with ivory banding, and a small collection of jewellery and watches 21 x 13cm. £100-200 1548. ‘Herbie Goes Bananas’ a lithographic quad film poster printed by W E Berry, ‘Snow White and the Seven Dwarfs’ and a collection of posters 101.5 x 75.5cm. £100-200

1544 1545

1547

1546 1548

λ 1549. A Cartier tan leather suitcase, stamped L H M, with fitted interior, containing three small boxes and an ivory mounted manicure set in fitted case, with canvas travel cover stamped Cartier Ltd London, some fittings missing, 53 x 35cm. £100-200

1549

1550. A Hermes Paris brown leather purse, with metal mounts, in original presentation card box, and another Hermes black leather purse stamped marks, 25 x 14.5cm. £100-150

1551

1550 1551. A nest of three satinwood veneer tables designed by Laszlo Hoenig, rectangular, with upturned ends, glass top, unsigned largest 57 x 36cm. £100-200

1552. A satinwood chest of drawers designed by Laszlo Hoenig, three short drawers over four pairs of drawers, with drum orange bakelite handles and patinated metal plates 126cm. high, 103cm wide £200-400 Literature Duane Kahlhamer, Individualist in Mayfair, Laszlo Hoenig Architect, Interior Designer, Decorative Art Society, Journal 32 (2008) page 42 figure 9 for a comparable chest of drawers commissioned by Lionel and Ruth Jacobsen.

1552

1553. ‘La Maison Sans Fenetres’ a book by Maurice Sandoz and illustrated by Salvador Dali, published by Pierre Seghers, limited to 2500 impressions, 1940 26 x 18.5cm. £50-100 1553

1554. The Studio Yearbook eight volumes, 1917, 1921, 1935, 1937, 1938, 1939, 1949, 1964/65 £100-200

1555. The Studio twenty-three volumes, various bindings, ten volumes of the Studio Specials and various loose editions £100-200

1556. ‘The Book of The Home’ volumes 1-8 with covers designed by Talwin Morris, published by Gresham Publishing & Co, 1901, and ‘Science in Modern Life’ five volumes, and ‘Practical Coal-Mining’ volumes 1-6 £100-200

1555 1554

1557. ‘Modern Power Generators’ volumes 1-2 two books with covers designed by Talwin Morris, published by Gresham Publishing Company, 1908,’Modern House Construction’ volumes 16 and ‘The Natural History of Animals’ volumes 1-8 £100-200

1558. ‘Queen Victoria Her Life and Reign’ four volumes with covers designed by Talwin Morris, published by Gresham Publishing Company, Thompson’s Gardener’s Assistant six volumes and ten other books £100-200

1557

1556

1559. ‘Science in Modern Life’ volumes 1-6 six books with covers designed by Talwin Morris, published by the Gresham Publishing Company, 1909, Practical Coal Mining six volumes, The Natural History of Plants and The Modern Baker signed with monogram TM, £100-200

1560. ‘William Ewart Gladstone and His Contemporaries’ Volumes 1-4 with covers designed by Talwin Morris, published by The Gresham Publishing Company, 1899 and ‘Queen Victoria’ Volumes 1-4 and ‘Thompson’s Gardener’s Assistant’ volumes 1-6 cover monogrammed TM 25cm. high £100-200

1561. A collection of twenty-six Blackie & sons and other books, with Art Nouveau covers by Talwin Morris and others £50-150

1562. ‘Everyday Things Exhibition’ 1936 an exhibition catalogue, organised by the Royal Institute of Architects, British Art in Industry 1935, the Royal Academy catalogue, and a large collection of art and design reference books £100-200 1559 1558

1560

1561

1562

1563. A collection of design books, including ‘50 Years Bauhaus’ Royal Academy of Arts Catalogue 1968, ‘Faberge 1846-1920’ V&A catalogue, and ‘Masters of Wood Sculpture’ £50-100

1564. ‘Fornasetti Designer of Dreams’ a reference book by Patrick Mauries £50-100

1565. A Fornasetti paperweight designed by Piero Fornasetti, printed in black on a white ground with a padlock, highlighted in gilt, and a Fornasetti Astro Labio plate printed marks, 25cm. diam. £100-200

1563

1564

1566. A Fornasetti enamelled tin tray designed by Piero Fornasetti, elliptical form, enamelled with a shoal of fish in colours retail label to reverse 46cm. wide £150-250 1565 1567. A large Fornasetti enamelled metal tray designed by Piero Fornasetti, decorated with radiating frieze of classical figures in sand and black on a lime green ground paper label to reverse 60cm. diam. £300-500

1566

‡ 1568. Philip Davis Standing Figure and Reclining Figure II signed, titled and numbered in white pencil two colour lithographs Standing Figure 76 x 61cm, Reclining Figure II 85 x 61.5cm£100-200 1567

Provenance David Cripps

1569. ‘Roy Lichtenstein - The Solomon R Guggenheim Museum 1969’ an advertising poster, framed, and ‘Max Ernst 1969’, ‘Genoves’ and ‘Miro 1966’ three other posters 72 72cm. £100-200

‡ 1570. Teodor Durski (born 1976) Male Nude, 2005 lithograph on paper, two sheets, framed signed in pencil, number 8/12 99 x 69.5cm.

£250-350

1570

1568

1569

1571. A pair of Knoll chrome metal chairs designed by Harry Bertoia, one with yellow padded seat 85cm. high £100-200

1572. A pair of egg chairs designed by Arne Jacobsen, model no.3316, with brown fabric covers, 99cm. high £400-600 Literature Charlotte & Peter Fiell, 1,000 Chairs Taschen, page 286 for a comparable chair

1571

1573. Two Hebi Parete Isao Hosoe lights, in original packaging, three Cosmo Light shades designed by Preben Jacobsen, in original packaging, an enamelled metal hanging light and three metal trays £150-200

1574. A Martinelli Luce Serpente desk lamp designed by Elio Martinelli, with opaque plastic shade cast marks, 47cm. high £150-250

1572

1575. A Merrow Associates chrome and glass occasional table, square section with rosewood veneer shelf on castors, 53 x 55cm. £100-150

1576. A pair of nickel plated metal wall mirrors designed by Sergio Mazza, probably Artemidi, circular form, unsigned 69cm. diam. £200-400 1573

1574

1577. A Zanotta Gaetano desk designed by Gae Aulenti, tempered glass on removable Aluminium base with rubber grip rests, 180 x 80cm. £200-300

1576

1578. A Cassina Sinbad table designed by Vico Magistretti, stained black ash applied label 185cm. wide £200-300

1575

1577

1578

1579

1580 1582

1581 1579. Two Italian cut glass easel-back photo frames, rectangular with cut border to rim, unsigned 22cm. high £300-500

1580. A Da Vinci King Jim DV55 digital print camera, in original presentation case, a Multiform enamelled metal novelty omnibus lamp and a pen and ink sketch of Mayo Clinic, Rochester by Dr Val Webb dated 1973, framed £100-200 This was the first digital camera put into production. 1584

1583 1581. A Vitra designs Eames Plastic Chair designed by Charles and Ray Eames, cast marks, 81cm. high £100-150

1582. A chrome Diamond chair designed by Harry Bertoia, with black leather seat, possibly manufactured by Knoll Associates, 70cm. high £150-250 Literature Charlotte & Peter Fiell, 1,000 Chairs Taschen, page for a comparable chair

1585 1583. A Marcelo Fantoni Brutalist lamp base, torch cut and welded brass frame with blown amber glass cast signature Fantoni Firenze 50cm. high £400-600

1584. A Christian Dell desk lamp, slightly domed polished metal base with curved support and black enamelled shallow metal shade 42cm. high £100-200

1585. A set of four Fritz Hansen Oxford chairs designed by Arne Jacobsen, model no.7307, burnished steel frame with blue textile upholstery, applied labels 88cm. high £300-500

1586. A Vistosi glass and metal ceiling light, the tapering frame with hooks, each mounted with a white glass disk unsigned 104cm high £400-600 1586

1588

1589

1587

1591

1592

1590

1587. A set of eight Danish teak chairs designed by Niels Koefoeds, comprising two carvers and six chairs, 99cm. high £300-500 1588. A Danish Omann Jun Mobelfabrik teak model 75 desk designed by Gunni Omann, rectangular top over banks of three drawers 74cm high, 152cm wide £300-500 1589. A Prince of Wales Investiture stained plywood chair designed by Lord Snowden, dated 1969, the back with gilt fleur de lys, stained coral red impressed fleur de lys and 1969 82cm. high £100-200

1593

1590. A Linley yew wood obelisk, stamped Linley 46.5cm. high £150-250 1591. A John Makepeace wild cherry platter, circular form, impressed mark, paper label to reverse 32cm. diam. £100-200 1592. A Swann teak wall mounted display cabinet, rectangular, with glazed sliding doors, applied label and Design Centre label 78.5cm. wide £50-100 1593. A Poliarte welded and patinated copper standard lamp, set with rough-cut glass panels, on scrolling tripod foot, unsigned 176cm. high £200-400

1594

λ 1594. A Leleu Art Deco satinwood, shagreen and ivory dressing table and chair, designed by Jules Leleu, rectangular top inset with diamond shaped panels of shagreen bordered with ivory, on four curved flaring legs with bronze feet, patinated metal fittings, glass cover applied ivorine label to drawer 99 x 49cm top, 75cm high £3,000-5,000

1597

1595

1596

1597A 1599 1595. A Heal’s oak sideboard with bookcase ends, with wooden bar handles, one drawer fitted applied ivorine button to drawer 87cm. high, 121cm wide, 48cm deep £300-500

1598

1596. An Art Deco walnut veneer occasional table, possibly Heal’s, rounded square section with quartered veneer top, over book shelves and two slide shelves unmarked 55cm. square top, 56cm high £300-500 1597. A Heal’s weathered oak sideboard, central drawer with flanking cupboards, below mantle with metal cup hooks, inset ivorine label 129cm. wide, 122cm. high £300-400 1597A. A Heal’s oak dining table, on simple square legs and H stretcher, applied ivorine label, 168 x 76cm. £300-500 1598. A weathered oak bookcase, possibly Bowman Brothers, with glazed sliding doors, 103cm. wide, 92cm. high £100-200 1600 1599. A laminated plywood armchair designed by John Wright FRIBA for the Canberra liner, with padded seat, back cushion and arm-pads, 84cm. high £200-300

1601

1600. A Heal’s oak table, rectangular top with H frame and stretcher, 138 x 68cm. £300-400 1601. A Heal’s oak chest of drawers, two short drawers above five graduated long drawers, applied metal label to reverse 126cm. high, 77cm. wide £200-300 1602. A Heal’s Simple Bedroom Furniture chestnut fitted wardrobe on stand designed by Ambrose Heal, the drawer with carved heart-shaped pulls, the cupboard with carved, locking handles, applied label 191cm high, 113cm wide £800-1,200 Provenance Liberty & Co Private collection Literature Susanna Goodden At The Sign of the Fourposter A History of Heal’s, published by Heal & Son, page 25 for the Owl chest in this range illustrated 1603. An oak dressing chest with mirror possibly retailed by Heal’s, two short drawers over three full width drawers, turned wood knobs 155cm. high, 107cm wide. £100-200

1602

1603

Design for the British Pavilion Expo 1970, Osaka

LESLIE GOODAY

OBE RI FRIBA FCSD FRSA (1921-2013)

ARCHITECT, ARTIST, COLLECTOR Following service in the RAF from 1939-1945 Leslie Gooday was a Staff Architect engaged on the 1951 Festival of Britain, South Bank Exhibition before commencing private practice for Chartered Architects and Industrial Designers. He designed many major exhibitions for the United Kingdom Atomic Energy Authority and was Exhibition Design Consultant to British Nuclear Fuels plc, Ideal Standard Limited, Vauxhall Motors Limited and Reed Corrugated Cases. Other exhibitions were designed for the governments of Great Britain, Northern Ireland and Nigeria, Shell International Petroleum, The Nuclear Power Company, British Telecommunications, ICI and ICL and the Civil Aviation Authority. He received an award from the American Museum of Modern Art for the best designed exhibition stand at the British Exhibition in New York and a Civic Trust award for the National Swimming Baths at Richmond Surrey, (1964-66) which are now listed by English Heritage together with his private house in Surrey. He was awarded the OBE for his design services to this country in designing the Progress of Mankind section of the British Pavilion at the Expoâ&#x20AC;&#x2122;70, Osaka, Japan and in the last years of his architectural and design practice designed the new Sellafield Visitors centre for British Nuclear Fuels, Cumbria and the British Golf Museum at the R&A Golf Club of St Andrews, Scotland. His paintings have been exhibited in annual one man exhibitions and in many art galleries including the RI and the RBA at the Mall Galleries, Waterman Gallery and Alresford Gallery. 1604

Michael Jeffery

1605

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1608

1604. Leslie Gooday O.B.E. (1921-2013) Sarah Jane to the Rescue, Signed Acrylic on board, framed 67 x 35cm. £150-200 1605. Leslie Gooday O.B.E. (1921-2013) Aztec III signed, also titled verso mixed media 29 x 41cm £150-200 1606. Leslie Gooday O.B.E. (1921-2013) Ace of Hearts Signed Acrylic on board, framed 30 x 22cm. £100-200 1607. Leslie Gooday O.B.E. (1921-2013) Apple Pie Signed Acrylic on board, framed 30 x 22cm. £100-200 1608. Leslie Gooday O.B.E. (1921-2013) Mushrooms Signed Acrylic on board, framed 33 x 20cm £100-200

1609

1610

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1612

1609. Leslie Gooday O.B.E. (1921-2013) Mother and Child monogram top corner, paper label to reverse Acrylic on board, framed 30 x 24.5cm £100-200 1610. Leslie Gooday O.B.E. (1921-2013) untitled - Pear and circle Signed Acrylic on board, framed 30 x 30.5cm £100-200 1611. Leslie Gooday O.B.E. (1921-2013) Bellamines and Pears Signed Acrylic on board, framed 40 x 20cm Exhibited Llewellyn Alexander (Fine Paintings)

£100-200

1612. Leslie Gooday O.B.E. (1921-2013) Flooded Lowland Signed Acrylic on board, framed 37.5 15cm £100-200 1613. Leslie Gooday O.B.E. (1921-2013) The Critics Eye Signed Acrylic on board, framed 29 x 21cm. £100-200 1613

1616

1614. An English mahogany corner cabinet, in the manner of Shapland & Petter, with stained glass panel doors below mirror back, inlaid floral panels 188cm. high, 71cm wide. £300-500

1614 1615

1615. An oak hallstand in the manner of Shapland & Petter, with cut-out heart motif, mirror back and five patinated metal hooks 183cm. high £150-200

1616. An Aesthetic Movement oak hall table, rectangular, the front with carved Tudor rose motif, on octagonal legs and H stretcher 121cm wide, 84cm. high £100-200

1617 1618

1617. An Arts and Crafts oak jardiniere stand, square top with flaring legs, with pierced decoration to substructure, 91cm high, top 25cm square £100-200

1618. An Arts and Crafts oak side table, circular top with pierced decoration to substructure, 50cm.high, 33.5cm diam. £100-150

1620 1619

1619. An Arts and Crafts oak wall cabinet, possibly Shapland & Petter, the hinged door with pewter and marquetry floral inlay painted 236 to reverse 39cm. wide £100-200

1620. A leather strung oak and mahogany stool, triangular section on three turned wood legs, the seat with tooled Celtic knot motif faded paper label to underside 44cm. diam. £100-200

1621. A P.E. Gane inlaid mahogany card table, square top with hinged flaps containing counter dishes, inlaid with pewter Art Nouveau flower stems 79cm. high, 53.5cm square top £500-700

1621

1622 1623

1622. A Brynmawr oak dressing table mirror designed by Paul Matt, simple carved frame with bevelled glass, applied ivorine label 46cm wide, 59cm high £300-500 The Brynmawr experiment (between 1929 and 1940) was an attempt by the Quakers to reduce the mass unemployment in the town of Brynmawr, South Wales. Set up in 1929 with twelve untrained workers the workshops later took boys directly from school for training.

1623. A Heal’s oak Fine Feathers dressing table probably designed by Ambrose Heal, inset with pewter bird motif, Fine Feathers Make Fine Birds,107cm. wide, 140cm. high £600-1,000 Literature John Andrews Arts and Crafts Furniture, Antique Collector’s Club page 141 plate 147 for a comparable piece.

1624

1624. A mahogany Brussels longback armchair designed by George Walton, the back-splat inlaid with harewood flower panel 122cm. high £300-500 Literature Karen Moon George Walton Designer & Architect, White Cockade page 76 plate 94, page 104 plate 137 for another example illustrated. The Brussels armchair takes its name from a design originally conceived by Walton for the Kodak showroom in Brussels.

1625. A mahogany cabinet the design attributed to Arthur Heygate Mackmurdo for The Century Guild, two doors below leaded glass display cabinet, carved briar rose frieze below abstract cut back below shelf, with carved seedhead terminals, 161cm. high, 135cm wide £800-1,200 1625

1627

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1629

1626. An Arts and Crafts four-fold screen, each panel covered with The Angel with the Trumpet textile designed by Herbert Horne, Century Guild, each panel 171 x 54.5cm. £250-350 Literature Linda Parry Textiles of the Arts and Crafts Movement, Thames & Hudson, page 43 plate 34 for an example of this textile design.

1627. An oak bureau, in the manner of Liberty & Co, with pierced foliate back plate, the patinated metal hinges with ‘Ruskin’ ceramic roundels, 123cm high, 64cm wide £300-500

1630

1628. An Aesthetic Movement occasional table, originally designed by E W Godwin, square top with turned legs and dowels 39cm square, 69cm. high £300-400

1629. A set of Six Scottish Arts and Crafts oak chairs, comprising two carvers and four chairs with half-length arms, with simple three slat back, Carver 119cm high £200-400 Provenance The Collection of Gilbert & George Private collection, gift of Gilbert & George

1630. An oak table possibly Heal’s, circular top on four turned legs, unsigned 106cm wide, 71cm high £300-500

1631. A set of six oak chairs designed by G E Street, carved decoration, four chairs with castors, 90cm high £100-200

1631

1632

1633

1632. A L & J.G. Stickley Brothers oak table, the hexagonal top on six legs with pegged radiating stretchers, stamped marks, 121cm. diam. £500-1,000 Literature John Andrews Arts and Crafts Furniture, ACC books, page 262 plate 283 for a comparable table Robert Judson Clark The Arts and Crafts Movement in America 1876-1916, page 43 catalogue number 44 for a comparable library table illustrated 1633. A JAS Shoolbred oak sideboard, twin cupboards above two short drawers, patinated metal furniture stamped mark to top of drawer 122cm wide, 116cm high £700-900 1634. A Sigmund Oppenheim mahogany corner cupboard, drum front inlaid with holly and ebonised wood circle design, polished metal furniture and foot plate 90cm. high, 52.5cm deep £300-500 1635. A large Sigmund Oppenheim mahogany sideboard and display cabinet, two flanking bevelled glass cabinets with adjustable shelves, central cabinet with marble top and mirror back, inlaid with holly and ebonised wood circle panels to base, polished metal furniture and foot plate to base, applied label, 251cm wide, 184cm, high £800-1,200 1634

1635

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1636 1638 1636. A pair of wrought iron andirons designed by Ernest Gimson and probably made by Alfred Bucknell, on tripod feet 54cm. high £300-500 Literature Annette Carruthers Ernest Gimson and The Cotswold Group of Craftsmen, Leicester Arts and Museums Service, page 99 for a contemporary photograph of the Daneway showrooms with a comparable pair. 1639 1640

1637. A large pair of oak fire bellow the design attributed to C.F.A Voysey, modelled as a flat fish, with leather fins, 76cm. wide £300-500

1638. Two Arts and Crafts patinated twin-light wall sconces, the rectangular back plate stamped in low relief with grape vine, unsigned 61cm. high £200-300

1639. A pair of polished steel and brass wall sconce designed by Edward Spencer, the stamped shield back with three articulated sconce, unsigned 43cm. high £200-300

1640. A pair of oak candlesticks, octagonal domed base supporting swollen octagonal stem and flaring sconce unsigned 32cm. high £100-200

1641

1641. A Victorian cast iron fireplace, the back cast with large rectangular The Adoration of the Magi panel, the sides with columns of grape vines, overhanging mantle, cast no.651 to back 94cm wide, 120cm high £1,000-1,500

1642. A patinated copper fender, D shape, stamped in low relief with stylised heart-shaped leaf panels and central heart motif, unsigned 95cm. wide £100-200 1642

1644 1643

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1646

1643. A copper wall charger probably Newlyn Industrial Classes, the well hammered in relief with a scaly fish, the rim with a frieze of scaly dolphin, apparently unmarked, 59cm. £150-200

1644. A W.A.S. Benson patinated copper pan and cover, on tripod stand with burner, the pan with ebonised wood handle and wooden finial, and four jacketed flasks and a jacketed jug stamped marks 28cm. wide £150-200

1645. A copper wall mounted brush holder, the scrolled back panel stamped in low relief with fruiting bough panel, above circular mirror, two wrought metal hooks, two metal mounted boxes, and an Arts and Crafts wall barometer unsigned 36cm. high £100-200

1647 1648

1646. A Newlyn Industrial Classes copper mirror, circular frame, hammered in relief with a frieze of fish amongst seaweed, with bevelled glass, unsigned 39cm. diam. £200-300

1647. An Arts and Crafts copper vase probably by John Williams, cylindrical form with two strap handles, repousse hammered with scrolling foliage 29.5cm. high £300-500

1648. A large Arts and Crafts patinated copper floor vase, tapering cylindrical form, hammered in relief with peacock and flower motif, with three applied handles unsigned 67cm. high £300-500

1649

1649. A large John Pearson copper bowl, dated 1888, deep well form, repousse hammered with flowers in a vase, the rim a wavy foliate frieze incised JP 1888 to reverse 37cm. diam. £500-800

1650. A John Pearson copper charger, repousse hammered with three flying birds to the well, the rim stylised foliage and berries, stamped JP mark, 38cm. diam. £200-300 Provenance Arts and Crafts 23rd June 2010 Woolley and Wallis lot 542 1650

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1651. A Ferdinand Barbedienne gilt and patinated bronze tazza, after a design by J E Reine, the shallow dish with central bas-relief depicting classical lovers, inscribed Coupe Trouard-Riolle, 1912, signed in the cast, F Barbedienne, 47cm. diam. £400-600

1656

1655

1652. A Benham & Froud brass jug probably designed by Dr Christopher Dresser, ovoid on flaring foot, stamped with stylised sunflower roundel, with scroll overslung handle stamped mark, 19cm. high £100-150 1653. A Glasgow School silk embroidery, depicting a woman seated in a garden, a dove perched on her hand, framed unsigned 23 x 15.5cm. (image) £100-200

1658

1654. A wooden wall mirror probably Rowley Gallery, rectangular, set with painted farmscape panel, monogrammed JO 52.5 x 23cm. £100-150

1657

1655. An electroplated claret jug after a design by Dr Christopher Dresser, with clear glass body, hinged cover and ebonsied wood rod handle unsigned 25.5cm. high £100-200 1656. A Hukin & Heath electroplated tray designed by Dr Christopher Dresser, model no.1998, circular with raised rim, on three spike feet, stamped marks, 33cm. diam. £100-200

1660 1659

1657. A pair of copper and wrought iron wall sconces the design attributed to Talwin Morris, rectangular backs stamped in low relief with facing stylised birds, below entrelac motif unsigned 28cm. high £300-500 Literature Laura Euler The Glasgow Style, Schiffer, page 28 figure 41 for a spill vase with comparable facing birds attributed to Talwin Morris. 1658. A pair of Robert Mouseman Thompson oak wall lights, semicircular frame with carved mouse signature 30cm. wide £250-300 1659. A pair of carved oak bookends in the manner of Arthur Simpson of Kendal, curved, rectangular form, carved with a stylised flower stem in low relief unsigned 19cm. high £150-200 1660. A pair of oak book ends probably Arthur Simpson of Kendal, arched form, carved with a simple flower stem design unsigned 16cm. high £100-200 1661. A large Arts and Crafts oak wall mirror probably Irish, rectangular, carved with dragon entrelac frieze, with bevelled glass, 105 x 72cm. £400-600

100

1661

1662. A W.M.F pewter wine bottle holder, model no.358, pierced and cast with berried foliage and whiplash stem design, and an electroplated wine bottle holder by W.M.F. cast marks, 9.5cm. high £100-200

1663. A Secessionist W.M.F. electroplated metal and glass centrepiece, model 225, square section base supporting glass column and electroplated winged-bust with flanking columns, flaring cut glass bowl, stamped marks to base 36cm. high £100-200

1662

1664. A W.M.F copper and brass claret jug, stamped in low relief with Secessionist stylised vine border, the hinged cover with swag finial, stamped marks, 33cm. high £100-200

1665. An Osiris pewter jug with hinged cover, tapering cylindrical form cast in low relief with ears of corn, and cob nuts, with whiplash handle stamped mark, 30cm. high £100-200

1663

1664

1666. A Kayserzinn Secessionist pewter tray, twin-handled pierced form, cast in low relief with stylised foliate design, with oak well stamped marks, 38cm. wide £150-200

1665 1666

1667. An Orion Secessionist pewter centrepiece with green glass liner, model no.825, cast in low relief with stylised leaf motif, stamped marks, 34.5cm. wide £200-300 1667

1668. A pair of Art Nouveau W.M.F pewter candlesticks, tapering, square section, cast and pierced with whiplash foliage motif, stamped marks, 27cm. high £300-400

1669. A pair of Osiris pewter vases, bombe form on flaring tripod foot, applied with emerald green glass stones, unsigned 17cm. high £150-200

1668 1669

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1672 1670. A patinated bronze plaque by Hamo Thornycroft, 1919, cast in low relief with a maiden holding a plaque below swag, inscribed Open Championship Agricultural Prize, 1921, and Presented to Toogood & Sons Ltd Southampton 28 x 17.5cm. £100-150 1671. A Laburnum wood sculpture by Richard Chapman, incised signature 52cm. high £100-150

1673 1674

Richard Chapman was commissioned by H.R.H the Queen to make a carved wooden bowl for the Queen Mother’s 100th Birthday. 1672. An Inuit carved antler, carved and adapted to form a stylised figure holding two axe like implements, painted decoration incised monogram 31cm. high £300-500 Provenance Atlantic Richfield Company Art Collection metal label 1673. ‘Hooded Cloak’ a pair of patinated bronze figural book ends cast from a model by Demetre Chiparus, on veined marble bases, signed in the bronze 18cm. high £300-500 Literature Bryan Catley Art Deco and Other Figures ACC publishing page 68 for a figure comparable. 1674. A small Hagenauer patinated bronze model of a boy, and another seated, wearing a copper necklace, stamped mark to base 6.5cm. high £50-100

1676

1675. A patinated bronze figure of a dancer cast from a model by Bruno Zach, on cylindrical brown striated marble base signed Bruno Zach in the cast stamped made in Austria 41cm. high £300-500 1676. A large Art Deco style patinated bronze figure of a dancer, modelled balancing on one leg, offering up a bowl, on marble drum base unsigned 48cm. high £400-600

1675

1677. Constance Collier Nude girl resting, bronze unsigned 30cm. wide

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Provenance Sold by the daughter of the artist, private collection 1677

£100-200

λ 1678. A cold painted bronze and ivory figure possibly by Ferdinand Preiss, modelled standing hands in pockets, wearing blue trousers, top and beret, on onyx base apparently unsigned 22cm. high £600-1,000

1678

λ 1679. An Art Deco bronze and ivory figure of a dancer in the manner of Gerdago, modelled in exotic costume, stepping forward with arched back, the ivory head with painted headress, on diamond shaped marble base unsigned 28.5cm. high £1,000-2,000

1679

1680. Wilhelm Lehmbruck (1881-1919) Madchenkopf Auf Schlankem Hals, (Girl’s head on slender neck) patinated bronze signed W Lehmbruck Valsuani Cire Perdue to her shoulder 37cm. high £2,000-3,000 Literature A Hoff Wilhelm Lehmbruck - Seine Sendung und Sein Werk, Berlin 1936 page 52 another cast illustrated.

1680

103

1681. A Dumeyer Company chrome metal umbrella stand, on circular base with plastic drip tray, 58cm. high £50-100

1682. A patinated iron dressing table mirror, on scroll feet, rising to pointed finial and fleur de lys terminal, 66.5cm. wide, 82cm. high £100-200

1681

1682

1683. A Daum Nancy glass shade with Art Deco patinated metal wall fitting, the shade flaring square mottled orange glass etched Daum Nancy France shade 11cm. high, light 27cm. high £200-300

1684. A Cold painted bronze terrier mounted on an onyx pen stand, the shaped rectangular base with two pen adjustable holders stamped made in England 20.5cm. wide £80-120

1684 1683 1685. A Continental electroplated metal three piece tea set, comprising teapot with hinged cover, milk-jug and sugar basin, unsigned 14.5cm. high £100-200

1685

1686 1686. A Walker & Hall Art Deco electroplated three piece tea set, comprising teapot and hinged cover, milk-jug and sugar basin, stepped D shape on ball feet, ebonised wood handles, stamped marks, teapot 24.5cm. wide £250-350

1687 1687. A French Art Deco mahogany wall mirror, octagonal form with two carved cylinder hanging handles, carved with stylised flowers, beadwork border and bevelled mirror, a mantle clock and two en suite carved wood tazza unsigned 112 x 49cm. £500-700

104

1690

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1689

1688. A large collection of vintage scarves, including one designed by Pablo Picasso with a figure in a landscape, and others including designs by Richard Allan, Picasso signed in the design 88cm square £100-200 1689. An Art Deco Limoges enamel panel, square, enamelled with a woman in ball gown holding an orange ostrich feather, in a midnight garden setting, framed paper label to reverse marked Limoges, 25cm. square. £400-600 1690. An Art Deco chrome and rosewood bottle holder designed by Jacques Adnet, unsigned 30cm. wide £500-700

1691 1690A

1690A.An Art Deco electroplate and macassar ebony tea set, comprising; teapot and hinged cover, coffee pot and hinged cover, hot-water urn on a stand, on a twin-handled tray stamped RM, tray 67cm. wide £300-400 1691. An Old Hall Cumberland stainless steel four piece tea set designed by Harold Stabler, comprising teapot and hinged cover, hot-water pot and cover, milk-jug and sugar basin stamped marks hot-water 15cm. high £200-300 Literature The Way We Live Now Victoria & Albert Museum, 1978-1979 page 14 this design illustrated.

1692

1693

1692. A Mappin & Webb electroplated biscuit barrel and cover designed by Keith Murray, model W.27912, flaring base on stepped feet, drum body with stepped, hinged cover stamped marks, 14cm high. £150-200 1693. A Mappin & Webb electroplated bowl designed by Keith Murray, model no.16514, on stepped foot, stamped mark 11.5cm. diam.£150-200 1694. A Mappin & Webb electroplated vase designed by Keith Murray, flaring cylindrical form on stepped foot, stamped mark, 16.5cm. high £200-300 1695. A Mappin & Webb electroplated cocktail shaker designed by Keith Murray, model no.W27795, flaring cylindrical form on banded foot, stamped marks 24cm. high £150-250 1694

1695

105

1696. A Liberty & Co patinated copper wall mirror designed by Archibald Knox, rectangular form with stamped Celtic entrelac panel, and rivet decoration 666 x 42cm. £600-800 1697. A Liberty & Co English Pewter three piece coffee set designed by Archibald Knox, model no.0231, cast in low relief with whiplash Honesty, comprising coffee pot and hinged cover, milk-jug and sugar basin, stamped marks, 22cm. high £400-600 1698. A Liberty & Co English Pewter basket designed by Archibald Knox, model no. 0359, elliptical form with over-slung handle, cast and pierced with stylised foliage panels, stamped marks, 23.5cm. wide £80-120 1699. An Art Nouveau W.M.F. pewter tray, cast in relief with a figure rising from a lily pad, a serpent on the rim, a W.M.F cruet tray with glass bottles, two pewter dishes and an English Pewter Art Nouveau crumb scoop probably retailed by Liberty & Co stamped marks, 24.5cm. wide £300-400 1696

1700. A Liberty & Co Tudric Pewter three piece tea set, model no.0303, cast in low relief with a stylised foliate panel, comprising teapot and cover, milk-jug and sugar basin stamped marks, 12.5cm. high £150-250

1697

1701. A pair of modern enamelled silver spoons originally designed by Archibald Knox, simple bowl with slender stem and pierced foliate terminal enamelled blue and green, and a electroplate and enamel matchbox cover stamped marks to spoons, Edinburgh 1988 and 1989, 13cm. long £100-200 1698

Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 213 for a comparable spoon illustrated Provenance Albert E Wade collection 1702. A Liberty & Co mahogany table, square top on flaring, turned legs, with rounded feet, square shelf impressed Liberty marks 65cm high, 40cm square top. £200-300

1699

1703. A Liberty & Co stained oak table, circular top on tripod flaring legs, with pierced decoration, 68cm. high £100-200 Literature Daryl Bennett Liberty’s Furniture 1875-1915 ACC books, page 143 figure 4.117 for a comparable table

1700

1701

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1702 1703

1704

1705 1706

1707

1704. An English Pewter and enamel napkin ring for Liberty & Co designed by Archibald Knox, cast with a entrelac design, enamelled blue and green, and two other napkin rings set with enamel panels, stamped marks, 4cm. wide £150-250

1705. A Murrle Bennet turquoise set brooch, in the manner of Archibald Knox, whiplash framework with central turquoise matrix above three small pearls stamped marks, 3cm. wide £200-300

1706. An Arts and Crafts white metal and enamel brooch, cast as a stylised leaf, enamelled blue, and two other silver bar brooches stamped marks, 3.5cm. wide £100-150

1707. A Continental Secessionist white metal and amethyst pendant necklace, probably German, cast and pierced with stylised panel, unsigned 3.5cm. long £100-150

1708

1709

1708. A James Fenton Secessionist silver and enamel pendant necklace, cast in low relief, and enamelled with panels in blue and green, set with three blister pearl drops unsigned 2.5cm. wide £100-200

1709. An Arts and Crafts silver and enamel pendant necklace, cast in low relief and enamelled in green and purple, set with moonstone roundel stamped sterling silver 1.5cm. high £100-150

1710. An enamelled silver pendant necklace, cast grape and vine framework supporting three multi-coloured enamel elliptical panels unsigned 4.5cm. high £100-200

1711 1710

1711. An Arts and Crafts Smith & Ewen silver and enamel pendant necklace, cast as a stylised flower, enamelled in green and blue, stamped marks, S & E, Birmingham 1910, 3cm. wide £100-150

1712. An Arts and Crafts enamelled metal brooch, modelled as a pair of wings, enamelled green and blue, with seed pearl drop, in fitted case unsigned 5cm. wide £100-200 1712

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1713. A Georg Jensen silver brooch, model no.298, circular pierced form cast in low relief with a deer grazing, stamped marks, 5.5cm. diam. £150-250 1714. A collection of enamelled metal cuff links, various designs, and some silk cuff links, £50-150 Provenance Albert E Wade collection 1715. A pair of white metal earrings by Wendy Ramshaw, geometric form, unsigned 6cm. high £200-300

1713 1714

1716. A Mont Blank Meisterstuck 149 Unicef limited edition fountain pen designed by Tom Sachs, 2004, in fitted case case numbered 4351/4810 £250-350 The series of Unicef pens were made by Mont Blanc to promote the Right to Write campaign 1717. A Parker 61 fountain pen, the metal case with chevron engine-turned decoration stamped 18k to the clip 14cm. long £300-400 1718. A Viner’s Studio stainless steel canteen of cutlery designed by Gerald Benney, textured finish, comprising, six knives and forks, six spoons, two serving spoons and six tea spoons, in fitted case stamped marks, canteen 37 x 23cm. £100-200

1715

1716

1719. A Viner’s Studio stainless steel service designed by Gerald Benney, comprising, twelve forks, six knives, six butter knives, six soup spoons, six dessert spoons, two servers, six teaspoons, six smaller teaspoons, six additional butter knives, two servers and six small spoons in fitted presentation boxes and six table forks in original Studio fitted box,and a Viner’s Shape pattern canteen of cutlery stamped marks, canteen 39 x 28.5cm. £150-250

1717

1718

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1719

1721 1720 1720. A white metal mounted horn paperknife, the rectangular handle mounted with pierced and cast berried foliate bands, and an Austrian cast brass paperknife stamped Vulpera 25.5cm long £100-150 1721. A Myon Cle electroplated novelty Key cigarette lighter, and another Juan Les Pins novelty lighter modelled as a cigarette stamped marks, 18.5cm. long £100-200

1722

1722. ‘Tower of Empire’ a rare Britain’s cast metal model of the tower, and a small collection of British Empire Exhibition, Scotland 1938 souvenirs, cast marks, 14cm. high £200-300 1723. A Dunhill Aquarium table lighter, shaped rectangular section, the lucite panels decorated with tropical fish swimming amongst waterweed, plated metal mounts cast marks, regd 737416, 9.5cm. wide £150-200 1724. A George Jackson and David Fullerton silver bowl, low pedestal form with strap handles and applied beads, stamped marks, London 1908, 14cm. diam. £100-200

1723 front and back

1725. A William Hutton & Sons silver footed bowl, with three applied handles, hammered finish, stamped marks, London 15.5cm. high £150-200 1726. A Christofle electroplated table centrepiece, the circular bowl on central low stem and domed foot, flanked with four balls stamped marks, 35cm. diam. £600-800 1727. A R & W Sorley silver bowl, on three cast dolphin feet, their tails raised up to form three looped handles, the rim with simple band of raised roundels, stamped RS WS Glasgow 1905 20cm. diam. £500-1,000 1728. A Henry Elkington 1851 Exhibition commemorative gilt and silver plated bronze inkwell designed by John Leighton, circular section with spherical, hinged well, the base cast in low relief with panels of craftsmen, inside commemorative banners listing artists and designers including Cellini, Durer, Flaxman and Newton, entwined with berried stem, the globe inkwell cast in low relief with a map of the world under banner inscribed Exhibition Industry of All Nations London 1851, with faceted cut-glass bottle, inscribed to the rim Published as the act directs by Henry Elkington Feb 20 1851 23cm. diam. £100-200

1724

1725

1726

1727

1728

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British Art Pottery Wednesday 3rd December 2014 Closing date for entries 10th October

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@woolleyandwallis.co.uk

A fine Lucie Rie sgraffito bowl, decorated to the interior and rims with manganese. Provenance Purchased directly from Lucie Rie by the vendor. Estimate: ÂŁ5,000 - ÂŁ8,000

Liberty Yuletide Gifts Wednesday 3rd December 2014 Closing date for entries 10th October

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@woolleyandwallis.co.uk

A Liberty & Co Tudric Pewter and copper mantle clock, model no.99. Estimate: ÂŁ5,000 - ÂŁ10,000

Fine Pottery & Porcelain Tuesday 9th September 2014

A Royal Worcester vase painted with storks by Arthur C Lewis, date code for 1905. Estimate: ÂŁ2,000-3,000 From a selection of Royal Worcester and Royal Crown Derby included in the sale.

ENQUIRIES Clare Durham Tel: +44 (0)1722 424507 claredurham@woolleyandwallis.co.uk

Paintings 20th Century and Contemporary Wednesday 10th December 2014 Entries are now being accepted for this sale

Gerald Edward Moira (1867-1959) Rhubarb harvest Signed and dated 1932 Oil on board, 92 x 122cm

ENQUIRIES Victor Fauvelle Tel: +44 (0)1722 424503 victorfauvelle@woolleyandwallis.co.uk

Exhibited: Walker Gallery, 59th Liverpool Autumn Exhibition, 1933 Provenance: Part of the Roger Rousell Collection. Estimate: ÂŁ6,000-8,000

Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification:

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, 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 thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

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CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.

PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €15,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. VAT Lots marked with an asterisk (*) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk

APS

0800 118 5868 sales@apservices.info 07736 544 362 www.apservices.info

Mailboxes

01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque four weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd 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 Woolley & Wallis Salisbury Salerooms Ltd 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.

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) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 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. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) 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 (b) 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. (c) No purchase can be claimed or removed until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) 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: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) 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; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) 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; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) 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. (b) 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 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS 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. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 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 (a) 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’. (b) 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.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) 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. (b) 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. 18. 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. 19. 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 in the catalogue. 20. 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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

21. English law applies to the interpretation of these Conditions.

Lots marked with a ‡ symbol are potentially subject to the levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500

Valuations PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

Contact Christine Johnson 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

Woolley & Wallis valuations are accepted by all leading insurance companies.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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WILTON & WARMINSTER

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Woolley & Wallis 2 Danebury Court Old Sarum Park SP4 6EB

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Old Sarum Kia Motors

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

AMESBURY & MARLBOROUGH

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HL AS

CASTLE RD A345

LONDON, ANDOVER & WINCHESTER

r Po

A345 Castle Rd

L C ANA

SALISBURY A36

AMESBURY NEW STR EET

Old Sarum

T ST ANN S

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

SOUTHAMPTON CATHEDRAL

UT SO

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE TO SALT LANE TOSTREET CASTLE STREET & WALLIS WOOLLEY FROM DIRECTIONS PEDESTRIAN ROUTE DRIVING ROUTE TO SALT LANE DRIVING ROUTE TO CASTLE ST.

D A30

94 NEW H

D PAY AN Y DISPLA RK CAR PA

R O AD

NT O

A33 8

ROLLES

WOOLLEY & WALLIS Salt Lane

Woolley & Wallis Carter House 6 – 10 Salt Lane SP1 1EE

EET

ENDLESS STR

Registered in England No. 2998482

Salisbury Salerooms

CHIPPE

WOOLLEY & WALLIS

SCOTS LANE

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU

R LANE

A338 BOURNMOUTH & RINGWOOD

REET

TONE ST

Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

ARN HAM

A354 DORCHESTER WEYMOUTH & BLANDFORD

SALT LANE

LANE

OA D

EET

STR

SALT

RO A

( T)

WIN

A36

L HI

A36(T) SO UTHA MPT ON R

BED

HAR NH AM

W OOLLEY & W ALLIS S ALEROOMS

Qudos CASTLE STREET

VAT No: 631 9832 29 TESCO

Design & Production by Jamm Design Ltd. Tel. 020 7424 7830 www.jammdesign.co.uk

Due to the one-way system of Salisbury please follow the red route when driving from Salt Lane to Castle Street.

Due to the one-way system of Salisbury, please follow the red route when driving from Salt Lane to Castle Street.

WOO L LE Y & WA L LI S Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

20th Century Design

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 10th September 2014 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. ID is required for all first time bidders.

Signature

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU • Tel: 01722 424500 Fax: 01722 424508

www.woolleyandwallis.co.uk

AUCTION CALENDAR ENGLISH & EUROPEAN CERAMICS & GLASS 9th September – Fine Porcelain & Pottery 25th November – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 10th September – 20th Century Design 3rd December – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk PAINTINGS 24th September – Oils, Watercolours, Prints & Miniatures 10th December – Part 1: Fine Old Masters & 19th Century Part 2: 20th Century & Contemporary Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 7th October Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 16th October – The Christopher Foley, F.S.A., Collection of English Medals of the 15th-17th centuries. 21st & 22nd October Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 23rd October Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 29th October Richard Price +44 (0) 7741 242421 • richardprice@woolleyandwallis.co.uk ASIAN ART 12th & 13th November John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES February 2015 Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk