Woolley & Wallis, 19th & 20th Century Design, 3rd October 2012 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

19th & 20th Century Design Wednesday 3rd October 2012

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

20TH CENTURY DESIGN Michael Jeffery

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ASIAN ART John Axford MRICS ASFAV — Sophie Lister — Clare Durham — Alex Doméracki Freya Yuan CLOCKS Will Hobbs — Richard Price (Consultant)

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PAINTINGS & BOOKS Victor Fauvelle Jo Butler

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Members of The Society

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SALEROOM MANAGER David Jordan

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PRESS & PUBLICITY Kate Williams

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

SILVER Rupert Slingsby Lucy Chalmers

ACCOUNTS & OFFICE MANAGER Janice Clift — GENERAL OFFICE Linda Garthwaite Pauline West Ruth Pike

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 John Axford MRICS ASFAV — 424506 Sophie Lister — 424591 FURNITURE Will Hobbs Mark Richards Jim Gale

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

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

FRICS FRSA

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

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 inCluDing a Private ColleCtion of late 19th Century Design

Wednesday 3rd october 2012 at 10.30am Viewing Times Saturday 29th September Monday 1st October Tuesday 2nd October Wednesday 3rd October

10.00am – 1.00pm 10.00am – 6.00pm 9.00am – 4.30pm 9.00am – 10.30am

ENQUIRIES Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

Please note the changes to Droit de Suite (‡). Please see page 118.

There is no surcharge for using this service.

Please note all items of furniture will be removed to the Old Sarum warehouse on Thursday 4th October.

inDex

lots

glass lalique glass Ceramics late 19th Century Design from the collection of roy Davids Works on Paper original artwork by Dodo Burgner furniture Metal ware

1001-1124 1062-1091 1125-1405 1406-1440

1441-1500 1441-1450 1451-1600 1601-1780

1001

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1003

1004

glass

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1001. A John Hardman & Company watercolour design for a stained glass window, possibly by A W N Pugin, mounted on board, Hardman paper label to reverse, numbered LH 1526 in pencil, additional loose board listing nr Stockport Cheshire image 32 x 19cm. £200-400 1002. A stained glass window panel, decorated with a shield, in oak frame unsigned panel 48 x 37cm. £100-200 1003. A Victorian stained glass panel, dated 1886, decorated with a pre-Raphaelite maiden in a garden setting surrounded with lilies, prunus blossom and fruiting apple boughs, before a rising sun, presented to ‘A C Mackenzie Mus Doc’ unsigned 63 x 46cm. £150-200 Alexander Mackenzie (1847-1935) was a musician and successful composer who joined the Royal Academy of Music in 1862. He became principal in 1888 at the Academy, succeeding Sir George Macfarren on his death. 1004. An Aesthetic stained glass panel, rectangular, painted with birds perched amongst flowering boughs, inside scrolling foliate borders, the lead tracery gilded, unsigned 102 x 47cm. £200-300 1005. A three light stained glass window, each arched form with Norman slabs and green glass geometric decoration unsigned tallest panels 74cm. high, 21cm wide £100-200 1006. A Kelley & Co stained glass window, rectangular with central green glass panel, flanked with Norman slab panels and geometric decoration signed Kelley & Co London 24 x 18.5cm. £50-150 1007. A stained glass panel window, the central panel depicting two nude figures, inside clear Norman slab border with coloured geometric panels unsigned 66 x 40cm. £100-200 1008. An interesting Arts and Crafts stained glass panel, painted with a figure resting amongst animals, below a female figure unsigned 56 x 43cm. £200-300 1009. A pair of Arts and Crafts stained glass windows, in the manner of Alex Gascoyne, decorated with buildings in a wooden landscape unsigned 48 x 41cm. £250-350

1009

1010

1011

1010. A rare pair of Molineux, Webb and Co. black press-moulded glass sphinx, unsigned, minor chips 20cm. wide £2,000-3,000 Literature Charles Hajdamach, British Glass 1800-1914, page 349 plate 43 for a comparable figure 1011. A John Derbyshire press moulded black glass winged sphinx, on rectangular base moulded mark and regd diamond, chips to base £1,500-2,000 Literature Charles Hajdamach, British Glass 1800-1914, page 354 plate 319 for a comparable figure 1012. A James Powell & Sons, Whitefriars glass goblet, designed by Harry Powell, with embedded gold knop, the bowl with diamond bowl decoration unsigned £400-600 Literature Lesley Jackson, Whitefriars Glass Richard Dennis Publications, page 113 plate 76 for comparable forms 1013. A pair of James Powell & Sons, Whitefriars glass straw opal glass oil lamps, the wrought ironwork by W.A.S Benson, unsigned lamps 21cm. high £800-1,200 1012

Literature Lesley Jackson Whitefriars Glass Richard Dennis Publications, page 31 plate 79 for a comparable oil light made by Powell. Lesley Jackson states that Powell produced a range of glass oil lamps were retailed by Liberty & Co and are illustrated in an 1899 catalogue. 1014. A Hukin & Heath mounted glass wine carafe, model no. 19058, the ribbed glass body with applied handle, stamped marks 22cm. high £100-200 1015. A clear glass decanter and stopper, probably James Powell & Sons, Whitefriars, swollen, tapering form on applied foot, with pointed stopper, and a collection of various glasses and vases similar unsigned 35cm. high £100-200 1016. A pair of James Powell & Sons, Whitefriars glass bottles, the design attributed to Harry Powell, simple form with applied band to neck, unsigned 22cm. high £100-200 Literature Lesley Jackson, Whitefriars Glass, Richard Dennis Publications, page 98 plate 7 for a comparable bottle

1013

1014

1015 (part)

1016

1017

1021

1018

1019

1022

1020

1023

1024

1017. An Austrian iridescent glass bowl, square section with fluted rim, veined green to purple iridescent surface unsigned 20cm. wide £100-200

1018. An Iridescent glass vase in the Loetz style, shouldered form with applied handles, covered in a light iridescence unsigned 25cm. high £50-100

1019. A W.M.F Ikora glass vase, ribbed ovoid form with everted rim, covered in a golden iridescence, another W.M.F Ikora vase similar and two iridescent glass bowls unsigned 16.5cm. high £100-200

1020. A Kralik glass vase, tapering form with pinched trilobe neck, covered in a veined, golden iridescent glass finish, and another Kralik vase unsigned 24cm. high £100-200 1025 1021. An Austrian iridescent glass vase, possibly Loetz, ovoid with everted rim, applied with tear-drop prunts, and six other iridescent glass items unsigned, 8.5cm. high £100-200

1022. A pair of Kralik glass vases, tapering golden iridescent glass with pinched trilobed neck, applied to the body with a flower stem in green glass, two other Kralik vases and four other iridescent glass items unsigned 17cm. high £100-200

1023. An Austrian Iridescent glass vase, probably Loetz, the dimpled square section with flaring rim, and another smaller unsigned 14cm. high £100-200

1024. A Loetz Rustica glass vase, shouldered form with everted rim, the body modelled in low relief, with green iridescent finish, and a Loetz glass jug unsigned 13cm. high £100-200

1026

1025. A Loetz style painted silver overlay glass vase, ovoid with knopped neck, pink graduating to pale green with golden iridescence, unsigned 16.5cm. high £300-500

1026. A Quezal cased glass shade, bell form with splashed and trailed iridescent decoration signed Quezal 13cm. high £150-200

1027. A Quezal cased glass shade, bell form with splashed and trailed iridescent decoration unsigned 13cm. high £150-200 1027

1028

1029

1031

1030

1032 1028. A French patinated metal mounted glass vase, swollen square section vase with acid etched finish, the metal mount with fleur de lys trellis design unsigned 27cm. high £100-200

1029. A glass vase, in the manner of Ernest Leveille, shouldered form, the thick crackled glass with coloured inclusions unsigned 20cm. high £80-120

1030. A set of eight Jean Luce glass tumblers clear glass with bubble inclusions to the base, applied paper labels 9.5cm. high £60-100

1031. A glass plaffonier after a design by Michael Powolny, white glass with aubergine stripes unsigned 37cm. diam. £100-150

1033

1032. A W.M.F Ikora glass lamp base, spherical green speckled glass, cased in clear with chrome mounts and ebonised wood base stamped marks to base and mount 20cm. high £80-120

1033. A Galle enamelled and cut glass vase designed by Emile Galle, curved form, enamelled with a figure standing on a bridge in a landscape, beside a curved spray of flowers, the reverse enamelled with scrolls, etched E Galle Nancy 13cm. high £150-250

1034. A Duc de Caranza glass beaker vase, decorated by Amedee de Caranza with a frieze of birds in ruby and copper lustre signed A De Caranza to side, marks to base 7.5cm. high £500-800 Literature Glas vom Jugendstil bis Heute - Sammlung Gertrud und Dr Karl Funke-Kaiser, catalogue number 31, illustrated page 105.

1034

1035. A Daum Nancy pedestal glass vase, slender deep red foot, flaring to mottled orange bowl with pulled rim, aventurine inclusions etched Daum & Nancy France to foot rim 23cm. high £200-300

1035

1036. ‘Masques’ a Decorchemont pate de cristal footed vase, cast in low relief with Bacchanalian masks impressed seal mark 6.5cm. high £1,600-1,800 Literature Victor Arwas Glass Art Nouveau to Art Deco Academy Editions page 92 and 93 for comparable examples.

1036

1037. An Amalric Walter pate de verre glass pendant, oval form cast in low relief with a dragonfly resting on a leaf signed in the cast AW 6cm. wide £1,000-1,500

1037

1038. ‘Rosette’ a pate de verre pendant by Gabriel Argy-Rousseau, cast in low relief, signed in the cast GAR 5.7cm. diam. £1,000-1,500

1038

1039

1040

1041

1042 1039. A Degue Art Deco glass vase, tall, slender mottled green glass body on applied amethyst glass foot with applied twin-handles, etched Degue, one handle cracked 38.5cm. high £50-100

1040. An Italian glass uplighter, flaring pink glass on applied black foot, and an orange glass vase on applied purple foot indistinct Italia mark 30cm. high £80-120

1041. An Art Deco style glass scent bottle, comprising five tubes, the central with conical stopper unsigned 17.5cm high £50-100 1043

1044 1042. A Legras glass vase, painted with a rowing boat in a lakeside setting, a set of six press moulded glass duck dishes on a tray and four large pink glass goblets on a tray and two other glass items painted signature 22.5cm. high £100-200

1043. 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 £300-500

1044. An Orrefors glass vase the design attributed to Simon Gate, heavy amethyst glass, flaring form with cut rectangular column decoration etched marks numbered 399, 15cm. high £80-120

1045. A Daum Nancy glass decanter and stopper, with applied amethyst trails and prunts acid etched Daum Nancy 32cm. high £200-300

1046

1045

1046. A pair of La Verre Francais vases, flattened ovoid form with pulled, scroll handles, mottled pink glass with yellow speckles acid etched La Verre Francais marks 21cm. high £300-500

1047. A Muller Freres glass plaffonier, mottled orange glaze graduating to purple, with hanging chains unsigned 36cm. diam. £50-150

1048. An Art Deco glass dessert set, frosted and clear glass enamelled in black and red with geometric design, comprising serving bowl and six side bowls unsigned 25cm. diam. £50-150

1047

1048

1049

1050

1051

1052

1049. A Jobling pale blue glass plaffonier/bowl, cast in relief with three exotic birds, and another Jobling pink glass plaffonier/bowl cast regd mark, drilled rim 34cm. diam. £150-200

1050. An Orrefors engraved glass vase, flaring, faceted form engraved with a kneeling, nude woman looking back at two flying birds, two Kosta World Wildlife Fund glass seals and three other vases etched marks, original paper labels 28cm. wide £100-150

1051. A Pierre D’Avesn electric blue glass vase, shouldered form, cast with stylised tulip sprays, and another Pierre D’Avesn frosted glass vase unsigned 20.5cm. high £150-250

1053

1054

1055

1056

1057

1058

1059

1060

1052. A Pierre D’Avesn amethyst glass vase, cast in relief with twin looped handles, the body with acid etched patterning, and another Pierre D’Avesn Art Deco glass vase unsigned 17cm. high £100-200

1053. A Verlys opalescent glass vase, flaring cylindrical form, moulded in relief with stylised ball flowerheads moulded Verlys France to base 16.5cm. high £150-200

1054. A Pierre D’Avesn opalescent glass bowl, moulded in relief with chrysanthemum flowerheads moulded marks P D’Avesn France 35cm. diam. £150-250

1055. A Pierre D’Avesn opalescent glass bowl, the rim cast in relief with birds amongst grape vine frieze cast marks to base 30cm. diam. £80-120

1056. A Pierre D’Avesn opalescent glass bowl, moulded in relief with a radial design of swallows, the well stylised flowerheads unsigned 35.5cm. diam. £150-200

1057. A Pierre D’Avesn opalescent glass charger, moulded to the well with an exotic bird amongst scrolling flowers and foliage unsigned 37.5cm. diam. £250-300

1058. A Pierre D’Avesn opalescent glass bowl, moulded in relief with three swimming carp unsigned 30cm. diam. £150-200

1059. An Etling moulded glass vase, shouldered form with everted rim, modelled with an all over daisy flowerhead decoration Moulded Etling France 23cm. high £50-150

1060. A Verlys opalescent glass charger, moulded in relief with three flying ducks above swimming fish, with a wooden display stand cast Verlys France 35.5cm. diam. £200-300

1061

1062

1063

1064

1061. An Etling glass bowl by G Beal, cast in low relief with three crayfish, stained pink cast marks 35cm. diam. £80-120

laliQue 1062. ‘Poisson’ no.2 A Lalique opalescent glass bowl, designed by Rene Lalique, moulded R Lalique 26cm. diam. £300-400

1065

1063. ‘Gazelles’ no. 390 a Lalique clear, frosted and opalescent glass bowl, designed by Rene Lalique intaglio R Lalique, France 29.5cm. diam. £500-700

1064. ‘Jaffa’ no.1 a Lalique clear and frosted glass bowl, designed by Rene Lalique, stencil R Lalique France 31cm. diam. £80-120

1065. ‘Martigues’ no.377, a Lalique opalescent glass bowl, designed by Rene Lalique moulded R Lalique and wheel-cut France No.377 36.5cm. diam. £2,000-3,000 1066

1066. ‘Coquilles’ no.3500 a Lalique opalescent plaffonier, designed by Rene Lalique, with hanging chains, wheel cut R Lalique France no.3500 24cm. diam. £400-600

1067. ‘Rinceaux’ no.2017, a Lalique clear and frosted glass plaffonier, designed by Rene Lalique, with remains of sepia staining wheel cut R Lalique France, minor chips 37.5cm. diam. £800-1,200

1067

1068. ‘Formose’ no. 934 a Lalique opalescent and blue stained glass vase, designed by Rene Lalique incised R Lalique France to base rim 17.5cm. high £1,200-1,800 1068

1069. ‘Dahlia’s’ no.938 a Lalique clear, frosted and blue stained glass vase with black enamelling, designed by Rene Lalique intaglio R Lalique to base 13cm. high £2,000-3,000 1069

1070. ‘Saint Emilion’ no.10-939 a Lalique vase a clear and frosted and blue stained glass vase, designed by Rene Lalique indistinct etched signature to rim, 25.5cm. high £600-900

1070

1071

1072

1073

1074

1071. ‘Volubilis’ no.383 a Lalique opalescent glass bowl, designed by Rene Lalique wheel engraved R Lalique France no.383 21.6cm. diam £100-200

1072. ‘Nippon’ no.3899 a Lalique clear glass box and cover, designed by Rene Lalique stencil R Lalique 19cm. diam. £100-200 1075

1076

1073. A modern Lalique clear and frosted wine glass, the frosted stem with berry design, and two other glasses etched Lalique France 17.5cm. high £50-150

1074. A modern Lalique frosted glass desk set, cast in low relief with a stylised bird, comprising paper-knife, blotter and pad end etched Lalique France paper-knife 32.5cm. long £200-300

1075. ‘Setubal’ no.3180 a Lalique clear and frosted glass lemonade set, designed by Rene Lalique, comprising ovoid jug, four beakers and a tray stencil mark R Lalique France jug 18cm. high £800-1,200 1077

1076. ‘Dahlias’ no. 384 a Lalique opalescent glass bowl, designed by Rene Lalique, moulded R Lalique France 23.5cm. diam. £400-600

1077. ‘Ormeaux’ no. 984 a Lalique blue stained, cased opalescent glass vase, designed by Rene Lalique etched R Lalique France no.984, 16.7cm. high £1,500-2,000

1078. ‘Rampillon’ no.991 a Lalique grey stained, clear and frosted glass vase, designed by Rene Lalique, wheelcut R Lalique France 12.5cm. high £1,000-1,200

1078

1079. ‘Aigrettes’ no.988, a Lalique clear, frosted and blue stained glass vase, designed by Rene Lalique wheel cut R Lalique 25.5cm. high £4,000-5,000 Literature Eric Knowles Lalique Shire Publications page 48 for a full page image of a comparable vase.

1080. ‘Bluets’ no.909 a Lalique blue stained glass vase, wheel etched R Lalique France 16cm. high £400-600

1080

1081. ‘Fougeres’ no.923 a Lalique grey glass vase designed by Rene Lalique, intaglio R Lalique to side of body 15.5cm. high £1,200-1,500

1081

1082. ‘Albert’ no.958 a Lalique Topaz glass vase, designed by Rene Lalique, wheel cut R Lalique France 17cm. high £1,200-1,800

1082

1083. ‘Ceylan’ no.905 a Lalique opalescent glass vase, designed by Rene Lalique, stencil R Lalique France, small nick to base rim 24cm. high £3,000-5,000

1083

1084. ‘Aras’ no.919, a Lalique cased opalescent glass vase, designed by Rene Lalique, with remains of green staining intaglio R Lalique 24cm. high £5,000-6,000

1084

1085. ‘Davos’ no.1079, a Lalique opalescent glass vase, designed by Rene Lalique, wheel cut R Lalique France 28cm. high £1,500-2,000

1085

1086

1087

1088

1086. ‘Medicis’ no.280 a Lalique blue stained opalescent glass dish, designed by Rene Lalique, etched R Lalique France 15cm. wide £1,000-1,500

1087. ‘Sirenes’ no.1631 a Lalique clear and frosted glass pendant, designed by Rene Lalique etched R Lalique to edge 5.8cm. high £400-600

1089

1088. Teline’ no.508 a Lalique jade glass scent bottle and stopper, designed by Rene Lalique cast R Lalique France to base, stopper numbered 190, small frit to stopper 10cm. high £200-300

1089. ‘Sanglier’ no.1157, a rare Lalique red paperweight, originally designed by Rene Lalique etched Lalique France 9cm. wide £600-800

1090

1090. ‘Coq Nain’ no. 1135 a Lalique clear and frosted glass paperweight, originally designed by Rene Lalique etched Lalique to base 20.5cm. high £400-600

1091. ‘Chrysis’ no.1183 a Lalique frosted glass car mascot, designed by Rene Lalique stencil mark R Lalique France 13cm. high £2,000-3,000

1091

1092

1093

1094

1095

1092. An engraved glass by Josephine Harris, Christmas 1990, engraved with Bacchanalian portrait etched signature and date 17cm. high £60-100 1093. ‘Prince Charles - Prince of Wales Investiture’ a Royal Brierley crystal limited edition cup, with etched and cut commemorative motif and inscription, and a green glass vase in the style of Keith Murray, original paper label, etched marks to base numbered 15 of 25, missing a cover 24cm.high £100-200 1094. A John Walsh Walsh Leaf vase designed by Clyne Farqharson, cut design etched marks to base 19cm. high £50-100

1096

1097

1095. Four John Walsh Walsh Leaf glasses, designed by Clynne Farquharson, cut with a simple leaf design etched signature 13cm. high £80-120 1096. A Webb Corbett cut glass vase, ovoid with cut, waving column decoration, acid etched mark, 20cm. high £80-120 1097. ‘Elizabeth II Coronation 1953’ a Whitefriars Goblet by Frank Hill, diamond engraved by William Wilson, red, white and blue enamel twist stem, the bowl with engraved crown and inscription, two twin handled Commemorative vases, two goblets and a vase etched mark to Whitefriars 20.5cm. high £200-300

1098

Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 144 plate 176 for an identical goblet 1098. ‘Elizabeth II Coronation 1953’ a set of commemorative wine glasses, twist stems with flaring conical bowls engraved with crown and inscriptions unsigned 20.5cm. high £200-300 1099. A large Queen Elizabeth II, Coronation 1953 engraved goblet vase etched by Sir Lawrence Whistler, the glass by Thomas Webb & Sons, etched with commemorative motif inside Catherine wheel border and balloons, the reverse with fireworks etched date MCMLIII and LW des 24.5cm. high £300-500 Literature Charles Hajdamach 20th Century British Glass, page 405 plate 850 for an identical goblet. 1099

1100

1101

1102

1104

1105

1103

1106

1107

1100. A Gray Stan electric blue glass vase, designed by Mrs Graydon Stannus, the dimpled body mottled, swirling blue and white cased in clear etched Gray Stan mark 25cm. high £300-500 1101. A Vasart glass vase, shouldered form with collar rim, mottled red graduating to purple with aventurine inclusions, a paperweight inkwell, a paperweight solifleur vase, and four other items unsigned, damages to inkwell 17cm. high £100-200 1102. A Caithness Luckenbooth silver mounted glass ring, necklace and brooch, designed by Colin Terris and Paul Ysart, in original fitted boxes, stamped marks, brooch 4cm. wide £80-120

1108

1109

1103. An electric blue glass bowl designed by Marc Newson, the rim with cut decoration, an Orrefors engraved glass vase and two others engraved signature 18cm. diam. £80-120 1104. A pair of Wedgwood clear glass disc candlesticks designed by Ronald Stennett-Willson, three disc form, seven other disc candlesticks in colours, and a J Wuidart & Co vase with impressed dimple designed by Ronald Stennett-Willson, paper label to main, 15.5cm. high £100-200 1105. A Wedgwood glass bowl, the design attributed to Ronald Stennett-Willson, blue glass well cased in clear, a plate by Timo Sarpaneva, a Hadeland solifleur vase and another vase various marks, Wedgwood bowl 26cm. wide £50-150 1106. A Mdina glass goblet vase, dated 1977, the flat foot supporting winged knop stem and mottled blue-green glass bowl etched Mdina Glass 1977 and signature 19cm. high £100-200 1107. A Mdina glass chalice, dated 1974, with trailed knopped stem, two Whitefriars glass vases, two paperweights and two other glass items incised mark to chalice, repaired 19.5cm. high £50-150 1108. A Mdina glass Fish vase, dated 1983, flat, square shaped body mottled and striated blue glass cased in clear, with pulled solifleur neck etched Mdina and date 29cm. high £100-200 Literature Mark Hill Michael Harris Mdina Glass & Isle of Wight Studio Glass, Mark Hill Publishing page 51 for a comparable form. 1109. A Mdina glass Fish vase dated 1977, internally decorated mottled brown, cased in thick clear textured glass etched Mdina 1977 21cm. high £100-200 1110. A rare, large Mdina glass Onion vase by Michael Harris, ovoid with tapering solifleur neck, yellow and green swirled glass cased in clear etched Michael Harris Mdina Glass Malta 28cm. high £800-1,200 Literature Mark Hill Michael Harris Mdina Glass Isle of Wight Studio Glass, Mark Hill Publishing page 49 for an identical vase

1110

1111

1115

1112

1113

1116

1114

1117

1118

1111. A Charlie Meaker studio glass vase, compressed, elliptical form blue glass with aventurine inclusions unsigned 31cm. wide £100-200 1112. A modern glass sculpture, in the manner of Vistosi, circular glass panel with radiating aubergine and aventurine, cased in clear unsigned 25cm. high £50-100 1113. A latticino handkerchief vase, probably Murano unsigned 17cm. high

£80-120

1114. A Seguso, Murano glass commedia dell’ arte Punchinello figure, on domed base, the aubergine and green striped glass with aventurine inclusions, remains of Seguso paper label 31cm. high £80-120 1115. A Venini glass vase, ovoid pale purple glass with pea moulded textured, applied with glass rim etched Venini, applied label 16cm. high £100-200

1119

1116. A Seguso style Murano Italy, glass model of a bird, pink glass with gold aventurine inclusion, cased in clear, with applied black glass eyes, on a domed glass base unsigned 32cm. high £50-100 1117. A Cenedese Venice glass vase, squared, shouldered form, blue glass cased in green etched marks to base 25cm. high £80-120 1118. A pair of continental tall green glass, flaring foot supporting double knopped stem and flaring top rim unsigned 50cm. high £80-120 1119. A Venini, Murano glass dish designed by Carlo Scarpa, square section, thick clear glass with air bubble decorations and gold aventurine columns and inclusions unsigned 10cm. diam. £150-200

1120

1120. A Venini, Murano glass dish, designed by Carlo Scarpa, square section, red glass with gold aventurine and air bubble inclusions, cased in clear acid etched Venini, Murano, Italia mark 10cm. diam. £150-200 Literature Marino Barovier Carlo Scarpa Glass of an Architect, Skira, page 206 number 41 for a comparable piece 1121. A Venini Murano Sommerso glass vase designed by Carlo Scarpa, square section, thick green glass with bubble and gold aventurine inclusions acid etched Venini Murano mark 8.5cm. high £200-300 Literature Marino Barovier Carlo Scarpa Glass of an Architect, Skira, page 206 number 34 for a comparable piece 1121

1122 (part)

1123

1124

1125

1122. A Holmegaard glass plate, asymmetric form blue glass, and five other continental vases etched 32.5cm. wide £50-150

1123. A Steuben clear glass goblet vase, with twisted stem, a bowl similar and five other items of glass etched marks 22cm. high £80-120

1126

1127

1124. A Sevres Cristallerie glass vase, with applied lug handles, a pair of tall Zweisel solifleur vases and six other glass items paper labels solifleur vases 45cm. high £50-150

1125. ‘Ettore Sottsass- Ceramics’ by Bruno Bischofberger, ‘Chihuly’ by Donald B Kuspit, and four other reference books £50-100

1126. A Borek Sipek glass vase, tall twisted column with blue knop, with fluted clear glass bowl, another curved vase and five others by the same artist unsigned tallest 29.5cm. high £100-200 1128

1129 1127. A Kosta glass vase, etched with deer drinking from a stream, etched marks Kosta LG 37cm. high £50-100

1128. A pair of Holmegaard white glass table lamps unsigned 24.5cm. high £80-120

1129. A pair of clear glass decanters, flattened circular form, and two pairs of Fodel glass door handles unsigned 24.5cm. high £80-120

1130. A Rosenthal printed glass plate, after a design by Andy Warhol, printed Rosenthal and facsimile signature 24.5cm.square £80-120

1130

1131. A Holmegaard glass vase, ovoid blue glass with oval aperture, and five other glass items similar etched marks, 1960 16cm. high £50-150

1132. An Italian glass paperweight, clear cube with cane inclusions unsigned 9.5cm. high £50-150

1131

1132

1133. Anish Kapoor (born 1954) untitled terracotta and frosted glass sculptural vessel in three pieces, impressed Anish Kapoor to base bottle 22cm. wide ÂŁ1,000-2,000

1134

1135

1138

1136

1139

1137

1140

1141

CeraMiCs 1134. A Copeland pottery charger printed and painted to the well with Christ, the rim inscribed ‘Behold I Bring You Good Things of Great Joy Which Shall Be to All People’ printed Copeland 37cm. diam. £50-150 1135. A Minton Parian Ware baptismal font and cover, gothic form, 1892 moulded in low relief, impressed marks, restored finial 33cm. high £300-500 Literature Joan Jones Minton Swan Hill Press, page 50 this design illustrate Paul Atterbury (editor) A W N Pugin Master of Gothic Revival figure 25 page 250 for a comparable font.

1142

1136. A Minton stoneware model of a baptismal font and cover, Gothic form 1866, modelled in low relief unsigned, minor restoration 18.5cm. diam. £200-400 Literature Joan Jones Minton Swan Hill Press, page 50 this design illustrated

1143

1144

1137. A pair of Old Hall vases the design attributed to Dr Christopher Dresser, tapering, waisted square section body with flaring neck applied with elephant mask handles, printed with flying crane mon amidst fan panels and foliage sprays, and two Old Hall Eureka pattern vases printed marks, damages 23cm. high £100-200 1138. An Old Hall pottery jug designed by Dr Christopher Dresser, shouldered form with angled spout, printed with bands of stylised flowers and foliage in colours on a white ground unsigned 19cm. high £250-350 Literature Michael Whiteway Christopher Dresser a Design Revolution, page 153 plate 191 for the neck design on a James Dixon & Sons electroplate decanter. 1139. A charger by Fred Miller dated 1880, painted with apple blossom to the well, the rim with inscription from Fruit Poem by Robert Herrick, in colours printed and painted marks to reverse 31cm. diam. £400-600 1140. A brass mounted cloisonne porcelain panel box, with hinged cover possibly Minton painted with geometric foliate panels in colours, highlighted in gilt unsigned, damages 16cm. wide £150-250

1145

1146

1147 1148

1141. A Forrester’s Phoenix Ware garniture of jardinere and pair of vases, slip decorated with a peacock before a rising sun, in colours, highlighted in gilt printed factory marks, hairlines 36cm. high £200-300 1142. A pair of William Morris Scroll pattern tin-glazed tiles, Dutch, possibly decorated in Ravesteijn of Utrecht, stencilled and painted in blue unsigned 13cm. square £100-20 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications page 119 and 120 figures 207 and 212 bottom right for comparable tiles0 1143. A Burmantofts Faience Pottery candlestick, modelled as a pillar with Corinthian capital, glazed turquoise, an Aesthetic Movement tile, a Rye Pottery mug and a collection of ceramics various marks 29cm.high £50-150 1144. An Ashtead Pottery bowl and a pair of vases, glazed in colours printed marks, vases 10.5cm. high £80-120 1145. A Burmantofts Faience jardiniere and stand model no.2056, modelled in low relief with flowers and foliage in shades of yellow and blue impressed marks 105cm. high £300-400 1146. A Burmantofts Faience jardiniere stand, model no. 2023, modelled in low relief with flag iris flowers, painted in shades of yellow, green and blue impressed marks, hairline to base rim 78cm. high £100-200

1149

1147. An Ault Pottery vase designed by Dr Christopher Dresser, painted by C J Ault with a butterfly amongst wild grasses, in colours impressed marks, facsimile signature, restored neck 8cm. high £80-120 1148. An Ault pottery vase designed by Dr Christopher Dresser, solifleur form with compressed body, covered in a streaked green and brown glaze impressed 13 and facsimile signature, fine hairline top top rim 16cm. high £60-100 1149. A Linthorpe Pottery vase designed by Dr Christopher Dresser, ovoid with cylindrical neck, incised with a face, glazed in a streaked green and brown glaze indistinct marks 20cm. high £300-500 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 165 plate 214 for a comparable form 1150. A rare Linthorpe Pottery Fijian sake bottle designed by Dr Christopher Dresser, the dimpled body glazed streaked green and ochre, with unglazed terracotta head unsigned, professionally restored spout 19cm. high £700-900 Literature Michael Whiteway Christopher Dresser 1834-1904 Skira, page 119 plate 116 for a comparable example Judy Rudoe Decorative Arts 1980-1950 A Catalogue of the British Museum Collection, page 183 catalogue number 96 for a comparable tray 1150

1151. A John Pearson pottery bowl, decorated to the well with two birds amongst flowering foliage, the exterior decorated with bands, the base with a scaly fish painted JP monogram 14cm. diam. £100-200

1152. A John Pearson pottery dish, painted with a manned ship sailing out to sea, in blue, black and purple lustre painted JP monogram 11cm. diam. £80-120 1151

1152

1153. A C H Brannam Barum ware grotesque figure, designed by Blanche Georgina Vulliamy, modelled as a seated cherub with gaping mouth, glazed blue, green and brown incised marks, dated 1909, minor chips 11cm. high £150-250

1153

1154

1154. A C H Brannam Barum ware vase, twin-handled form, slip decorated with a swimming scaly fish to either side, in shades of green and blue incised marks, 14.5cm. high £100-200

1155. A C H Brannam, Barum Ware toby jug, dated 1909, painted in shades of green, brown and blue incised marks, glaze chips 15cm. high £100-200 1156 1155 1156. A pair of Bretby wall pockets, model no 887 and 888, each modelled as a head depicting youth and old age, glazed yellow impressed marks, minor chips 12cm. high £80-120

1157

1157. A pair of C H Brannam pottery fish wall pockets, glazed green impressed marks, restored 21cm. high £100-200

1158 1159 1158. A Martin Brothers Pottery stoneware gourd vase, by Walter and Edwin Martin, shouldered form with lugged neck supports, glazed green and ochre incised9-1902 Martin Bros London & Southall 5cm. high ÂŁ250-350

1160 1159. A Martin Brothers stoneware gourd vase, by Walter and Edwin Martin, incised with vertical ribs, glazed green and ochre incised 1-1914 Martin Bros London & Southall, restored top 10.5cm. high 250-350

1160. A Ruskin Pottery high-fired stoneware miniature ginger jar and cover, sang de boeuf and silver-white glazes impressed Ruskin 3cm. high ÂŁ300-500

1161. A large Ruskin Pottery high-fired stoneware vase, shouldered form with tapering neck and everted rim, sang de boeuf over silver glaze, speckled with mint impressed marks 39cm. high ÂŁ1,000-1,500 1161

1162

1164

1163

1166

1167

1168

1165

1169

1162. Four J Stiff graduated stoneware Harvest jugs modelled in low relief, and a Doulton stoneware jug impressed marks, damages 21cm. high £50-150 1163. A Doulton Lambeth stoneware jardiniere by Francis Pope, square section, moulded in relief with columns of stylised flowers, glazed in colours impressed and incised marks, 17cm. high £50-150 1164. A Doulton Lambeth Slater’s Patent leather jack with applied drinking verse, and a Doulton Silicon leather jack impressed marks 21cm. high £100-200 1170

1171 1165. A Doulton Lambeth Slater’s Patent stoneware leather jack, made for Philllips Oxford Street, incised crown and CR 1646 date impressed marks 19.5cm. high £100-200 1166. A Royal Doulton vase by J Hancock, decorated with sheep grazing in a pasture, four various Royal Doulton items and a Charlotte Rhead vase printed marks, damages 21cm. high £50-150 1167. ‘The Bather’ HN.687 a Royal Doulton figure, painted in colours printed and painted marks, head re-stuck £100-200

1172

1173

1168. ‘Here a Little Child I Stand’ HN.1546 and ‘Happy Joy Baby Boy’ HN.1541, two early Royal Doulton figures painted in colours, and HM Queen Elizabeth The Queen Mother printed and painted marks, 15cm. high £50-150 1169. Five Royal Doulton Proverbs pattern Series Ware plates designed by Will Bradbury, printed in colours inside a scrolling vine rim, and another Royal Doulton Series ware plate printed factory marks, 26.5cm. diam. £80-120 1170. A Royal Doulton Flambe vase, shape no.603, shouldered form covered in an experimental glaze over flambe, two others similar and three flambe landscape items printed marks,18cm. high £80-120 1171. A Royal Doulton Veined Flambe vase, ovoid with cylindrical neck, and a Royal Doulton flambe vase mounted as a lamp printed marks, lamp cracked 25cm. high £80-120 1172. ‘The Lamp Seller’ HN.3278, a Royal Doulton Flambe figure, and a Royal Doulton flambe elephant printed marks 23cm. high £80-120

1174

1175

1176

1178

1177

1179

1180

1181

1173. ‘Polly Peachum’ HN.549 and ‘Covent Garden’ HN.1339 two Royal Doulton figures, painted in colours printed and painted marks, hairlines 22.5cm. high £100-200 1174. A Royal Doulton Flambe vase by Fred Moore, shouldered form with everted rim, rich flambe glaze wish splashed ochre and yellow printed and painted marks, 27.5cm. high £150-200 1175. ‘A Chirping Cup’ a Foley Intarsio jug designed by Frederick Rhead, model no.3154, printed and painted with monks variously carrying frothing pints of ale printed factory marks 19cm. high £150-250 1176. A Wemyss Pottery preserve pot and cover, painted with a beehive and numerous bees, in colours on a white ground impressed Wemyss, printed T Goode mark, restored 12.5cm. high £100-200 1182 1177. A pair of Wemyss Ware candlesticks, painted with rose sprays in pink and green on a white ground, and a Wemyss small bowl impressed and printed marks, chips to bowl 28cm. high £180-220 1178. A pair of Wemyss Pottery coasters, each painted with a black cockerel, titled ‘Bon Jour’ in colours, various impressed and printed marks 12cm. diam. £150-200 1179. A Wemyss Pottery tankard, painted with apples, in colours impressed and painted Wemyss 14.5cm. high £200-300 1180. A Wemyss Pottery tankard, cylindrical form painted with black chickens, in colours impressed marks, 14cm. high £250-300 1181. A pair of Wemyss Pottery pigs, each decorated with clover, painted in green and pink on a white ground impressed factory marks, restored ears 16cm. wide £200-300 1182. A Wemyss Pottery pig money bank, painted with thistles in green and purple on a white ground impressed and painted marks, old restoration to snout 16cm. wide £100-200

1183

1183. ‘Garden Implements’ a Wedgwood lemonade jug and two beakers designed by Eric Ravilious, printed in black with vignette printed marks, minor damages jug 20cm. high £350-450 Literature Maureen Batkin Wedgwood Ceramics 1846-1959 Richard Dennis Publications, page 181 plate 442 for an example illustrated 1184. ‘Travel’ a Wedgwood part service designed by Eric Ravilious, printed with travelling scenes, comprising teapot and cover, milk-jug and sugar basin, hot-water pot and cover, coffee can and saucer, spare tea cup saucer, one breakfast, side and dinner plates and two entree plates printed and painted marks, minor damages teapot 13cm. high £400-600 1184

1185

1186

1187

1188

1185. ‘Garden’ a Wedgwood part service designed by Eric Ravilious, printed with gardening vignette, comprising, sauce boat and stand, one entree, dinner and side plate and a soup bowl, and two Wedgwood Persephone plates printed and painted marks, minor damages dinner plate 25.5cm. diam. £200-300

1189

1190

1186. ‘Travel’ a Wedgwood side plate designed by Eric Ravilious, printed in blue and black on a grey ground, a Wedgwood Harvest Festival platter and dinner plate printed marks, side plate 17.5cm. diam. £80-120 1187. ‘Elizabeth II 1953 Coronation’ a Wedgwood commemorative mug, after a design by Eric Ravilious, printed in colours, and a modern Brighton Museum Alphabet plate printed factory marks, 10.5cm. high £80-120 1188. ‘Coronation of Elizabeth II - 1953’ a Wedgwood commemorative tankard, from the design by Eric Ravilious, printed in colours stamped marks to base 10.5cm.high £180-220

1191

1192

1189. A set of five Wedgwood coffee cans and saucers manufactured for James Powell & Sons, Whitefriars glassworks, painted with simple flower stem repeat, and another painted a fruiting grape vine impressed and printed marks, saucers 10.5cm. diam. £100-200 Literature Whitefriars Glass James Powell & Sons of London, Museum of London, page 105 plate 114 for a contemporary photograph of Wedgwood ceramics in the Powell lower saleroom, and plate 116 for a comparable design. 1190. A Wedgwood earthenware Matt Green lemonade set for six designed by Keith Murray, comprising jug and six mugs, glazed green, and an additional mug printed factory mark and facsimile signature, one mug damaged and staining, jug 20cm.high £80-120 1191. A Wedgwood Queensware Commemorative mug probably designed by Daisy Makeig-Jones, commemorating the wedding of Lady Ursula Grosvenor to Mr W.P. Filmer-Sankey, 1924, printed in blue with horse jumping panels flanking initials printed marks, 8cm. high £80-120

1193

Literature Maureen Batkin Wedgwood Ceramics 1846-1959 Richard Dennis Publications, page 223 plate 550 for an example illustrated 1192. A Wedgwood box and cover the design attributed to Arnold Machin or Erling Olsen, cast in low relief with a reclining maiden holding a harp, a god resting beside her, glaze turquoise blue printed and impressed marks, 13cm. wide £150-200 1193. ‘Tiger and Buck’ a Wedgwood Pottery figure group designed by John Skeaping, covered in a matt white glaze printed mark, impressed artist mark 34cm. wide £150-250 1194. A Wedgwood bowl by Norman Wilson, footed form, fluted exterior in mottled ochre and pale blue, the interior glazed speckled blue impressed marks, NW monogram, glaze chip to top rim, 27.5cm. diam. £80-120

1194

1195

1199

1196

1197

1200

1198

1201

1202

1195. A pair of Wedgwood Dragon Lustre vases, designed by Daisy Makeig-Jones, waisted, cylindrical form mottled blue highlighted in gilt printed marks, 21cm. high £200-300 1196. A Wedgwood Dragon lustre bowl designed by Daisy Makeig Jones, printed in gilt to the exterior with ferocious dragons, on a green lustre ground the interior pearl lustre painted marks to base 7.5cm. diam. £80-120 1197. A Wedgwood Dragon lustre box and cover designed by Daisy Makeig Jones, rectangular, printed with dragons fighting in gilt on a mottled orange ground, and a circular box and cover in the Hummingbirds pattern printed and painted marks, finial restored 17.5cm. wide £100-200 1198. A Crown Devon lustre vase and cover, pattern no.2250, printed and painted in colours and gilt with an exotic bird flying past flowers, on a mottled blue ground, and a pair of Wedgwood lustre small bowls, printed and painted in colours and gilt with fruit printed and painted marks, one bowl smashed and re-stuck 17cm. high £100-200

1203

1199. A Pair of Carltonware Persian vases, pattern no.2882, printed and painted in colours and gilt on a mottled blue ground printed and painted marks, Persian mark, chip to rim of one, 26cm. high £80-120 1200. A Carltonware Persian twin-handled pedestal bowl, printed and painted in enamels and gilt on a blue ground printed factory marks, 31cm. wide £50-150 1201. A Carltonware single-handled vase, pattern 4138, slip decorated with a landscape printed and painted marks 26cm. high £250-350 1202. A Maling Pottery lustre bowl, printed with a butterfly on flowers, in colours on a pearl ground printed factory marks, 21.5cm. diam. £80-120 1203. ‘Willow’ a Wedgwood Fairyland Malfrey vase designed by Daisy Makeig Jones, printed in gilt on an orange and red ground printed and painted marks, cover missing 19cm. high £500-1000 1204. A Wedgwood earthenware vase designed by Keith Murray, ribbed, shouldered form covered in a matt blue glaze printed marks, KM monogram 28.5cm. high £100-200 Provenance The Albert E Wade Collection 1204

1205

1206

1209

1210

1207

1208

1211

1212

1205. A Maling Pottery Cetem ware vase printed and enamelled with a kingfisher perched ready to attack an insect, on a matt black ground, another similar and another Maling vase decorated with exotic birds printed marks 23.5cm. high £100-200 1206. A Royal Stanley Jacobean Ware bowl with electroplated rim, tubeline decorated with cottages in a landscape printed marks, star crack to base 19cm. diam. £80-120 1207. A Gray’s Pottery jug, pattern 4267, painted with alternate green, yellow, black and orange bands, another smaller, two other Gray’s lustre jugs and two Susie Cooper items printed and painted marks 13.5cm. high £80-120 1213

1208. A Gray’s Pottery jug, probably designed by Susie Cooper, painted with blue enamel wavy lines over graduated green banding, a Gray’s pot and cover, a Burleigh plate and two other items various marks, damages jug 24cm. high £50-100 1209. A Susie Cooper Productions Swansea Spray part service, comprising; three graduated platters, one tureen and two covers, a serving bowl, two sauce jugs, six shaped dishes, five twin-handled bowls and six saucers, four breakfast bowls and fifteen various plates, printed and painted marks, various wear and damages largest platter 34cm. £100-200 1210. ‘Pink Dresden Spray’ a Susie Cooper Productions set of six cans and saucers printed in colours, a spare can and a Royal Copenhagen box and cover printed factory marks can 6cm. high £50-150

1214

1211. A Susie Cooper Studio vase waisted, shouldered form with applied decoration, glazed green, and a Susie Cooper jug, incised with a ram leaping to attack, glazed matt green incised marks, 18cm. high £200-300 1212. ‘Chou Dynasty’ a rare Wedgwood bowl designed by Susie Cooper, printed in colours, highlighted in gilt, and a small Gray’s Pottery jug by Susie Cooper printed factory marks 24.5cm. diam. £80-120 1213. ‘Acorn’ a Susie Cooper Productions Kestrel Coffee set for six, designed by Susie Cooper, pattern no.1398, painted in colours, comprising; coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed and painted marks, minor damages coffee pot 18cm. high £100-200 1214. ‘Dresden Spray’ a Susie Cooper Productions Kestrel part coffee set for four, pattern 1017, comprising Kestrel coffee pot and cover, Rex shape milk jug, sugar basin, four cans and saucers printed and painted marks 19cm. high £100-200 1215. ‘Cubist’ a Gray’s Pottery coffee set for six designed by Susie Cooper, painted in colours printed galleon mark and painted marks, small chip to spout of coffee pot 21cm. high £1,000-2,000

1215

1216

1217

1218

1219

1220 1221

ClariCe Cliff

1223 1222

1216. A Clarice Cliff Bizarre flower centrepiece, covered in a running Delecia glaze printed marks 12cm. high £80-120 1217. ‘Memory Lane’ a Clarice Cliff Dover jardiniere, printed and painted in colours printed Memory Lane mark 17cm. high £80-120 1218. ‘Red Picasso Flower’ a Clarice Cliff Bizarre bowl, painted in colours, and a ‘Broth’ Clarice Cliff bowl printed factory marks largest 17cm. diam. £80-120 1219. ‘Crocus’ a Clarice Cliff Bizarre mug, painted in colours printed factory mark 12cm. high £80-120

1224

1220. ‘Pine Grove’ a Clarice Cliff Bizarre Trieste milk-jug, painted in colours printed factory marks, 6.5cm. high £60-100 1221. ‘Rhodanthe’ a Clarice Cliff beehive honeypot and cover, painted in colours printed factory mark 10cm. high £150-200 1222. ‘Delecia Fruit’ a Clarice Cliff Bizarre 361 vase, painted in colours printed factory marks 20cm. high £100-200 1223. ‘Nasturtium’ a Clarice Cliff Bizarre jug, painted in colours printed factory marks 15cm.high £80-120

1225

1224. ‘Melon’ a Clarice Cliff Fantasque Bizarre Conical jug, painted in colours between orange bands printed factory mark, minor chip to base rim. light star cracks to glaze on base 17.5cm. high £200-400 1225. ‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre jug, painted in colours printed factory marks restored chip to foot rim, 15.5cm. high £80-120 1226. ‘Applique Lugano’ a Clarice Cliff Bizarre bowl, octagonal form, painted in colours on an orange ground printed factory mark 20cm. diam. £300-500 1226

1228

1229 1230

1227

1231 1234

1232 1233

1227. ‘Idyll’ a Clarice Cliff Fantasque Bizarre cake plate, painted in colours printed factory marks, small chip to back of rim 25cm. diam. £300-400 1228. ‘Pine Grove’ a Clarice Cliff Bizarre bowl, shape no.632, painted in colours printed factory marks 22cm. diam. £100-200 1229. ‘Pine Grove’ a Clarice Cliff Biarritz plate, painted in colours printed factory marks 23cm. wide £100-200 1230. ‘Patina Garden’ a Clarice Cliff Bizarre plate, painted in colours printed factory marks, hairline 23cm. diam. £100-200

1235

1236

1231. ‘Sliced Fruit’ a Clarice Cliff Bizarre bowl, painted in colours, a Clarice Cliff ‘Crocus’ bowl and a collection of modern Clarice Cliff designs by various manufacturers printed factory marks 14cm. diam. £100-200 1232. ‘Crocus’ a Clarice Cliff sandwich plate, painted in colours, a Biarritz sauce boat, two preserve pots a collection of ceramics including a Troika Chimney vase various marks, 24cm. diam. £150-250 1233. A Clarice Cliff wall pocket, model no.879, moulded in low relief with a circus performer jumping through a hoop, glazed in colours on a buff ground printed factory mark 25cm. high £100-200 1234. ‘Agave’ a Clarice Cliff Conical sugar sifter, painted in colours printed factory marks, minor chips to base rim, 14cm. high £150-200

1237

1235. ‘Gay Day’ A Clarice Cliff Bizarre 362 vase, painted in colours between green, brown and yellow bands printed factory marks, restored top rim 20cm. high £100-200 1236. ‘Orange Capri’ a Clarice Cliff Bizarre pedestal bowl, painted in colours, printed factory mark, small chip to foot rim 20cm. high £80-120 1237. ‘My Garden’ a Clarice Cliff Bizarre vase, painted in colours, a George Jug, A Clarice Cliff Toby jug, a cup and a press-moulded glass figural candlestick printed marks 16.5cm. high £100-200

1238

1238. ‘Honeydew’ a Clarice Cliff Bizarre Trieste tea for two, painted in colours printed factory marks damages to pot and one saucer teapot 13cm. high £300-500

1239 1240

1239. ‘Forest Glen’ a Clarice Cliff Bizarre bowl, painted in colours, and a ‘Lorna’ Clarice Cliff Conical coffee pot and cover printed factory marks 20cm. diam. £100-200

1241

1242

1243

1240. ‘Aurea’ a Clarice Cliff Bizarre vase, painted in colours printed marks 24cm. high £250-350

1241. ‘Vera’ a rare Clarice Cliff miniature wall mask, painted in colours on a turquoise ground, with a Clarice Cliff Lucky Star horoscope pamphlet printed marks 8cm. high £100-200

1242. ‘Moonflower’ a Clarice Cliff Fantasque Bizarre Athens teapot, and a cover painted in colours printed factory marks, 11.5cm. high £80-120

1244

1243. ‘Berries’ a Clarice Cliff Fantasque Bizarre bowl, painted in colours printed factory mark, 11.5cm. diam. £100-200

1244. ‘Orange Trees and House’ a Clarice Cliff Fantasque Bizarre Conical bowl, painted in colours 19cm. diam. £150-250

1245. ‘Crocus’ a Clarice Cliff Bizarre Hereford biscuit barrel and cover, painted in colours, and a ‘Crocus’ bowl printed and painted marks, repaired chip rim of barrel 16cm. high £200-400

1245

1246

1247

1250

1248

1251

1249

1252

1253

1246. A Crown Ducal single-handled Byzantine vase designed by Charlotte Rhead, tubeline decorated in colours on a mottled orange ground printed marks, facsimile signature 21cm. high £50-100 1247. A Crown Ducal Byzantine charger designed by Charlotte Rhead, tubeline decorated in colours printed marks facsimile signature 44cm. diam. £100-200

1254

Provenance The Albert E Wade Collection 1248. An Art Deco Myott pottery Fan vase painted in colours, a Myott Apple Picker jug another Myott jug and a pair of vases printed factory marks, Fan vase 21.5cm. high £150-200 1249. An Edna Best Art Pottery Art Deco sandwich set, retailed by Lawleys, painted with abstract fruit and foliage in colours, comprising; tray and six side plates, a Carlton Ware vase, a Royal Copenhagen Faience vase, a Doulton Titanium dish and a collection of ceramics and glass various marks tray 32cm. wide £50-150 1250. A large Glebe Chelsea pottery model of a cottage by A M Raper, dated 1935, painted in colours, and three smaller painted marks, Robertson & Co retailers label 18cm. wide £100-200 1251. ‘Celtic Harvest’ a Clarice Cliff teapot and cover, painted in colours, ‘OKT42’ a novelty Sadler teapot, and fourteen other teapots printed factory marks, damages 15cm. high £200-400

1255

1252. ‘OK T42’ two Sadler novelty teapot and covers, one painted green the other cream, highlighted in silver impressed marks, hairlines 22cm. wide £80-120 1253. A pair of Packard and Ord book rests, triangular section, painted with vases of flowers and ceramic ornaments in colours unsigned 10.5cm. high £50-150 1254. An unusual Foley China coffee set for six, in the manner of Frank Lloyd Wright, pattern V838, printed and enamelled with black and red circles over a mint green and white body, comprising; coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed and painted marks, damages coffee pot 17cm. high £100-200 1255. ‘The Right Hon S.M.Bruce PC MC MP’ an Ashtead Pottery limited edition character jug, designed by Percy Metcalfe, glazed oatmeal moulded mark, printed factory mark and facsimile signature, 77/500, 18.5cm. high £250-300 Literature The Studio 1928, reproduced page 522 20s Decorative Art, Taschen 1256. ‘Eastern Lady’ an Ashtead Pottery figure designed by Phoebe Stabler, model M37, painted decoration printed and painted marks, small chip to base rim 14cm. high £200-300

1256

1257

1258

1261

1259

1260

1262

1257. A Shelley bone china tea service, painted with graduating green and black bands, and a small collection of Shelley printed and painted marks, damages teapot 11cm. high £100-200 1258. ‘Tall Trees’ a Shelley Pottery graduated set of three meat platters, pattern no. 11678, printed in black and yellow, printed and painted marks, largest platter 48cm. wide £150-250 1259. A Shelley novelty three piece tea set, designed by Mabel Lucie Attwell, comprising mushroom teapot and cover, Booboo milk-jug and mushroom sugar basin, enamelled in colours printed factory marks, facsimile signature teapot 13cm. high £250-300 1260. A Shelley Pottery figure designed by Mabel Lucie Attwell, modelled as a young girl holding a doll, glazed in colours painted black base 15cm. high £80-120 1263 1261. ‘Silver Sage’ a Shelley Pottery Regent part tea set, pattern no.12504, comprising; milk-jug, five cups and saucers printed and painted marks, damages saucers 12cm. diam. £80-120 1262. A Shelley part tea and dinner service, pattern no.12207, painted with blue panels, highlighted in silver, comprising; tureen and cover, sauce boat, eight twin-handled bowls and six saucers, four plates, a milk-jug, five cups, eight saucers, twelve side plates and a sandwich plate printed and painted marks, wear and damages tureen 24cm. diam. £150-200 1263. ‘Hollyhocks’ a Shelley Eve coffee set for nine, pattern no. 12019, printed and enamelled in colours, comprising; coffee pot and cover, milk-jug and sugar basin, nine cups and saucers, printed and painted marks, minor damages coffee pot 17cm. high £50-150 Sold on behalf of the executors of Dr John Birch deceased. 1264. A Shelley Mode tea cup, saucer and side plate trio, pattern no.11757, enamelled in colours with stylised flowers, the solid handle with a butterfly wing design, another Shelley Mode trio pattern 11755 and a Mode coffee cup and saucer printed and painted marks, plate 16.5cm. wide £300-400 1264

1265

1255

1269

1267

1270

1271

1268

1272

Poole Pottery 1265. A Poole Pottery vase painted by Eileen Prangnell, pattern PO, painted with geometric flowers and foliage in colours on a white ground impressed and painted marks 24cm. high £50-150 1266. A Poole Pottery twin-handled vase by Gwendoline Selby, pattern AP, painted with flowers and foliage in colours on a white ground impressed and painted marks, 19cm. high £50-100 1267. A Poole Pottery vase by Anne Hatchard, pattern ZW, painted with flowers and foliage in colours on a white ground impressed and painted marks, 21cm. high £80-120 1273

1274

1268. A Carter, Stabler & Adams, Poole Pottery vase by Ruth Paveley, pattern CO, painted with geometric flowers and foliage, in colours on a white ground, and another Poole Fuchsia vase by Ruth Paveley impressed and painted marks 16.5cm. high £100-200

1269. A Poole Pottery vase by Vera Bridle, pattern SN, painted with a bird amongst stylised flowers and foliage, in colours, and another smaller impressed and painted marks, 17cm. high £100-200 1270. A Poole Pottery vase by Rene Hayes, pattern YE, painted with geometric flowers and foliage in shades of yellow, grey and black, and another Poole vase by Ruth Paveley impressed and painted marks, 12cm. high £100-200 1271. A Carter, Stabler & Adams Poole Pottery vase by Eileen Prangnell, painted with geometric flowers and foliage, in colours on a white ground, a VG vase by Edith Jeffery and another Poole vase impressed and painted marks 16cm. high £100-200 1272. A Carter, Stabler & Adams, Poole Pottery vase painted in the Fuchsia pattern, two painted with geometric panels, three jugs, four bowls and three preserve pots and covers various marks, 15.5cm. high £100-200

1275

1273. A Poole Pottery vase, pattern PU, designed by Truda Carter, painted in colours impressed and painted marks, 12cm. high £100-200 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 66 this design illustrated 1274. A Poole Pottery Art Deco Hors D’oeuvre dish set painted by Ruth Paveley, pattern VK, comprising four curved dishes and central circular dish, painted with fish and stylised sea design in pink and black, on a circular wooden tray impressed and painted marks 31cm. diam. £80-120 1275. A Carter, Stabler & Adams stoneware Picardy Peasant figure designed by Phoebe Stabler, glazed in colours impressed marks and cast signature 26cm. high £150-200 1276. ‘Cape Horn’ a Poole Pottery charger designed by C L A Woollard, and painted by Patricia Summers, painted with the Penrhyn Castle sailing past the horn, the rim inscribed Presented to St Malo painted marks 45cm. diam. £200-300

1276

1277

1280

1278

1281

1279

1282

1283

1277. A Carter’s Tiles, Poole Pottery tile topped coffee table, the rectangular top set with tiles painted with geometric and floral design, on turned wood legs applied paper label to base 79 x49cm. £80-120

1278. A Poole Pottery Delphis vase shape no.84, painted with abstract design in turquoise and black on a yellow ground, and a Poole Pottery spray-glazed vase and bowl printed and painted marks, 22.5cm. high £80-120

1279. A Poole Pottery Atlantis vase by Guy Sydenham, ribbed, cylindrical form, glazed in white and black, and three other Poole Pottery vases impressed and incised marks 16.5cm. high £50-100 1284 1280. A Poole Pottery Aegean plate resist decorated with a woodpecker, and a Poole Pottery Aegean plate decorated with a leaf in resist printed marks 20cm. diam. £80-120

1281. A Poole Pottery Delphis trial plate by Janet Laird, painted with a flower roundel to the well, the rim with leaves and geometric panels, in colours printed and painted marks, 26.5cm. diam. £150-200

1282. A Poole Pottery Delphis trial plate by Janet Laird, painted with a flower roundel to the well, inside leaf and geometric borders, in colours printed and painted marks, 26.5cm. diam. £150-200 1285 1283. A Poole Pottery Studio plate painted with an abstract design in greens and ochre impressed Studio TV mark 19.5cm. diam. £80-120

1284. A Poole Pottery Studio bowl, painted to the well with a running amorphic glaze printed Poole Studio mark 20.5cm. diam. £80-120

1285. A Poole Pottery Atlantis plate by Guy Sydenham, decorated with a radiating design, a Poole Pottery Contemporary lamp base and a collection of Poole Pottery various marks 19cm. diam. £50-150

1286. A Poole Pottery Studio vase designed by Robert Jefferson, shouldered cylinder form, painted in resist with geometric design in shades black, white and red printed studio mark 39cm. high £400-600 Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 116 for an image of the Rackhams display. Provenance purchased from Rackhams Department Store, Birmingham, 1967-8 for 8 guineas 1286

1287

1288

1291

1292

1289

1293

1290

1294

1287. ‘Riveria’ a Midwinter service designed by Sir Hugh Casson, printed with vignette, comprising; on e platter, six dinner, entree and side plates, one sandwich plate, six dessert and breakfast bowls, one gravy boat and saucer, two egg cups and a tray, a mustard pot and cover printed factory marks, sandwich plate 24.5cm. wide £150-250 1288. A pair of Beswick Pottery vases, model no. 1357, painted with black and white stripe design, internally glazed red impressed and printed marks 20cm. high £80-120 1289. A Midwinter vase designed by Jessie Tait, waisted cylindrical form, slip decorated with bands of decoration in black printed factory mark 10cm. high £100-150

1295

Literature Steven Jenkins Midwinter Pottery, Richard Dennis Publications, page 50 top illustration for a comparable vase 1290. A Crown Devon Memphis vase designed by Colin Melbourne, model CM2 shouldered form with flaring cylindrical neck, decorated in gilt on a matt black ground, and a Crown Devon Memphis lampbase CM7L printed mark and facsimile signature 14.5cm. high £80-120 1291. A large Rye Pottery cockerel, probably designed by David Sharp, painted in colours on a silver-white ground, a Rye Pottery figural candlestick, a small Iden Pottery vase and four other items painted marks, 34cm. high £100-200 1292. An Oyster charger by Dennis Townsend, Rye Pottery, painted in resist with stylised oyster shells in colours painted monogram dated 1971 35cm. diam. £80-120

1296

1293. ‘The Queen’s Arms’ a Chelsea Pottery model of a pub glazed in colours stamped mark to base 24cm. wide £80-120 1294. A pair of Chelsea Pottery terracotta figures of doctors, dressed for the operating theatre wearing surgical gloves, glazed in colours unsigned 20cm. high £80-120 1295. A Moorland Pottery vase, tapering cylindrical body with knopped neck and everted rim, glazed with bands and triangles in lustre, yellow and green, and five other vases printed marks, 26cm. high £80-120 Provenance The Albert E Wade Collection 1296. A Troika Pottery cylinder vase, painted with geometric bands, and a collection of various pottery painted marks, 37cm. high £50-150 1297

1298

1297. A Troika Pottery slab vase, modelled in low relief, with stamped Troika mark decoration, painted in shades of blue and ochre painted marks 17.5cm. high £100-200 1298. A Troika Pottery rectangular lamp base, cast in low relief with abstracted figure design, in shades of blue and white on a buff ground, and a Troika Pottery Chimney vase painted marks lamp 33cm. high £150-250 1299. A Richard Parkinson Pottery owl, glazed blue, and a Troika Pottery wheel vase, various marks, damages, owl 8cm. high £50-100 1300. A Troika Pottery Wheel lampbase, modelled in relief with geometric design in blue green and ochre painted marks, repaired 27cm. high £80-120

1299

1300

1301

1305

1302

1303

1306

1304

1307

1308

1301. ‘Touriera’ a Ratton limited edition tile designed by Paula Rego, glazed in colours with a man holding a parrot, card slip case, painted signature and number to reverse 14cm. square £200-300 1302. ‘Macaco Com Lagarto’ a Ratton limited edition tile designed by Paula Rego, painted in colours with mythical beasts, in card slip case painted signature and number to reverse 14cm. square £200-300 1303. ‘Woodside Farm’ a Moorcroft Pottery vase, designed by Angela Davenport, painted in colours impressed and painted marks 15cm. high £300-500 1304. ‘Yacht’ a Moorcroft Pottery tea cup and saucer, designed by William Moorcroft, painted in green and pink on a white ground impressed marks, hairline to top rim, saucer 14cm diam. £100-200 Provenance Moorcroft Museum, catalogue number 283

1309

Private collection 1305. ‘Delonix’ a Moorcroft Pottery ginger jar and cover, painted in colours printed and painted marks, dated 2002 15cm. high £80-120 1306. ‘Clematis’ A Moorcroft Pottery vase designed by Walter Moorcroft, painted in colours, and a smaller Moorcroft Pottery Anemone vase painted blue signature 18cm. high £100-200 1307. ‘Orchid’ a Moorcroft Pottery lamp base, designed by William Moorcroft, painted in colours on a blue ground impressed marks, painted green signature, filled hole to base 21cm. high £200-300 1308. ‘Rose’ a Moorcroft Pottery Collector’s Club jug, painted in colours printed factory mark 14.5cm. high £80-120 1309. ‘Carp’ a Moorcroft Pottery twin-handled vase, designed by Sally Tuffin, painted in colours on a celadon ground impressed and painted marks, professionally restored handle 34cm. high £500-800 1310. ‘Tulip’ A James Macintyre & Co twin-handled vase, designed by William Moorcroft, painted with panels of tulips and wild flowers in shades of green, blue and yellow on a white ground printed and painted marks, retailers mark for J W Baker Aberdeen, minor professional restoration to top rim 25.5cm. high £1,200-1,800 1310

1312

1311

1315

1313

1316

1314

1317

1318

Dennis ChinaWorks 1311. ‘Penguin’ an early Dennis Chinaworks vase designed by Sally Tuffin, dated 1997, painted in colours impressed and painted marks no.3, 21cm. high £120-180 1312. ‘Polar Bear’ a Dennis Chinaworks box and cover designed by Sally Tuffin, dated 2005, with polar bear finial, painted in colours printed and painted marks, no.7 13cm.high £120-180

1319

1313. ‘Blue Bee’ a Dennis Chinaworks Pottery limited edition jar and cover, designed by Sally Tuffin for Yesterdays Collectables, painted in colours printed marks, no.4/15, restuck wing 12cm. high £100-200 1314. ‘Bee’ a Dennis Chinaworks preserve and cover designed by Sally Tuffin, dated 2005, painted in colours impressed and painted marks 12.5cm. high £150-200 1315. ‘Butterfly’ a Dennis Chinaworks trial tazza designed by sally Tuffin, dated 2006, painted by Tania Pike in colours on a cream graduating to blue ground impressed and painted marks, 15cm. diam. £80-120 1316. ‘Deer’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, dated 2003, made for Garners, painted in colours on a pale yelllow-green ground painted marks, 47/100 19.5cm. high £100-150

1320

1317. ‘Rabbit’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 1998, painted in colours on a red ground painted marks, 14.5cm. high £60-100 1318. ‘Flasher’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 1999, painted in colours on a black ground impressed and painted marks, no.15 15.5cm. high £100-150 1319. ‘Spider’ a Dennis Chinaworks biscuit box and cover designed by Sally Tuffin, dated 1998, painted in ochre on a black ground impressed and painted marks, no.3 13cm. diam. £120-180 1320. ‘Iris’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2002, painted in colours impressed and painted marks, numbered 15 17cm. high £100-200

1321

1321. ‘Iris’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2002, painted by Heidi Warr, in shades of orange blue and green on a purple ground impressed and painted marks, numbered No.3 27cm. high £150-200

1322

1326

1323

1324

1327

1325

1328

1329

1322. ‘Hummingbird’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, painted in colours, painted marks, numbered 21/100 13.5cm. high £80-120 1323. ‘Fish after William De Morgan’ a Dennis Chinaworks Trial box and cover designed by Sally Tuffin, dated 2006, the cover with fish finial, glazed in shades of pink printed and painted marks 14.5cm. high £200-300 1324. ‘White Poppy’ a Dennis Chinaworks Barrel vase designed by Sally Tuffin, dated 2002, cylindrical form. painted in colours on a blue ground printed and painted marks, no.27 24cm. high £120-180 1325. ‘Red Poppy’ a Dennis Chinaworks Barrel vase designed by Sally Tuffin, dated 2002, painted in shades of red and orange on a black ground printed and painted marks, no.24, 24cm. high £120-180 1326. ‘Fennel and Bee’ a Dennis Chinaworks vase designed by Sally Tuffin, ribbed ovoid form with moulded bees, painted in colours painted marks, No.2 18cm. high £300-400

1330

1327. ‘Circles’ a Dennis Chinaworks Egyptian vase designed by Sally Tuffin, dated 2002, painted in colours on a yellow ground, impressed and painted marks, numbered no.5, 21cm. high £250-350 1328. ‘Bat’ a Dennis Chinaworks trial vase designed by Sally Tuffin, dated 2001, cylindrical form, painted in colours on a blue ground impressed and painted marks 21cm. high £80-120 1329. ‘Hare Moonlit’ a Dennis Chinaworks Etruscan vase designed by Sally Tuffin, dated 2005, painted in shades of blue impressed and painted marks, numbered no.9, 35.5cm. high £400-600 1330. ‘Black Cockerel’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, painted in colours printed and painted marks, no.3, 35cm. high £500-700 1331. ‘Peacock’ a Dennis Chinaworks limited edition vase and cover designed by Sally Tuffin, dated 2007, painted in colours printed and painted marks, numbered 16/40 31cm. high £600-800 1331

1332

1335

1333 1334

a Private ColleCtion of stuDio Pottery 1332. Seth Cardew (born 1934) a Wenford Bridge water jug, ovoid form with applied scroll terminal handle, incised ‘Water’ under an ash glaze impressed seal marks 17cm. high £100-150 1337

1336

1333. Ray Finch (1914-2012) a Winchcombe Pottery jug, slip decorated with banded decoration, a smaller jug, three Sidney Tustin covered pots, two Sidney Tustin beakers and a collection of related slipware impressed seal marks, damages 17.5cm. high £100-200 1334. David Leach (1911-2005) a Lowerdown Pottery stoneware vase, square section, resist decorated with a willow tree in ash over Tenmoku impressed seal marks, 20cm. high £120-180 1335. David Leach (1911-2005) a Lowerdown Pottery porcelain box and cover, circular, painted with grasses in blue and iron red on a pale celadon ground impressed seal mark 10.5cm. diam. £100-150

1338

1339

1340

1341

1336. Lowerdown Pottery a stoneware jug, painted with a stylised fern leaf in Tenmoku and blue on an ash glaze, a Lowerdown Pottery bud vase, and a collection of Leach Pottery domestic ware impressed seal marks 12.5cm. high £100-200 1337. Mike Dodd (born 1943) a stoneware footed bowl, covered to the foot in an ash glaze with rust stripes, and another smaller and a cheese dish and cover, impressed seal mark 17cm. diam. £80-120 1338. Jim Malone (born 1946) a large Ainstable Pottery bowl, resist decorated under a Tenmoku glaze, and a smaller Jim Malone bowl and cover impressed seal marks 28cm. diam. £100-200 1339. Jim Malone (born 1946) an Ainstable Pottery stoneware bottle vase, incised and painted with a fish swimming through rushing water glazed brown and blue on a cream ground impressed seal marks, 33cm. high £100-200

1342 1343

1340. Mashiko Pottery a pair of stoneware plates, resist decorated with grasses, under a rich Tenmoku glaze unsigned 25cm. diam. £200-300 1341. Mashiko Pottery a pair of stoneware plates, one resist decorated with fish, under a rich Tenmoku glaze, the other abstract unsigned 25cm. diam. £100-200 1342. Hamada Shinsaku a stoneware unomi (tea bowl), footed form decorated with bottle green dot panels on ash glazes, in original fitted box, applied paper label and exhibition label 5.5cm. high £100-200 Exhibited The Hamada Exhibition, Phil Rogers, Lower Cefn Farm 2005 number 57

1344

1345

1346

1348 1347

1349

1350

1343. Mark Griffiths a large stoneware charger, decorated with simple poured design over Tenmoku impressed seal mark 50cm. diam. £80-120 1344. Richard Batterham (born 1936) a cut sided stoneware storage jar and cover, covered to the foot in an ash and Tenmoku banded glaze, another smaller and a large collection of studio pottery by various artists main items unsigned 23cm. high £120-180

1351

1345. David Frith (born 1943) a Brookhouse Pottery stoneware charger, painted to the well with a leaping fish above waves, either side nets, in colours on a celadon ground impressed seal marks 41cm. diam. £100-200 1346. Ian Gregory (born 1942) a salt-glaze stoneware sculpture, modelled as a shelf of pots impressed seal marks 34cm. wide £80-120 1347. Phil Rogers (born 1951) a salt-glaze stoneware storage jar and cover, a unomi and a collection of studio pottery by various artists impressed seal marks, 28cm. high £100-200 1348. Phil Rogers (born 1951) a salt-glaze stoneware vase, waisted form with applied lug handles, another smaller, painted with grasses, a shell impressed unomi, a preserve pot and cover, bowl and a dish by the same artist, and a collection of studio pottery ephemera impressed seal marks 20cm. high£100-150 1349. Phil Rogers (born 1951) a stoneware storage jar and cover, decorated with columns of impressed pattern under an ash glaze, a salt-glaze footed bowl, a floating bowl and four other bowls by the same artist impressed seal marks 24cm. high £100-200

1352

1350. Phil Rogers (born 1951) a salt-glaze stoneware jug, tall bellied form with simple painted decoration, a small vase with impressed column design, a Unomi with incised spiralling decoration and a small collection of pottery impressed marks 20cm. high £100-200 1351. Phil Rogers (born 1951) a shouldered stoneware vase, wax resist decoration of flower stems, in ash under a tenmoku glaze impressed seal mark 33cm. high £150-200 1352. Phil Rogers (born 1951) a large stoneware storage jar and cover, with impressed and incised decoration, glazed to the foot in ash impressed seal mark 38cm. high £150-200 1353. Phil Rogers (born 1951) a resist decorated stoneware vase, decorated with simple brush stroke motif under salt-glaze impressed seal mark 27cm. high £80-120 1353

1355

1357

1354

1356

1354. Leach Pottery a stoneware lamp base designed by Bernard Leach, waisted square section, glazed in tenmoku with resist motif impressed seal mark, restored 30cm. high £80-120

1355. Upchurch Pottery a vase, shouldered form, covered in a streaked blue-green glaze incised Upchurch 18cm. high £80-120

1358

1359 1356. Ian Godfrey (1942-1992) a stoneware birdhouse sculpture, glazed in shades of brown unsigned 21.5cm. high £80-120 Provenance purchased from the Craftsman Potters shop, circa 1975

1357. Michael Casson (1925-2003) a salt-glaze stoneware chalice and paten, impressed seal marks 15cm. high £50-80

1358. John Ffrench a pottery vase, bottle form painted with abstract eye pattern in purple, green and brown impressed marks dated 2000 24.5cm. high £60-100

1359. Alan Sidney a stoneware teapot form, modelled as a surreal globe object with animals and vegetation, the stopper with a crescent moon, glazed in matt blues unsigned 36.5cm. high £100-150

1360. ‡ Lucie Rie (1902-1995) a stoneware bottle vase, ovoid footed form with slender neck and broad flaring rim, spiralled sand and pale blue glaze on white impressed seal mark, minor professional restoration to top rim 26.5cm. high £2,500-3,000

1360

1361

1365

1362

1363

1366

1367

1364

1368

Continental CeraMiCs 1361. An Art Deco Noritake porcelain dish, printed and painted with geometric flowers printed mark 23.5cm. wide £50-150 1362. A Boch Freres Keramis vase, designed by Charles Catteau, pattern D.8784, shouldered form with everted rim, painted with flowers and foliage in shades of yellow and brown, highlighted in orange printed and painted marks 24cm. high £80-120 Provenance 20th Century Design Christies South Kensington, 13th October 2004 lot 411 Albert E Wade collection

1369

1363. A Cantagalli Pottery vase, painted in ochre with scrolling flowers and foliage, another with applied snake and two plates painted marks, glaze chips 17cm. high £80-120 1364. A Continental pottery charger, in the manner of Jean Besnard, painted with a bird to the well painted signature to reverse 39cm. diam. £50-100 1365. ‘La Maitrise’ a Keramis vase designed by Maurice Dufrene, model no. D.711, slender form with everted rim, painted with bell flower cartouche in blue and yellow on a crackled white glaze impressed and printed marks, facsimile signature, restored top rim 33cm. high £150-250 1366. A Boch Freres Gres Keramis vase designed by Charles Catteau, bottle form enamelled with stylised flowers printed marks and facsimile signature 25cm. high £120-150 1367. A pair of Longwy Pottery vases, solifleur form, painted with geometric bands on a crackled ground printed marks, 20cm. high £100-200 1368. A Longwy Pottery vase, cylinder form, enamelled in colours with an exotic bird amongst flowering foliage, on a white crackled ground stamped and painted marks, hairlines 21cm. high £80-120

1370

1369. A Longwy Pottery dish, pattern no. 5670, elliptical section, enamelled with flowers and foliage in shades of green, yellow and turquoise, highlighted in gilt printed and painted marks, to reverse 35cm. wide. £100-200 1370. A Boch Freres Keramik charger designed by Charles Catteau, enamelled to the well with geometric roundel, in shades of yellow and coral red, on crackled ground printed mark and facsimile signature 37cm. diam. £100-200 Provenance The Albert E Wade Collection 1371. ‘Hercules et la Biche’ a Longwy Pottery limited edition charger by R Rizzi, enamelled in colours printed and painted marks, numbered 18 of 60, 37cm. diam. £300-500 1371

1373

1372

1376

1374

1377

1375

1378

1379

1372. A continental pottery jardiniere and stand in the manner of Jerome Massier, the base modelled as a classical dolphin, the bowl two classical dolphin swimming, their tails forming handles, glazed pink and green unsigned, damages 93cm. high £200-300 1373. ‘Les Mains’ two graduated Bauscher Weiden plates designed by Le Courbusier for Prunier, printed in purple and black printed factory mark, facsimile signature, largest 24cm. diam. £200-300 1374. A pair of continental wall plates, printed n black with designs by Pablo Picasso, mounted and framed facsimile signature Picasso to reverse plates 24cm. diam. £80-120 1375. A Mitterteich, Bavaria four piece tea set, conical form, comprising teapot and cover, hot-water pot and cover, sugar basin and cover and a milk-jug and a pair of Germany pottery tureen and covers designed by Raymond Loewry printed marks tureens 27cm wide £50-100 1376. A small collection of Communist collectables and ephemera, including white glazed pottery busts of Lenin and Mao Tse Tung, a full length pottery figure of Mao a Chinese Communist alarm clock, and a small collection of books Mao bust 28cm. high £200-300 1380

1377. A Fornasetti Pottery dish,designed by Pierro Fornasetti printed in colours with a flag inscribed ‘Re d’Inghilterra’, printed factory mark 18cm. wide £80-120 1378. An Arabia Pottery Ruska tea, coffee and dinner service for six, mottled brown glaze, comprising, coffeepot and cover, milk-jug and sugar basin and cover, six cups and saucers, and an additional six expresso cups and saucers, a tea pot and cover, milk-jug and sugar basin six cups, saucers and side plate, twelve dinner plates and six dessert bowls coffee pot some with printed marks 18cm. high £100-200

1380A

Literature Jennifer Opie Scandinavian Ceramics and Glass in the 20th Century, Victoria & Albert Museum, page 66 catalogue number 161. 1379. A French porcelain night-light, baluster form, painted with bunches of cherries on a geometric ground, with gilt metal cover and fitting painted J T P Paris to base, indistinct signature to side 22cm. high £50-150 1380. A set of twelve Nymolle Denmark months of the year wall plaques , designed by Bjorn Wiinblad, printed factory marks, facsimile signature 15cm. diam. £80-120 1380A. A Gustavsberg Argenta Ware vase compressed ovoid form with collar neck, decorated with silver flower motif on matt green glaze, a Gustavsberg dish similar, a Royal Copenhagen ovoid vase and a Royal Copenhagen covered dish, various marks vase 7.5cm. high £50-150

1381

1381. A Sevres biscuit porcelain model of a walking polar bear cast from a design by Francois Pompon with textured glaze finish printed marks 31cm. wide £500-600 1382. A Wiener Keramik figure of a woman with a muff, the design attributed to Michael Powolny, another Wiener Keramik figure of a woman holding a basket and another holding a broad rimmed hat and flowers, glazed in colours impressed marks, damages 24cm. high £200-400 1383. A Purmerend Jugendstil Faience ewer, painted with sunflowers in colours painted factory marks, 24cm. high £400-500 Literature Jugendstil Uit Purmerend, catalogue number 71 page 59 for an identical example

1382

1383

1385

1384

1388

1389

1386

1390

1387

1391

1384. A Copenhagen figure of a exotic maiden, modelled kneeling, painted in colours, and five other animal and bird models various marks 16.5cm. high £50-150 1385. Two large Ladro figures one modelled as a semi-clad maiden holding an amphora vase to her shoulder, the other modelled kneeling and offering up a white dove, glazed in matt colours impressed and printed marks 52cm. high £50-150 1386. A Rouzan Pottery figure of a woman, modelled kneeling raising her hands up to her face, glazed in colours painted marks £80-120 1387. A Royal Dux pottery figure group, modelled as a Venetian woman being serenaded by a pierrot, in colours, highlighted in gilt applied pink triangle, printed marks, 28cm. high £300-350

1392

1388. An Art Nouveau pottery bust of a maiden, by A Gory, model no.3129, downcast contemplative gaze, her dress embellished with stars and flowers glazed impressed marks 39cm. wide £250-350 Provenance The Albert E Wade Collection 1389. A Continental Pottery Art Deco figure of a dancer, modelled wearing black catsuit and holding a green scarf printed marks, repaired damages 30cm. high £50-150 1390. An Aladin porcelain night light, modelled as a kneeling Nubian woman holding an amphora, glazed in colours, highlighted in gilt painted marks 21cm. high £100-200 1391. A large Theodore Haviland duck tureen and cover designed by Edouard-Marcel Sandoz, glazed in shades of white, blue and yellow, another modelled as two ducks and a rabbit mustard pot and cover with spoon printed factory marks, facsimile signature, green base restored, 26cm. wide £700-1,000

1393

1392. A Royal Dux pottery wall mask, modelled as a woman in black, white and coral red scarf and hat, and two others similar printed marks, chip to tip of hat, 16cm. high £100-200 1393. ‘Lady With Hat and Spotted Scarf’ a Beswick Pottery wall mask, model no.449, modelled as a woman in broad rimmed black hat, glazed in colours impressed marks, paint loss 31cm. high £80-120 1394. A Lenci Pottery bust of a woman, modelled as a woman wearing a headscarf, painted in blue and black painted marks, original paper label 26cm. high £150-250

1394

1395

1399

1396

1400

1397

1401

1398

1402

1395. An Amphora Pottery Secessionist vase, twin-handled form with applied metal rim, decorated with a stylised bird enamelled in shades of brown, yellow, green and blue on a brown ground impressed marks and Stellmacher 20cm. high £200-250 1396. A Continental Pottery vase, in the manner of Dagobert Peche, tapering, ribbed cylindrical form, modelled in low relief with abstract bell flowers in gilt printed and impressed marks, 15cm. high £100-200 1397. A Zsolnay Pecs pottery ewer and cover, painted with scrolling flowers and foliage in colours on a cream ground, impressed marks, repaired finial 38cm. high £80-120 1398. A Continental Secessionist pottery vase, compressed body with tall solifleur neck, applied handles to shoulder, cast in low relief with flowerhead frieze, glazed in shades of blue impressed marks, 2733 1 46cm. high £100-200 1403

1399. A pair of Limoges vases designed by Martial Redon, swollen cylindrical form, painted with a hawk resting and watching small birds flying above, in colours on a lavender lustre ground printed factory marks, 34cm. high £200-300 1400. An Ernest Chaplet pottery vase modelled in low relief and incised with flowers and foliate, in colours on a matt ground, high lighted in gilt impressed H & CO mark 29.5cm. high £100-200 1401. A pair of Rambervilles Pottery book ends, modelled as a fox stalking two rabbits, under a rich green lustre glaze, a vase and a continental pottery vase impressed marks, minor damages 15cm. high £50-100 1402. A Wonderland Pottery Bombay School of Art charger, painted with flowers and foliage bands, in colours painted marks to reverse, firing faults and cracks 46cm. diam. £50-150

1404

1403. An Amphora Pottery Art Nouveau vase, the floriform stem on four-square feet, applied with grape bunches and vine, glazed in colours, highlighted in gilt impressed marks, 22cm. high £300-500 1404. A Rookwood Pottery vase, painted with flag iris in colours on a graduated black ground impressed marks 24cm. high £100-200 1405. A Gres de Bigot stoneware inkwell with pewter mounts, designed by Alexandre Bigot, compressed stoneware body with Art Nouveau pewter mounts impressed factory mark 14cm. diam. £250-300

1405

late 19th Century Design froM the ColleCtion of roy DaviDs

1406

1406. A Gothic Revival brass mounted wooden jewel chest, with hinged domed top, on four geometric feet unsigned 24.5cm. wide £800-1,200

1407. A John Keith electroplated metal flagon designed by William Butterfield, on stepped foot, the scroll handle with pierced Gothic Revival roundels, inscribed ‘Glory be to God on High’, with engraved scroll decoration to the spout unsigned 28cm. high £500-1,000 Literature An identical example in silver commissioned by St Mary’s Church Lambeth, 1854, is included in the Victoria and Albert museum collection.

1407

1408. A large Gothic Revival double inkwell with letter rack attributed to Edward Welby Pugin, dated 1865, rectangular section on claw feet, the base decorated with a frieze of flowerheads, two square section glass inkwells, and four compartment letter rack, the front inscribed to Thomas Stuart Kennedy and dated 1865, unsigned 32cm. wide £1,500-1,800

1408

Catalogue notes Thomas Stuart Kennedy commissioned Edward Welby Pugin to design Meanwood Towers, Leeds which was built between 1866-1867. Kennedy was married in Canterbury Cathedral in 1865 and this inkwell may be a wedding present. Kennedy was an engineer and alpinist, the first to conquer Dent Blanche mountain in Switzerland.

1409. A Gothic Revival Hart & Son brass inkwell and pen stand, circular section base, engraved with maple leaf frieze, the pierced rail holding a glass well, with hinged conical to, the base applied with ropework pen holder unsigned 22cm. diam. £600-800 Literature This inkwell illustrated in the Hart and Son Medieval Metal Workers catalogue circa 1865 sent to the V&A

1409

1410. A pair of John Hardman & Co polished brass candlesticks designed by Edward Welby Pugin, the tapering circular foot supporting pierced foliate stem with initials below flaring crenulated sconce unsigned 38cm. high £1,500-2,000 Literature John Hardman & Co 1875 catalogue this design with foliate panel illustrated.

1410

1411. A John Hardman & Co gilt brass and enamel altar vase designed by A W N Pugin, the flattened body on flaring circular base, the cylindrical neck flanked with pierced foliate handles, the sides with teardrop panels of enamelled foliate decoration unsigned 26.5cm. high £800-1,200 Literature Paul Atterbury (editor) A W N Pugin Master of Gothic Revival figure 77 page 312 for a comparable pair illustrated. there is also a drawing by Pugin of a similar stick illustrated in the Hardman & Co catalogue, 1846, number 2. The Country House Sale, Sworders Auctioneers 24th April 2012, lot 573 for an identical vase designed by Pugin, probably for his own use, at The Grange, Ramsgate.

1411

1412. A John Hardman & Co silver beaker, designed by John Hardman Powell, footed form, the foot with rope borders, the flaring cylindrical body with Gothic frieze inscribed ‘Ethelreda Lucy Powell’ the base inscribed ‘from her godfather Edward Powell August 11th 1868’ stamped marks, Birmingham 1868 12.5cm. high £1,000-1,500

1412

1413. A fine John Hardman & Co yellow gold chalice and cover, flaring foot with knopped stem set with cabochon sapphire and rubies, the bowl with a band of applied wirework scrolling foliage and cabochon sapphires and rubies, the tapering cover with crenellated rim. the finial a coral ball stamped J H & Co 19cm. high, 392 grams total weight ÂŁ12,000-15,000

1414. ‘Puss in Boots’ a unique silver and enamel pendant necklace by William Burges, tapering square section silver body with two hanging coral beads flanking a carved coral flower, with central blue enamel panel, inscribed in Burges’s Gothic script Lizzie Gage 1880 5cm. high The pendant relates to a decorative scheme for the nursery at Cardiff Castle. The original design for this jewel is included on a page of designs for the Cat Cup held at the Victoria and Albert museum. £20,000-30,000 Provenance Lizzie Gage Applied Arts from 1880 Sotheby’s New York, 1994, lot 223 Tadema Gallery Private collection.

1415. A pencil on paper architectural sketch by William Burges, depicting a grotesque creature , framed, unsigned image 38 x 24cm. ÂŁ1,200-1,800 Catalogue notes A smaller version of this drawing exists in an album of drawings and letters held in the archives of Worcester College, Oxford. 1415

1416. A large Cox & Sons Gothic Revival enamelled, polished brass vase the design attributed to Bruce Talbert, on four feet, the swollen body enamelled with panels of geometric foliage in colours unsigned 39cm. high ÂŁ2,200-2,800 Provenance The Gothic Revival Bonhams 20th July 1995 lot 80 Paul Reeves

1416

1417. A fine Frederick Elkington Japoniste silver gilt and mixed metal Shakudo box with hinged cover, the cover decorated with two exotic birds on a maple stem, on four goat mask and cloven hoof legs, with gilded interior stamped marks, F E Birmingham 1891, 17cm. wide ÂŁ6,000-8,000 1417

1418. A fine Elkington & Co cloisonne enamel vase dated 1876, possibly manufactured for the 1876 Centennial Exhibition Philadelphia, decorated with butterflies amongst lily of the valley and wild flowers on a black ground stamped marks, signed to the enamel and dated 1876 13.5cm. high ÂŁ1,200-1,800 Literature Japonisme From Falize to Faberge A Loan Exhibition, Wartski, page 37 catalogue number 52. Although identical to cloisonne enamel Elkington had developed a technique of electro-forming the vase to form the cloison or cavity.

1418

1419

1420

1421

1422

1420A 1419. A Walker’s Patent Kapnophilon tobacco jar and cover, manufactured by F & R Pratt & Co, enamelled with scrolling foliage frieze over a gilt band printed marks 16cm. high £200-300 1420. A pair of Aesthetic Movement Charles Barlow vases, compressed, footed form with loop handles, decorated in gilt with carp, on a matt green ground printed mark 22.5cm. high £100-200 1420A. A Martin Brothers stoneware wall bracket by Robert Wallace Martin, modelled as a grotesque dragon climbing a scrolling foliate capital, glazed in shades of green, blue and ochre incised R W Martin & Bros, London & Southall, Richard Dennis paper label 18cm. high £800-1,200 Provenance Martin Brothers Pottery Exhibition, 1978, Richard Dennis Gallery 1421. A Doulton Slater’s Patent stoneware oil lamp, gilt metal griffin tripod base, the knopped body decorated with flowers in gilt and white on a brown ground, below Japoniste mixed metal panel, with frosted glass ball shade 60cm. high £200-400

1423

1422. A C J C Bailey Fulham Pottery jardiniere designed by John Pollard Seddon, cast in the form of a French Gothic capital, in low relief with stylised flower panels, glazed green and blue unsigned 22cm. high £300-500 Literature Charlotte Gere and Michael Whiteway Nineteenth Century Design Weidenfeld and Nicolson, page 118 for a comparable jardiniere illustrated. 1423. A Guild of Handicraft electroplated metal muffin dish and cover, designed by Charles Robert Ashbee, hammered finish, the base with hot-water compartment , the cover with applied wirework finial set with turquoise, unsigned 21.5cm. diam. £400-600 1424. A Guild of Handicrafts electroplated metal tureen and cover, designed by Charles Robert Ashbee, elliptical form with hammered finish, the cover set with a wirework handle, the base with a hot-water compartment unsigned 31cm. wide £400-600

1424

1425. A pair of Gordon Russell oak and brass candlesticks, the domed, octagonal base hammered with star motif and twist border, knopped, turned wood stem and brass sconce unsigned 31cm. high ÂŁ1,500-2,000 1425

1426. An Artificers Guild electroplated copper wall sconce designed by Edward Spencer, the circular pierced back with central flowerhead roundel, bordered with radiating foliate design, with three candle sconces stamped 1905 27cm. high ÂŁ1,000-1,500 Literature The Studio Yearbook 1912 page 111 The Studio Volume 46 1907 page 55 for a comparable sconce The Studio Volume 44 1908 page 207 for a comparable sconce 1426

1427. An Artificers Guild copper garniture of three vases designed by Edward Spencer, cylindrical form with flaring foot and top rim, applied ropework and stamped decorative bands smallest vase stamped Edward Spencer Del, larger with stamped numbers, tallest 17.5cm. high £150-250

1427

1428 1428. A pair of electroplated silver vases probably by the Artificers Guild and designed by Edward Spencer, cylindrical form with flaring foot and rim, applied with simple ropework and stamped bands stamped numbers to base 18.5cm. high £100-200

1429

1430

1429. An Artificers Guild electroplated silver bowl, footed form, the fluted bowl with cast foliate band to rim unsigned 21.5cm. diam. £250-350

1430. An Arts and Crafts electroplated silver pedestal bowl, possibly Artificers Guild and designed by Edward Spencer, applied with ropework band and chased decoration below a band of applied cast fish unsigned, stamped 269, 24.5cm. diam. £500-700

1431. An Artificers Guild silver hand mirror, designed by Edward Spencer, circular form, stamped in low relief with a frieze of heart motif, the handle pierced and cast with foliate spray panels and swollen reeded handle stamped marks, London 1919 33.5cm. long £400-600 Literature The Studio Yearbook 1910 page 144 for a comparable hand mirror

1431

1432. An A E Jones silver bowl, repousse hammered, footed form the rim with alternate raised roundels and red agate cabochons stamped marks, Birmingham 1906 13cm. diam. £800-1,200

1433. An electroplated metal coffee pot and cover, in the manner of the Artificers Guild, hammered finish on shallow cylindrical foot, with hinged domed cover, applied bakelite handle and finial unsigned 21cm. high £200-300

1432

1433

1434. The Swiney Prize an Artificers Guild silver cup and cover designed by Edward Spencer, domed foot, supporting faceted, swollen body, the domed cover with applied foliate frieze and surmounted with justice figural finial stamped marks, London 1928, 35cm. high £3,000-5,000 Literature Apollo 1995 The Swiney Prize 150 Years of Goldsmith’s Work this cup illustrated. Catalogue Notes George Swiney (c. 1786 - 1844), a Scot and doctor, founder both the Swiney Prize for Jurisprudence of the Society of Arts & Commerce and the Swiney Lectureship in Geology of the British Museum. The cups were made after a design by Maclise by Garrards every five years for 70 years - they were in German Renaissance style. In 1919 for the 75th anniversary of Swiney’s death the cup was made by Charles Welch after a design by Mervyn Oliver. In 1929 the cup was designed by Edward Spencer at the cost of £75. Two of the drawings for the cup are in the collection of Goldsmith’s Company (one illustrated by Thompson) - description lower section of the body is chased with scale pendants and plain concave panels above. The cover which reflects the foot is bordered by embossed leaves and centred by four scroll brackets supporting a figure of Justice. Mark: Artificers’ Guild and London hallmarks for 1928. Lent by RSA for exhibition in Oxford in 1928, before being awarded to Professor Sidney Smith MD for his publication Forensic Medicine. In 1934 the cup was designed by Lutyens.

1435

1437

1436

1435. A Birmingham Guild of Handicraft silver waist clasp designed by Arthur Fowler, each piece cast as a peacock, with pierced tail feathers stamped marks, Birmingham 1900 16cm. wide £800-1,200 Exhibited This design was exhibited at the 1899 Arts and Crafts exhibition.

1436. A Birmingham Guild of Handicraft silver vase designed by Arthur Stansfield Dixon, the hammered body with applied scrollwork decoration and scrolling handles, stamped marks, Birmingham 1901 18.5cm. wide £500-800 Literature Arts and Crafts Metalware, Blackwell, 2003 page 50 for a comparable example.

1438

1437. A pair of Birmingham Guild of Handicraft jardiniere designed by Arthur Stansfield Dixon, repousse hammered copper body with applied brass handles stamped marks 19cm. high £800-1,200

1438. A rare W.A.S Benson copper and brass Windguard kettle on a stand, electroplated copper and brass, with overslung handle, the stand with internal burner section, pierced decoration stamped marks, 28cm.high £400-600 Literature Ian Hamerton WAS Benson Antique Collectors Club, page 84 plate 56 for a comparable kettle. Provenance Great Tew.

1439. A W.A.S Benson brass extendable floor lamp, tripod foot with heart-shaped terminal, central column flanked with scrolling supports and a foliate knop stamped Benson mark 156cm. high £700-1,000

1440. An Art Deco silver sugar sifter, tapering cylindrical form with raised column decoration on stepped base stamped marks WAD Edinburgh 1934 19cm. high £600-1,000

1439

1440

original artWork By DoDo Burgner

1441. ‡ An early watercolour on paper poster design by Dodo Burgner, dated 1924 depicting two women dressed in men’s suits, flanked by ‘157’ signed Dodo, losses 48 x 37cm. £100-200 This is a very early design by Dodo Burgner who appears to have produced several poster designs, probably never intended for publication, whilst at The Reimann School (school of fine and applied art) between 1923 and 1926.

1442. ‡ An original watercolour on paper by Dodo Burgner, of a woman wearing a black shawl, unsigned image 42 x 31cm. £100-200

1441

1443. ‡ A watercolour on paper of nude before flames by Dodo Burgner, mounted, unsigned image 23 x 20cm. £80-120

1444. ‡ A watercolour on paper of an artist painting his nude model by Dodo Burgner, mounted, signed and titled in pen image 33 x 22.5cm. £100-200 1442

1443

1444

1445. ‡ ‘Nach der Saison’ a fine double size original artwork for Ulk Magazine, 1st March 1929 by Dodo Burgner, dated 1929, signed and dated in pencil, studio stamp to reverse 60.5 x 40cm. £600-1,000 Literature Dodo Life and Work 1907-1998 Hatje Cantz, page 84 for a related work featuring two similar characters entitled ‘Revue Dancers’.

1446. ‡ A watercolour on paper of a woman on a beach by Dodo Burgner, dated 1928, mounted signed and dated in pencil image 36 x 28.5cm. £400-600

1446

1447. ‡ A watercolour and pencil on paper original artwork design by Dodo Burgner, depicting a woman with her maid getting dressed at her dressing table, mounted signed in pencil Dodo image 38 x 26.5cm. £300-500

1448. ‡ A watercolour design of two women dancing by Dodo Burgner, mounted unsigned image 42 x 23cm. £100-200

1447

1448

1449. ‡ A watercolour on paper of a skier by Dodo Burgner, mounted unsigned image 36.5 x 30cm. £300-400 1449

1450. ‡ A pen and ink original artwork design for Ulk magazine by Dodo Burgner, depicting a ski instructor before his pupils, mounted signed in pen, annotated Ulk 35 x 24cm. £100-200 1450

1451

1452

1455

1453

1456

1454

1457 1451. ‘Causerie Intime (chat)’ a watercolour and body colour on paper, framed titled and signed Erte image 32 x 19cm. £100-200 1452. ‘Revue’ an erotic aquatint by Kurt Hilscher, framed indistinctly signed in the print and indistinctly signed and titled in pencil image 32 x 24.5cm. £50-100 Provenance The Albert E Wade Collection 1453. ‘Friendly - Confidences’ a gouache design by Endre, framed and another entitled ‘The Duel’ signed to the image and in pencil to the mount with title 35 x 24cm. £100-200 1454. A dry-point etching on paper in the manner of Felicien Rops, framed unsigned 15 x 10.5cm. £50-100 1455. ‘The New Dance’ an aquatint on paper Artist’s Proof by Elyse Lord framed in original lacquered frame signed and number 100/100 in pencil, original label to reverse, image 30 x 23.5cm. £200-400 1456. ‘On The Terrace’ an aquatint on paper Artist’s Proof by Elyse Long, in original lacquered frame signed and annotated in pencil ‘Trial Proof, original paper label to reverse image 30 x 31cm. £200-400

1458

1460

1457. ‘Oriental Figures on a Bridge’ a hand coloured etching by A P Tyson, framed, and two others by the same artist signed in pencil 50/100 image 23.5 x 19.5cm. £100-200 1458. ‘Thalia’ an offset lithograph on paper by Alphonse Mucha, framed signed Mucha in the print, 9071 29.5 x 13cm £100-200 1459. Two erotic sepia aquatints by Louis Icart, framed signed in pencil, image 21 x 15cm. £100-200 Provenance The Albert E Wade Collection 1460. ‘Woman watching the Birds’ an aquatint by Louis Icart, framed, signed in pencil, printed blind stamp image 33 x 15.5cm. £150-200 Provenance The Albert E Wade Collection

1459

1461. ‘La Femme au Chat ‘ or ‘The Sleeping Cat’ a Louis Icart etching and aquatint, 1922, framed, signed and titled in pencil, impressed publishers stamp 29 x 27cm. £150-250 Provenance 20th Century Design, Sotheby’s Olympia 29th May 2003 lot 194 Albert E Wade collection. 1461

1462. ‘Enigme’ a dry-point etching and aquatint by Louis Icart, 1935 framed signed in pencil, printed blind stamp, image 52cm. high £300-500 1462

1463. ‘Woman at her Dressing Table’ an oil on canvas in the manner of Leon Francois Comerre, framed printed facsimile signature to stretcher and canvas reverse image 62cm. diam. £500-1,000

1463

1464 1464. ‘Otcenas - Le Pater (The Lord’s Prayer)’ twenty-two lithographic images by Alphonse Mucha, individually framed from a limited edition of 120 Czech copies, image 41 x 29cm. £3,500-4,500 Literature Alphonse Mucha The Complete Graphic Works, Harmony Books, page 167 catalogue number L24 for a comparable plate with Czech text Otcenas, a transformation of Le Pater,

1465. ‘Flower Studies’ engraving on paper from the Edition Graphiques series, the design attributed to Alphonse Mucha, framed unsigned image 35 x 23cm. £80-120

1464 1466. ‘Otcenas’ a lithographic cover design by Alphonse Mucha, framed, from a limited edition of 120 Czech copies, image 41 x 29cm. £400-600 Literature Alphonse Mucha The Complete Graphic Works, Harmony Books, page 167 catalogue number L24 for a comparable plate with Czech text

1467. ‘Sokol’ a rare colour lithographic poster by Alphonse Mucha, published for the 8th Sokol movement, 1926, framed, signed in the print, dated 1925 image 121 x 80cm. £5,000-8,000 Literature Alphonse Mucha The Complete Graphic Works, Harmony Books, page 161 catalogue A69 for a comparable

1465

1466

1467

1468

1469

1470

1472

1473

1471

1474

1475

1468. ‘Esau’ an etching by Leon Richeton after the original by George Frederick Watts RA, framed signed in the print image 24 x 17cm. £150-200 1469. ‘Sir Galahad’ a Frederick Hollyer platinum print after the original by George Frederick Watts, in original oak frame, image 52.5 x 29cm £80-120 1470. A Frederick Hollyer print after a design by George Frederick Watts, framed impressed mark image 33 x 13cm. £120-180 1471. A watercolour on paper of a tree in a landscape by Walter Crane, framed painted monogram 35 x 17cm. £300-500 Provenance Dr Peter Wolkonsky Collection Private collection 1472. A painted wood panel, attributed to Morris & Co, painted with an angel sleeping before a female figure, in a boat rowed by a bearded angel, unsigned 26 x 23cm. £800-1,200

1476

1473. ‘St John’s Wort’ a watercolour on paper by Bruere Collins, framed signed, titled and dated 1965 in pencil image 25 x 21cm. £50-100 1474. ‘Windmill’ a woodblock print by Ernest Alfred Sallis Benney, both signed in pencil, image 24 x 20.5cm. £50-150 Ernest Benney studied at the Bradford School of Arts and Crafts and at the Royal College of Art. He went on to teach and head various art schools including Brighton and Salisbury. He was father to Gerald Benney the internationally recognised silversmith. 1475. ‘Saddler and Harness Maker’ and ‘Second Hand Shop’ two High Street prints by Eric Ravilious, frame din oak frames unsigned images 21 x 15cm. £150-250 1476. ‘Barnard Castle’ a colour woodcut by Frank Brangwyn, printed by Joshijiro Urushibara, dated 1903, framed signed in pencil image 49 x 37cm. £250-350 Literature Frank Brangwyn catalogue raisonne, inv 0.886.III, page 155

1477

1477. ‘Classical Beauty’ a Hans Strohofer collage, marbled papers, pen and ink, framed and glazed and another Classical Beauty reverse painted glass panel by Hans Strohofer unsigned, glass panel smashed image 43 x 24.5cm. £500-80 Provenance Vienna 1880-1930 Paintings and Drawings, Sotheby’s 10th February 1988 lot 81. In 1911 Strohofer was commissioned to design thirteen glass panels for the dining room of the architect Otto Wagner’s Huttelsdorf Villa. they were executed circa 1913-19140

1478

1479

1478. ‘A Hawk Appears - Odyssey’ a print by Elizabeth Frink RA, and two artist proof prints by Andre Collet Collet signed in ink Frink 23 x 13cm. £50-150

1479. ‘Flight Patterns’ a poster by Joe McHugh, dated 1967, East Totem West published by orbit, and a collection of 1960s and 1970s posters signed in the print 89 x 59cm. £100-200

1480. ‘Babe Rainbow’ a printed enamel tin panel by Sir Peter Blake RA, commissioned by Dodo Designs, 1968 text to reverse 66 x 43cm. £200-300

1480

1481. ‘3765’ a screenprint on paper by Sir Peter Blake RA, framed signed and dated 1969 lower right and number /75 image 41.5 x 26cm. £150-200

1482. ‘Leo 139’ a screenprint on paper by Sir Peter Blake RA, framed signed and dated 1969 lower right, numbered 72/75 image 41.5 x 26.5cm. £150-200 1481

1482

1483

1484

1485

1486 1483. ‘The Work of Sir Robert Lorimer’ a book by Christopher Hussey, published by Country Life Limited, 1931 £400-500

1487

1484. ‘Gio Ponti’ a Sotheby’s single owner auction catalogue, Milano 18th April 2005, and ‘Art Nouveau a Taschen book by Klaus-Jurgen Sembach £30-50

1485. Six reference books on plastic and bakelite, and one book on metal enamelling £50-100

1486. A collection of 20th Century Design auction catalogues including the collection of Karl Lagerfeld £50-150

1488

1489

1487. ‘Dawn on the Pontine Marshes’ a colour print by Enrique Serra y Auque (1859-1918), and ‘Sunset over Marshland’ by the same artist, ebonised wood frames £50-150

1488. ‘Evening’ a House of Art, New York colour print by Maxfield Parrish, circa 1925, framed, and three other prints by Maxfield Parrish original paper label, image 37 x 28cm . £200-300

1489. ‘The Garden of Allah’ and ‘Daybreak’ two House of Art, New York colour prints by Maxfield Parrish, circa 1925, framed signed in the prints images 75.5 x 38cm. £200-300

1490. ‘Il Bidione - Le Gang En Soutane’ a Belguim film poster, for the film by Frederico Fellini, printed by Maurice Panneels printed marks, 51 x 37cm £100-200

1490

1491

1492

1493

1491. ‘Zeichnungen Und Grafik’ OctoberNovember 1981 a David Hockney exhibition poster framed, image 88 x 62cm. £80-120

1492. ‘Odins Restaurant’ a poster by David Hockney, framed signed and dated 1975 47 x 32cm. £100-200

1493. ‘The Dramatists Guild Fund - Young Playwrights Festival 1982’ a poster designed by David Hockney, printed by The Petersburg Press, framed facsimile signature and monogram 103 x 76cm. £300-500

1494

1495

1494. ‘Le Printemps de France Paris’ an offset lithographic poster designed by Raoul Dufy, printed for the French government by Delaporte, Paris, mounted on linen 98 x 61cm. £400-600

1495. ‘In The Heat of the Summer..’ a lithographic map poster by Macdonald Gill, dated 1922 printed by Waterlow & Sons, signed and dated in the print the reverse with British Society of Poster Designers exhibition label to reverse 125 x 98cm. £1,000-1,500

1496. ‘How sweet I roamed....’ and ‘From Field to Field’ a rare pair of London Underground lithographic posters by Graham Sutherland, printed by Waterlow and Sons, signed in the print image 101 x 62cm. £2,500-3,500 1496

1497 1497. ‘Foothills’ and ‘Foothills II’ a pair of Harris Strong panels, framed applied labels with title to reverse, images 15 x 5cm £60-100

1498 1498. ‡ ‘Citadel Myckenae’ an acrylic on canvas by Dorothy Kirkbride (1924-2010), dated 1979 signed titled and dated on stretcher, signed to canvas 132 x 102cm. £100-150 Dorothy Kirkbride was born in Tylertown, Glamorgan in 1924 and died in Martock, Somerset in 2010. She received a National Diploma in Design from St Martin’s School of Art, London in 1951 and went on to study at the Courtauld Institute, London. She travelled through Africa and the East including Hong Kong where she painted and exhibited. Her work was included in The Hong Kong Arts Festival in 1977 and held a solo exhibition Aspects of Landscape in the Rotunda Exchange Square, Hong Kong in 1987. Her work is in the Hong Kong Arts Centre and the Hong Kong Museum of Art.

1499

1499. ‡ ‘Untitled Landscape’ an acrylic on canvas by Dorothy Kirkbride (1924-2010), unsigned 132 x 102cm. £100-150

1500. ‡ ‘Retreat II’ an acrylic on canvas by Dorothy Kirkbride (1924-2010) dated 1989-1990, signed and titled on stretcher 132 x 102cm. £100-150

1500

1501

1502

1505

1503

1506

1504

1507

1508

1501. A Deal jardiniere stand, in the manner of E W Godwin, tapering square section unsigned 78cm. high £400-600 1502. An Arts and Crafts ebonised wood table, square section top with flaring, turned wood legs unsigned 60cm. high, 60cm square top £300-500 1503. An Aesthetic Movement walnut corner cabinet, with inlaid ebony banding unsigned 69cm. high £300-500 1504. An Aesthetic Movement ebonised wood table, in the manner of Charles Eastlake, square section top with flaring turned legs unsigned 60cm. square top, 65cm. high £80-120 1505. An Aesthetic Movement ebonised wood wall cabinet, twin doors below mirrored panel, the doors painted with birds in flight, on a gilt ground 57cm. wide £150-200

1509

1506. An Aesthetic Movement armchair, in the manner of E W Godwin, with turned front legs and reeded arms, later plank seat 80cm. high £50-100 1507. A Thonet bentwood rocking chair, with cane seat and back, unsigned 86cm. high£100-200 1508. An Aesthetic Movement ebonised wood and mahogany table, octagonal top on turned legs unsigned 67cm. high, 60cm. diam. £50-150

1510

1509. A Lake District school oak corner cupboard, the door carved with classical dolphins and swag panel inside foliate scroll borders unsigned 89cm. high £500-800 1510. A Gothic Revival footstool, with carved ogee panels and hinged padded seat, unsigned 41cm. wide £80-120 1511. A pair of Medieval Revival polychrome wood wall brackets, red with gilt banding unsigned 43cm. high £100-200 1511

1512

1516

1513

1517

1514

1518

1515

1519

1520

1512. Three Aesthetic Movement side chairs, turned front legs and stretchers, the back with carved flower roundel unsigned 83cm. high £80-100 1513. A Shakers, Mt Lebanon NY No.7 rocking chair, with red and black wove seat stamped gilt mark to back 105cm. high £400-600 1514. An Arts and Crafts oak occasional table probably by William Birch, rectangular top with turned legs on bun feet unsigned 72 x 47cm, 47cm. high £150-200 1515. An Arts and Crafts oak bench or low table, rectangular with flaring carved legs, unsigned 85 x 37cm. £200-400 1516. An Aesthetic Movement ebonised wood music cabinet, with drop-front cupboard above two drawers and mirrored panels and pierced foliate panels unsigned 131cm. high, 62cm. wide £200-300 1517. A mahogany display cabinet, with leaded glazed doors, inset with marquetry flower sprays unsigned 170cm. high, 82cm. wide £300-500

1521

1518. A Robert Mouseman Thompson oak stool, kidney shaped seat on three flaring octagonal legs, with carved mouse signature, 42cm. high £200-300 1519. An English Art Nouveau banjo barometer, inlaid with mother of pearl and brass flowers and foliage on long sinuous stems unmarked 87cm. high £150-200 1520. An oak dressing chest of drawers, the design attributed to Leonard Wyburd for retail by Liberty & Co, with brass furniture, the mirror supports with ochre ceramic roundels unsigned 108cm. wide £300-400 1521. A Shapland & Petter oak dressing chest, model no. 425, with heart shaped cut out decoration, applied patinated copper panels, stamped marks to locks and back panel 107cm. wide, 50cm deep, 160cm. high £300-500 1522. A Dimoline mahogany piano, after a design by Mackay Hugh Baillie Scott, patinated brass fittings, the back inset with marquetry daffodil stems, below mother of pearl roundels, with electric light fittings 147cm. wide £100-200

1522

1523

1524

1527

1525

1526

1528

1529

1523. A set of four oak chairs, probably Heals, with rush seats, unsigned 89.5cm. high £200-300 1524. A child’s oak armchair designed by Ernest Gimson, with strung seat unsigned 64cm. high £200-300 1525. A Cotswold school ash stool, probably designed by Philip Clissett turned legs and stretchers, with strung seat unsigned 38cm. high £100-200 1526. An ash ladderback chair by Neville Neal, with rush seat stamped mark, 106cm. high £80-120 1527. An Arts and Crafts oak dining table, on square section legs, unsigned 137 x 75cm. £100-200 1528. A Cotswold School oak footstool, with embroidered drop in seat unsigned 39cm. wide £120-180 1529. A walnut stool by Harry Davoll, with padded seat stamped marks, 43cm. wide £150-200

1530

1530. ‘Ernest Gimson - His Life and Work’ a book published by the Shakespeare Head Press, numbered 180 of 550 published £400-500

1531. A darkened oak refectory by Ernest Gimson, rectangular flaring rectangular legs, gallery support unsigned 193 x 69cm

table designed top, the solid, with wishbone £2,000-3,000

Catalogue notes the original pencil design for this table, in its largest size, is held in the Cheltenham Museum & Art Gallery collection. (1941.222.408)

1531

1532. Two pairs of Arts and Crafts curtains, in the manner of the Silver Studio, decorated with panels of Art Nouveau thistle flowerheads in an ochre palette, with embroidered silk borders unsigned 295 x 113cm. £250-350 1532

1533. A large Arts and Crafts carpet, probably Dun Emer Guild or Donegal, the ground with mythical beasts eating from fruit tree repeat, inside floral borders unsigned 480 x 290cm £400-600 1533 (detail)

1534. A Morris & Co Maids of Honour mahogany firescreen with embroidered panel, the panel with four birds flying into the centre, with band of inscription bordering dog rose and wild flower ground unsigned 88cm. high £500-700 1534

Literature William Morris Gallery, Walthamstow for a comparable example catalogue number F368.

1535. An E Pollard & Co oak bedroom suite designed by Sir Frank Brangwyn, comprising; double wardrobe, bed, dressing table, chest of drawers, bedside cabinet, two chairs and a stool, decorated with marquetry panels including vase of flower repeat applied labels chairs 92cm. high, wardrobe 156cm. wide ÂŁ1,500-2,000

1536

1539

1537

1538

1540

1536. An Art Deco streamlined three piece suite, comprising two seat sofa and pair of armchairs, upholstered in silver and black material unsigned 151cm. wide £600-1,000

1537. An Art Deco mahogany coffee table, circular top on three curved legs with low circular shelf to the base unsigned 55cm. high, 57cm. diam. £100-200

1538. A chromed metal and smoked glass two tier serving trolley, unsigned 87cm. wide

1541

£50-150

1539. A PEL Modernist chrome plated metal single bed, curved chrome bed head and foot boards with fittings, applied PEL label 191 76cm. £200-300 Provenance Richard Dennis

1540. An enamelled metal, glass and chrome uplighter, in the manner of Serge Chermayeff, the two black enamelled shades above three glass discs, the chrome stem on circular base unsigned 170cm. high £300-500

1541. A Bilston cast iron garden chair designed by Edward Bawden, cast with geometric panels, enamelled white 93cm. high £1,500-2,000 Literature British Design from 1948: Innovation in the Modern Age Victoria & Albert Museum Exhibition, 2012 page 113 plate 1.96 for a twin seat version exhibited.

1542. A tall bronze floor lamp in the manner of Jacques Adnet, scrolling tripod foot with leather wrapped column, aluminium uplighter shade unsigned 177cm. high £250-350

1542

1543

1544

1545

1543. A Heal’s walnut veneer bedroom suite, comprising double headboard with inbuilt lights and fitted side cabinets, four door wardrobe, dressing table and stool, a fitted double wardrobe inset with Heal’s labels, distressed headboard 229cm. wide £300-400

1544. A pair of Heal’s limed oak bedside cabinets rectangular form on stepped bases, single door below shelf unsigned 82cm. high £150-200

1546 1545. A Heal’s limed oak dressing table, long rectangular mirror on low structure with four drawers, and a chair applied ivorine roundels 149cm. high £400-500 Literature Better Furniture for Better Times Heal’s catalogue 1934 for a comparable example illustrated page 3

1546. A Token Works Quilted Maple veneer large headboard with built in cabinets designed by Betty Joel, dated 1935, made by J White, with applied paper label 139cm. wide £300-500

1547. A Token Works Quilted Maple veneer dressing mirror designed by Betty Joel, made by L Pillinger and H W Lawley, large circular mirror on low support sweeping up to three drawer cabinet with graduated chrome handles, and three graduated shelves applied paper label 173cm. wide £1,000-1,500

1547

1548. An embroidered wall hanging of a galloping stallion, 1970s, in shades of yellow and pink unsigned 148 x 130cm. £80-120

1548

1549

1549. ‘Chiesa Della Salute’ a Sanderson’s screen-printed textile designed by John Piper, 1959printed in colours, framed, image 59 x 44cm £100-200

1550

1550. Ron Hitchens a terracotta tile panel, decorated with geometric motif, spray glazed copper lustre, framed painted signature, panel 91 x 15.5cm £50-100

1551

1552

1551. A Danish mahogany compact bureau unit, the case opens and expands to create a central desk with wing bookcases/storage units unsigned 114cm. high, 82cm wide, 54cm deep £200-400

1552. An unusual Archie Shine Hamilton sectional sideboard, designed by Robert Heritage, comprising; inter-changeable 4 drawer, hinge top drinks cabinet and a twodoor cupboard on a stand, 229cm wide, 51cm deep and 79cm. high £200-400

1553. A Jacques Adnet Captain’s Mirror calf skin wall mirror, originally designed for Hermes, circular with strap hanging, unsigned 41cm. diam. £600-800

1553

1554

1557

1555

1556

1558

1554. A Gordon Russell mahogany and rosewood sideboard, designed by W H Russell, model number R810, dated 1961, made by J E Oliver, applied paper label 183cm. wide, 50cm. deep £200-300 1555. A Gordon Russell R.810 Mahogany and Bombay Rosewood sideboard designed by W H Russell, made by B A Jones, dated September 1962 applied paper label 183 x 49.5cm., 86cm high £350-450 1556. A Gordon Russell teak chest of drawers, three drawer form on tapering legs, turned wood handles, applied label 91 x 48cm. £100-200 1557. A Gordon Russell teak coffee table, designed by Trevor Chinn, tapered, rectangular top, on tapering legs, applied label 122 x 49cm. £150-250

1559

Literature Austerity to Affluence Fine Art Society, page catalogue number F48. 1558. A Gordon Russell oak dining suite, comprising sideboard, extending table and four chairs, applied label sideboard 140cm. wide, 86cm high, table 153 x 78cm (extended) £200-300 1559. A Gordon Russell mahogany low table, oval on tapering legs, applied label 122 x 46cm. (top) £80-120 1560. A fine Gordon Russell Chastleton table designed by Richard Dick Russell, 1934, circular chestnut veneer top on mahogany drum support and flaring domed metal foot applied metal label 142cm. diam. £2,000-3,000 Literature Jeremy Myerson Gordon Russell Designer of Furniture Gordon Russell Trust page 72 for a contemporary photograph of this table design in Gordon Russell’s 40 Wigmore Street showroom. Another example is held in the Geffrey Museum collection (18/1978-2)

1560

1561

1565

1562

1566

1563

1567

1564

1568

1561. A set of four J L Moller, Danish rosewood chairs, with black padded seats some with applied labels 81cm. high £350-450

1562. A Danish mahogany coffee table, rectangular with tapering square legs and woven cane shelf applied paper label 57 x 37cm. £150-250

1563. Three Giovanni Battista Ravenna Campanino chairs, lightweight construction with cane seats applied paper labels 84cm. high £100-200 Catalogue notes this chair inspired Gio Ponti’s Superleggera chair designed in the 1950s 1569 1564. A rosewood veneer dining table, circular on central pillar and tripod foot, unmarked 124cm. diam. £100-200

1565. A E Kold Christensen PK22 chair designed by Poul Kjaerholm, tan nubuck leather seat, on polished steel frame stamped mark 71cm. high £500-800

1566. A Knoll Brno cantilever armchair designed by Ludwig Mies van der Rohe, black leather pads unsigned 78cm. high £150-250

1567. ‘50 Years Bauhaus German Exhibition’ Royal Academy of Arts catalogue, 1968

£80-120

1570 1568. An Eames 670 lounge chair and ottoman, designed by Charles and Ray Eames, bent-ply with black leather seats unsigned 81cm. high £400-600

1569. A modern Carl Hansen & Son Wishbone chair designed by Hans Wegner, black. lacquered wood frame with strung seat applied label 72cm. high £200-300

1570. An Ebonised wood and mahogany room divider, the ebonised wishbone legs supporting two cabinets with internal drawers below pegged adjustable shelves unsigned 148cm. wide, 209cm. high £150-250

1571. A teak Indian chair model 1761N, probably retailed at Maples, unsigned 90cm.high

1571

£150-200

1572

1573

1574

1575

1572. A Rowley Gallery easel backed mirror, elliptical silvered gesso frame with two ball feet applied paper label to reverse 49cm. high £50-100

1573. A pair of red stained pine chairs designed by Vico Magistretti, with rush seat unsigned 79cm high £50-150

1574. An ash chair designed by Lord Snowdon for the Investiture of Prince Charles, with lacquered red Prince of Wales feathers and ‘Ich Dien’ in gilt and remains of sticker, red padded seat 77cm. high £100-200

1576

1575. A collection of books on design, including ‘Hille - 75 Years of British Furniture’ and ‘Joe Colombo and the Italian Design of the Sixties’ by Ignazia Favata £50-150

1577 1576. An Archie Shine rosewood inlaid desk, designed by Robert Heritage, two drawer form with brass fittings unsigned 107 x 46cm. top, 77cm high £300-500

1577. A Merrow Associates chrome, rosewood and glass low table, rectangular on castors unsigned 121 x 55cm. £100-200

1578. A large Hille rosewood veneer and chrome table, designed by Robin Day, swollen rectangular top unsigned 303 x 130cm. £300-500 1578

1579

1582

1580

1583

1584

1581

1585

1579. A 1970s pod vanity unit, square section, hinged, opening to reveal mirrored dressing table, fitted for electricity, and drum stool, on casters 139cm. high £100-200 1580. A large perspex mounted hall mirror, on tapering feet unsigned 186cm. high x 115cm wide £100-200 1581. A 1950s enamelled metal bar stool, with cane seat, and another similar with strung seat unsigned 79cm. high £50-150 1582. A Finmar bent-ply stool designed by Alvar Aalto, circular seat with three bent-ply legs, applied Finmar label 44cm. high £50-100 1583. A Finmar bent-ply occasional table designed by Alvar Aalto, circular top on tripod feet, painted white stamped made in Finland 48cm. diam. £80-120

1586

1584. An Amsterdam School oak occasional table, the circular top on four streamlined legs, with ebonised beadwork decoration and feet, unsigned 60cm. high £50-100 1585. A pair of Arkana white laminate and enamelled metal Tulip tables, designed by Eero Saarinen, cast mark to base 52cm. high £150-250 1587 (one of two) 1586. A Continental oak floor lamp in the manner of Dagobert Peche, the flaring fluted foot and terminal with gilded decoration unsigned 150cm. high £100-200

1587. A pair of glass topped perspex side tables, each with smoked square glass top, unsigned 60cm. square £100-200

1588. A unique glass and steel desk/table designed by Terry Riggs, 2000, unsigned 85 x 150cm. £300-350

1588

1589

1590

1591

1592

1593

1594

1589. A burnished aluminium office chair designed by Charles & Ray Eames with padded brown textile seat unsigned 110cm. high £80-120

1590. A burnished aluminium office chair designed by Charles & Ray Eames with padded textile seat unsigned 103cm. high £80-120

1591. A polished steel chair designed by Harry Bertoia, with padded leather seat unsigned 77cm. high £50-150

1592. A white enamelled wirework chair designed by Harry Bertoia, with black leather pad unsigned 75cm. high £50-150

1593. An Egg chair designed by Arne Jacobsen, with woven upholstery 106cm. high £80-120

1594. A Swan chair designed by Arne Jacobsen, red textile seat, brushed steel base unsigned 80cm. high £200-400

1595. A pair of marble-topped rosewood cabinets, rectangular, each on six gilt metal legs, fitted for music and records unsigned 183cm wide, 41.5cm deep, 91cm high £400-600 Provenance Chestnut Lodge, Cobham, Mr & Mrs Raymond Sawyer 1595

1596

1597

1598

1599

1596. An Ercol sideboard designed by Lucian Ercolani, three cupboards above two drawers, with turned wood handles, on castors applied label 129cm. wide £200-300

1597. ‘The Book of Ercol’ a furniture catalogue, dated 1965, and seven books on 1970s and 1980s design and interiors £50-150 1600

1598. An Ercol teak wall plate rack, designed by Lucian Ercolani, applied label 96cm. wide £80-120

1601

1602 1599. A rosewood bowl by Alan Peters, circular section on ebonised wood foot stamped A Peters 29.5cm. diam. £80-120

1600. An Ercol elm and beech studio couch designed by Lucian Ercolani, with propeller back, on four flaring feet, padded back and seat cushions, unsigned 208cm. £300-500

1601. A Digsmed, Denmark rosewood and iron candleholder, circular form, and a wrought iron grid candleholder similar stamped marks 11cm. diam. £60-100

1602. A Georg Jensen part set of stainless steel cutlery, comprising; two sets of servers, two soup spoons, two knives, forks, fish knives and forks, one knife, two cake forks, four various teaspoons stamped marks servers 21cm. long £100-200

1603. A machine knitted cotton dress and scarf designed by Wendy Ramshaw, black with blue and yellow geometric detailing Wendy Ramshaw label £150-200

1603

1604

1605

1606

1604. A Durlston Designs chrome and enamelled metal desk lamp, articulated shade and chromed metal arm, applied label to base 35cm. high £80-120 1605. A Gallia Christofle Cardinal vase, designed by Lino Sabattini stamped marks to base 37cm. high £120-180 1606. A cedar wood sculpture by Brian Willsher, dated 1978, abstract interlocking forms, signed and dated in pen 22cm. high £150-250 1607. Two Prince Esper II electric gas table lighters, applied labels, cast marks to base 11cm. deep, 7cm. high £150-200

1607

1608

1609

1610

1608. A Harvey Guzzini chrome metal uplighter, with opaque perspex shade remains of label 163cm. high £80-120 1609. ‘Stones of Venice Pomegranate’ an enamelled plated designed by Joe Tilson RA, dated 1986, and a similar plate by Anthony Whishaw, dated 1987, retailed by The Royal Academy printed marks, facsimile signatures 24cm. diam. £100-200 1610. A Europhone Italian plastic radio and light designed by Adriano Rampolli, model number 3224, unsigned 22cm. high £60-100 1611. An Ebena bakelite box and cover, moulded black with gold inclusions, and a collection of bakelite plastics various marks £50-150 1612. A Halex ware bakelite plastic box and cover, hexagonal form green marbled plastic, a Carvacraft amber bakelite ashtray and a large collection of bakelite various marks £80-120

1611

1612

1613. A Bex bakelite box and cover, moulded, green mottled plastic form, four bakelite napkin rings and a collection of bakelite cast marks £50-100 1614. A bakelite and chrome side table, two tier form, and a three tier cake stand similar, and a collection of bakelite items including Thermos flasks unsigned table 47cm. high £80-120 1613

1514

1615

1616

1617

1619

1618

1620

1621

1615. A pair of patinated bronze plaques by Maurice Charpentier, dated 1919, cast in low relief with dancing cymbals players and ballet dancers, possibly Ballet Russes, framed signed in the bronze panels 29 x 11cm. £400-600

1616. The Watchful Dog a bronze plaque by Charles Virion, mounted on oak signed in the cast 30 x 21.5cm. £150-200

1617. A patinated bronze model of a female archer cast from a model by Hans Keck, on rectangular marble base signed in the cast 32cm. high £600-1,000

1618. A patinated bronze model of a woman cast from a model by Alfred Thiele, dated 1917, modelled standing, balancing on one foot arms raised signed in the bronze dated MCMXVII £500-800 1622 1619. An electroplated model of a Fontaine Wallace water-fountain, originally designed by Charles A Lebourg, commissioned by Sir Richard Wallace, unsigned 26cm. high £200-300

1620. A patinated bronze figure of Victory, standing atop an orb, on waisted socle and square base unsigned 19cm. high £200-300

1621. Three Art Nouveau patinated bronze figures, each modelled standing, on waisted base unsigned tallest 9.5cm. high £80-120

1622. ‡ A patinated bronze group of two brothers holding hands cast from a model by George Ehrlich ARA signed in the bronze, numbered 4/7 35cm. high £800-1,200

1623. ‡ ‘Seated nude’ a patinated bronze figure by Uli Nimptsch, signed in the bronze UN 30cm. high £2,000-3,000

1623

1624

1625

1626

1627

1624. ‘Lady with a Cane’ a patinated bronze figure cast from a model attributed to Fernand Clostre, signed in the bronze Clostre 30cm. high £200-300

1625. A small green painted bronze figure of a Picardy Peasant by Phoebe Stabler, modelled seated on a basket, holding a sack on octagonal base unsigned 12cm. high £200-400

1628 1626. A plaster bust of a woman by Phoebe Stabler, dated 1942, on faceted base, incised signature and date 32cm. high £200-300

1627. ‘St George’ a Burns & Oates plaster figure, dated 1917 modelled standing resting on his shield, in colours impressed marks, printed painted by Dodd studios 41.5cm. high £200-400

1628. ‘William ‘Hamo’ Thornycroft’ a self-portrait plaster bust by William ‘Hamo’ Thornycroft, unsigned 55.5cm. high £700-1,000

1629. ‘General Charles George Gordon’ a patinated bronze figure by William ‘Hamo’ Thornycroft, dated 1888, published by Arthur Leslie Collie, 1889 signed in the bronze 37cm. high £2,000-3,000 1629

1630

1631

1634

1635

1632

1636

1633

1637

1630. A gilt bronze and ivory figure of a boy cast from a model by Bailley, modelled with hands in pockets wearing a large, pointed straw hat, and a pewter inkwell cast signature to bronze 17cm. high £80-120 1631. A pair of bronze mounted onyx book ends, each mounted with woodpeckers, and two bronze figures unsigned book ends 14cm. high £100-200 1632. A bronze and ivory figural table lamp cast from a model by Peter Tereszczuk, modelled as a two young pierrot, the boy holding a mandolin, under a domed opalescent glass shade signed in the bronze with Arthur Rubenstein Foundry mark, 34cm. high £450-550 1633. A pair of silvered bronze figural book ends, cast from a model by Henri Fugere, modelled as a young girl holding a posy of flowers and a young fawn resting, on green marble bases signed in the bronze H Fugere 13cm. high £500-800 1634. A patinated figure of a female discus thrower cast from a model by Ferdinand Lugerth, on green veined marble base, signed F Lugerth in the cast 28cm. high £300-400 1638 1635. A large gilt metal sculptural double inkwell, two gilt metal lurchers, on shaped onyx base with onyx inkwells, and a smaller lurcher figure, unsigned 51cm. wide £200-300 1636. A patinated metal night-light, cast as two birds above berried foliage, on marble base, with blue glass ball shade, and another similar modelled as a mermaid cast signature Tedd 22cm. wide £80-120 1637. ‘Ulysses’ a large terracotta figure cast from a model by Henri Bargas, modelled as a archer preparing his bow for action, signed in the terracotta 62cm. high £500-800 1638. An Art Deco silvered bronze figure of a dancer, cast from a model by AlexandreJoseph Derenne, with ivory discs, on flaring square section black marble base signed in the bronze Derenne 49cm. high £1,000-1,500

1639

1639. A large Max Le Verrier patinated metal figural lamp base, modelled as nude with arched back, her arms outstretched, holding later onyx ball shade, on stepped ebonised wood base signed in the cast M Le Verrier 72cm. high £1,000-1,500 Literature Art Nouveau, Art Deco and The Thirties, Brighton Museum Collection catalogue, page 72 catalogue number 170 for a comparable figure illustrated.

1640. A verdi gris painted terracotta sculpture, cast from a model by Demetre Chiparus, signed in the cast, minor chips and paint flakes 40cm. wide £200-400 Provenance Albert E Wade collection

1640

1641. A Lorenzl bronze figure of a dancer cast from a model by Josef Lorenzl, modelled balancing with arms outstretched and one leg raised, on onyx base unsigned 15cm. high £700-900 Literature Brian Catley Art Deco and Other Figures, Antique Collector’s Club, page 211 for a comparable bronze and ivory version.

1641

1642 1642. A Lorenzl model of a dancing figure cast from a model by Josef Lorenzl, modelled standing with hands and left leg raised, on square section onyx base cast signature to the base Lorenzl 21.5cm. high £700-900

1643. A Lorenzl bronze and ivory model of a dancer cast from a model by Josef Lorenzl, modelled standing with arms outstretched balancing, on cylindrical onyx base signed in the cast Renz 22cm. high £1,200-1,800

1643

1644. A Lorenzl patinated bronze and ivory figure of a dancer, cast from a model by Josef Lorenzl, on cylindrical onyx base, signed in the base Lorenzl 27cm. high £1,000-1,500 1644

1645

1646

1647

1648

1645. ‘Boreas’ and ‘Aquarius’ a pair of Coalbrookdale cast iron roundels designed by Dr Christopher Dresser or John Moyr Smith, cast in low relief unsigned 26cm. diam. £300-500

1646. ‘Nausicaa’ a patinated bronze plaque, cast from a model by Frederick Lord Leighton, signed and dated in the plaque 43 x 22cm. £500-800

1647. ‘Shakespeare’s Sonnet CLIV’ an electroplated metal charger cast from a model by Reginald E Arnold, dated 1934 signed and titled in the cast 43cm. diam. £100-200

1649 1648. A set of six patinated bronze hooks, the design attributed to Alfred Waterhouse, unsigned 11cm. high £300-500 Catalogue notes these hooks were removed from a pair of hall cabinets designed by Alfred Waterhouse, by repute

1649. A Barnard, Bishop and Barnard cast iron fireplace designed by Thomas Jeckyll, cast in low relief with a panel of Japanese mon, inside reeded border, cast regd diamond and BBB mark 92cm. high, 40cm wide £150-250 1650

1650. A Barnard, Bishop and Barnard cast iron fireplace designed by Thomas Jeckyll, cast in low relief with panels of birds perched amongst fir and prunus boughs, above daisy flower panels, an inner arched band of mon, cast regd diamond mark, 91cm. high, 94cm wide £500-1,000 Literature Susan Weber Soros and Catherine Arbuthnott Thomas Jeckyll Architect and Designer 1827-1881 Yale, page 226 figure 6-70 for the birds in a fir tree panel designed for a bracket for the lower stage of Barnard Bishop and Barnards pavilion at the Philadelphia Centennial Exhibition 1876. See also the frontice illustration page 12 figure 1-1 for a near identical fireplace illustration.

1651. A Coalbrookdale cast iron hall stand designed by Dr Christopher Dresser, cast and pierced with stylised foliage, with drop in tray to base, later painted green cast regd diamond to back 186cm. high £500-1,000 Provenance Richard Dennis

1651

1652

1653

1654

1652. A Benham & Froud copper kettle on a patinated metal stand, in the manner of Dr Christopher Dresser, the tripod stand with applied twisted wire decoration and set with a copper oil burner and hanging counter balance, stamped mark 76cm. high £100-200

1653. A massive Benham & Froud Japoniste brass tray, decorated with sunflower stems, inside a geometric border stamped mark 59cm. diam. £500-800

Stanmore Hall

1654. A Benham & Froud metal inlaid brass charger designed by Dr Christopher Dresser, decorated is copper and silver inlay with a peacock in a walled garden setting before a rising sun stamped Benham & Froud mark, 31.5cm. diam. £600-800 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A Publications, page 176 for an identical version copper version.

1655. A pair of Longden & Co Old English fire dogs, cast and pierced brass with iron support, cast regd lozenge 68cm. high £800-1,200 Catalogue notes An almost identical, but taller, pair of fire dogs can be seen in the Morris & Co interior of Stanmore Hall, in interior designed by W R Lethaby. 1655

1656

1657

1660

1661

1658

1662

1659

1663

1656. A Liberty & Co carved oak wall mirror, rectangular, carved with entrelac motif to two corners unsigned 91 x 64cm. £250-350 1657. A pair of Arts and Crafts copper wall mirrors, rectangular, stamped in low relief with pendulous bell flowers below a flower head roundel, with riveted joint and hammered finish unmarked 56 x 41cm. £200-300 1658. A carved walnut frame carved by George Hector Shurlock, carved in low relief with flower and foliage frieze paper label to corner frame 41 x 33.5cm. £150-200 1659. An E A Taylor copper wall mirror, rectangular, decorated with broken heart shaped flower panels unsigned 55 x 44cm. £600-700 1664 1660. An Arts and Crafts patinated metal hall lantern, with cylindrical streaked green glass shade unsigned 42cm. high £200-300 1661. A Glasgow School brass mirror, rectangular, stamped in low relief with butterflies flying before scrolling foliage, unsigned 57 x 45cm. £300-400 Literature Laura Euler The Glasgow Style, Schiffer, preface page for this design illustrated 1662. A brass charger, decorated to the well with a stylised flowerhead motif, the rim a border of scrolling foliage unsigned 48cm. diam. £50-100 1663. An Iona brass charger, circular, repousse hammered with celtic knot frieze, the well with geometric panel signed Iona 1052 to rim 43cm. diam. £200-300 1664. A Glasgow School brass jardiniere, the design attributed to Margaret Gilmour, stamped in low relief with flowers before cypress trees unsigned 20cm. high £100-200 1665. A Glasgow School brass twin-branch wall sconce designed by Margaret Gilmour, repousse hammered with four flowers on sinuous stems unsigned 56cm. high £150-250 Provenance Peter Grant (1935-1995). In 1963 Peter Grant was hired to tour manage new artists including Bo Diddley, Little Richard and Chuck Berry and the following year began managing artists that would eventually include Led Zeppelin and The Yardbirds.

1665

1666. A Guild of Handicraft silver and enamel necklace, the design attributed to Charles Robert Ashbee, the silver panels cast as a butterfly flanked by simple flowerheads, each enamelled blue with abelone panels and turquoise drops, in original presentation case unsigned £1,500-2,000

1667. A pair of Guild of Handicraft silver and glass salt cellars, designed by Charles Robert Ashbee, each with three looped caryatid handles, green glass liner probably James Powell, Whitefriars stamped marks, London 1908 8cm. wide £1,000-2,000

1666

Literature Charles Robert Ashbee Modern English Silverwork, re-published by B.Weinreb, 1974 plate 16 for a variant of this design 1667

1668. A Guild of Handicrafts silver plated box and cover, hammered, circular section, the slightly domed cover with enamelled white hart panel stamped GofHLtd 11cm. diam. £800-1,200

1668

1669

1670

1673

1674

1671

1675

1672

1676

1669. A Gustav Stickley The Craftsman Workshops copper tray, round with hammered well, with twin riveted copper handles, stamped mark to reverse 41cm. diam. £80-120 1670. An Arts and Crafts copper glove box, rectangular with hinged cover, the cover set with blue Ruskin stone unsigned 30cm. wide £200-300 1671. An Arts and Crafts copper box with hinged cover, in the style of A E Jones, the cover set with a pierced butterfly roundel over green and blue enamel, on ball feet unsigned 17.5cm. wide £250-350 1672. An Aesthetic Movement copper charger, stamped to the well with a lotus flower panel, the border with stylised foliage panels unsigned 46cm. diam. £180-220

1677

1673. A silvered metal mounted wooden casket, with hinged cover set with green-blue ceramic roundel, stamped in relief with stylised flower panels unsigned 21cm. wide £200-300 1674. A single handled copper vase in the manner of Newlyn, hammered in relief with four sailing ships sailing on the horizon before a setting sun, with stylised waves and a border clam shells unsigned 20cm. high £50-150 1675. An Arts and Crafts copper tray oval, stamped in relief with flowers unsigned 55cm. wide £50-100 1676. An Arts and Crafts copper wall sconce, domed rectangular form, repousse hammered in low relief with foliate boughs on stippled ground unsigned 30cm. high £150-200

1678 1677. A copper vase probably by John Pearson, tapering cylindrical form with applied loop handle, hammered with scaly fish frieze unsigned 17cm. high £80-120 1678. An A E Jones copper and mixed metal inkwell, the drum well with hinged cover set with white metal wreath, the pen-tray base with similar panels of wreath unsigned 21cm. wide £200-300 1679. A pair of W.A.S Benson copper and brass candlesticks, the scroll stem wit seedpod counter-weight, on scrolling feet, with copper drip pans unsigned 32cm. wide £500-1,000 Literature British Art Pottery & 20th Century Design Woolley and Wallis, 1st December 2010 lot 728 for an identical pair

1679

1680

1681

1683

1682

1684

1680. A Newlyn copper beaker vase, repousse hammered with fish, stamped Newlyn 5.5cm. diam. £80-120

1681. A Newlyn copper tea caddy and cover, cylindrical form, repousse hammered with fish swimming, the cover repousse hammered Tea, stamped Newlyn 10cm. high £250-300

1682. A Newlyn copper box and hinged cover, rectangular, repousse hammered to the sides with scaly fish, the cover with a crayfish stamped Newlyn 22.5cm. wide £250-300 1685

1683. A Newlyn copper rose bowl and flower, repousse hammered with a frieze of scaly fish stamped Newlyn 19.5cm. diam. £400-450

1684. A Newlyn copper rose bowl and flower brick, repousse hammered with a frieze of fish stamped Newlyn 14.5cm. diam. £300-350

1685. A Newlyn copper twin-handled vase, tapering cylindrical body repousse hammered with scaly fish amongst waterweed stamped Newlyn 15cm. high £300-350

1686

1686. A Newlyn copper twin-handled vase, tapering cylindrical body repousse hammered with scaly fish amongst waterweed stamped Newlyn 25cm. high £400-600

1687. A Newlyn copper tray, rectangular section, repousse hammered with a galleon at full sail stamped Newlyn 39cm. wide £300-350 1687

1688

1689

1692

1690

1693

1691

1694

1695

1688. A copper cigar box attributed to A E Jones, with hinged cover and stepped square feet, inset with white metal stripes, cedar lined stamped number 2080 18.5cm. wide £250-350 1689. A copper charger by J Kenyon, repousse hammered with a frieze of wild cats amongst foliage, the well with two stylised birds applied roundel stamped J Kenyon 1898 44cm. diam. £200-300 1690. A copper tobacco jar and cover with ceramic liner, possibly Cornish, stamped in low relief with Art Nouveau honesty stems unsigned 13.5cm. high £50-100 1691. An Arts and Crafts copper coal box and cover, flaring cylindrical form with band and rivet decoration and rope twist handles unsigned 45cm. high £200-300 1696 1692. A Derek Lizardman Slater oak breadboard with carved wooden lizard signature 51 x 37cm. £50-100 1693. A Mission oak wall mirror, slender, rectangular form with raised peg decoration unsigned 64 x 30cm. £100-200 1694. A Gothic Revival wrought iron bolt lock unsigned 33cm. wide£80-120 1695. A pair of Aesthetic Movement brass candlesticks, the swollen foot with Japoniste mon decoration stamped marks W T & S 18cm. high £50-100 1697 1696. An Arts and Crafts patinated copper firescreen, arched form, hammered in relief with Art Nouveau flower stems, inside a patinated copper scrolling frame unsigned 77cm. wide £500-700 1697. A pair of Arts and Crafts patinated iron and copper fire dogs, scrolling form with applied copper leaf terminals, and a set of fire irons, unsigned dogs 38cm. high £80-120 1698. An Arts and Crafts copper and patinated metal firescreen, the rectangular panel stamped in low relief with stylised Art Nouveau tulip flowers, the frame with scroll decoration, unsigned 78cm. high £80-120 1699. ‘So She Gleaned in the Field until Even’ an Arts and Crafts Limoges enamel panel, in oak frame unsigned, indistinct paper label to reverse panel 20.5 x 10.5cm. £250-350

100

1698

1699

1700

1704

1701

1702

1705

1703

1706

1707

1700. An Art Nouveau cast iron stickstand, cast in low relief with a scantily clad maiden, her arms upraised, in enamelled in green and red cast marks BF N1, 75cm. high £80-120 1701. An Art Deco bronze three piece desk set, designed by Max Le Verrier, cast in low relief with birds flying past prunus sprays, comprising letter rack, notepad holder and a covered box stamped signature 26cm. wide £450-550 1702. A cast copper dish by Thenot, the rim cast in low relief with fish amongst waterweed, signed in the cast 19.5cm. diam. £150-200 1703. An Ulla Skogh Swedish patinated bronze charger, engraved by Walter Anderson, engraved to the well with scenes entitles ‘Goteborg’, etched marks to reverse 40cm. diam. £50-150

1708

1704. A Rainaud patinated metal table lamp, octagonal domed shade with opaque glass lining, on swollen cylindrical stem unsigned 58cm. high £80-120 1705. A pair of Coburg patinated metal candlesticks, pierced domed bases on four feet, the twisted, square section shaft supporting castellated sconce, a Liberty pewter tray, a copper tray and a copper vase stamped marks 12.5cm. high £200-400 1706. A pokerwork wooden lamp base, slender, shouldered form decorated with berries and foliage unsigned 35cm. high £60-100 1707. A Continental pottery garden planter, cylindrical fluted form, dated 1945, decorated with an inscription and date to the top rim impressed marks to base £50-150

1709

1708. A veneered bookshelf cabinet, modelled as eight books on a shelf, the spines a hinged door, a marquetry box and cover modelled as an owl, a tray in the manner of Fornasetti and a vase unsigned 37cm. wide £50-150 1709. An Amsterdam School brass large vase, twin-handled form, cast in relief with geometric design unsigned 28cm. high £80-120 1710. An oak framed patinated copper triptych by Felix Jacques, dated 1928 the central panel with Christ in majesty, flanked by panels of Angel musicians and choristers signed and dated 175cm. wide, 111cm. high £500-700 1710

101

1711

1712

1715

1713

1716

1714

1717

1718

1711. A pewter plaque of a young girl, cast from a model by Anderson, in oak frame indistinct signature to plaque 63 x 41cm. £300-500 1712. A continental Art Deco enamelled vase, twin-handled form, the silvered metal fluted body enamelled with flower stems in red and black signed to the side Fattehaulte 19.5cm. high £50-150

1719

1713. An Orion pewter and cut green glass box and cover, model no.176, the design attributed to Friedrich Adler, green glass body cut with grape motif cast marks to cover 12cm. diam. £200-300 1714. A WMF electroplated coffee service, comprising; coffee pot with hinged cover, hot-water pot with hinged cover, milk-jug and sugar basin and cover, on a shaped rectangular tray stamped marks, tray 60cm. wide £400-600 1715. A pair of Art Nouveau pewter vases probably WMF, each cast in low relief with a Symbolist maiden portrait inside poppy flower border unsigned, stamped 3028cm. high £1,000-1,500 1716. A Gallia, Paris set of twelve polished pewter knife rests in original presentation box, designed by Marcel Edouard Sandoz each modelled as an animal stamped marks, each rest 11cm. wide £800-1,200

1720 1717. A rare set of twelve W.M.F polished pewter knife rests, each modelled as an animal, in fitted presentation case for Orfevrerie Miele & Co Paris, stamped marks, 11cm. wide £800-1,200 1718. A WMF silver part cutlery service comprising; six dessert forks, five knives, and eleven various knives stamped marks £80-120 1719. A Continental Secessionist four piece tea service, comprising; teapot and hinged cover, hotwater pot and hinged cover, milk-jug, sugar basin and cover, cast in low relief with stylised foliage, with ivory insulator fittings stamped marks to base hot-water 22.5cm. high £100-200 1720. A pair of WMF pewter and cut glass wine jugs, with hinged covers, cast in relief with scrolling foliage, the glass cut with whiplash foliage stamped marks to handles 25cm. high £300-350 1721. An electroplated metal vase the design attributed to W.M.F, footed form with loop handles, cast in low relief with scrolling heart columns, unsigned 23.5cm. high £60-100

102

1721

1722

1725

1723

1726

1727

1724

1728

1722. A Kayser pewter footed dish, triangular section each corner surmounted with eagle, hammered finish to bowl cast marks 32cm. wide £200-300 1723. A Kayserzinn pewter decanter, six shot glasses and a tray, designed by Hugo Leven, the decanter modelled as a bird, model no. 4358, stamped marks, decanter 20cm. high £300-500 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 40 plate 1.91 for a comparable example 1724. A Kayserzinn pewter decanter modelled as a bird, by Hugo Leven, model no.4433, with hinged cover, stamped marks, 29cm. high £400-600 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 49 plate 1.89 and on the cover for a comparable example

1729

Gerhard Dietrich and Eckard Wagner Kayserzinn Arnoldsche, page 139 plate 103. 1725. A Christian Frederick Heise silver vase, , flaring foot the central column cast in low relief foliage, with four looped handles, with hammered bowl, stamped marks, 31.5cm. high £1,500-2,000 1726. An Art Deco Ravinet D’enfert white metal and rosewood jug, cylindrical form with turned band decoration, on similar foot, applied with ring handle stamped marks, 18cm. high £100-200 1727. A French silver beaker vase, hammered fluted form, and a Wellner white metal bowl on ball feet stamped marks, 8cm. high £80-120 1728. A Karl Poul Petersen silver footed bowl, the flaring bowl applied with three simple flower motif stamped marks to base 10.5cm. diam. £100-200 Karl Poul Petersen the Canadian silversmith apprenticed under Georg Jensen between 1908 and 1913. He married Jensen’s daughter, Inger, in 1922 moving to Canada in 1929.

1730

1729. A Mofem Modernist chrome table lamp with built in electric clock, domed, tilting shade, on veined alabaster base 29cm. high £300-400 1730. A Neresheimer silver vase imported by Berthold Muller, tall flaring form, the base pierced and cast with a band of rutting stags, before flowers and foliage stamped marks, import marks, London 1913 29cm. high £300-500 1731. An Adnet glass and aluminium adjustable table lamp designed by Jacques Adnet, spherical glass body with chrome fittings, on stepped aluminium base unsigned 18cm. high £800-1,200 1731

103

1732

1733

1736

1734

1735

1737 1732. A Nathan & Hayes silver pedestal bowl, cast in relief, stamped marks, Chester 1907 13.5cm. diam. £300-500 1733. An A E Jones silver honey pot and spoon, the pot with hammered finish and overslung handle, supporting spoon, stamped marks, Birmingham 1940 12cm. high £250-350

1738

1739

1734. An Albert William Feaveryear silver trowl, shaped bowl with scroll decoration, the twisted stem and scrolling terminal set with cabouchon, stamped makers mark AWF 17cm. long £300-500 1735. A pair of Walker & Hall silver cruet sets, in the manner of Dr Christopher Dresser, cruciform base with rod and ball rail construction and central triangular handle, with glass bottles stamped marks, Sheffield 1893 14.5cm. high £300-500 1736. A Marcus & Co silver mounted Limoges enamel on copper low tazza, the well enamelled with an impressionist riverscape, the strapwork handles inset with jade cabochon, stamped mark to handle, enamel signed LFH 21.5cm. wide £1,200-1,800 1737. A pair of Roberts & Belk silver pedestal bonbon dishes, model no.7113, floriform bowls with red ceramic roundel, on detachable tripod feet, stamped marks, London 1930 12cm. diam. £400-500

1740

1741

1738. A W. Neal & Son Art Deco silver cruet set, comprising salt with blue glass liner, pepper pot, mustard pot with hinged cover and blue glass liner stamped marks, Birmingham 1935 pepper 7.5cm. high £80-120 1739. An Art Deco silver cruet set, comprising square salt with blue glass liner, pepper, mustard with hinged cover and blue glass liner stamped marks J&C, Birmingham 1929, pepper 7cm. high £80-120 1740. An Artificers Guild card case, designed by Edward Spencer, cast in low relief to both sides with rose roundel, below a band of flowers and foliage, with applied cabochon and mother of pearl panels, unsigned 9.5cm. high £150-200 1741. An Artificers Guild travelling mirror, designed by Edward Spencer, rectangular form, with pierced articulated panel of flowers and foliage, inset with cabochon unmarked, one stone missing 14cm. high £150-200 1742. A set of three DG Ware Stourbridge painted glass canisters, painted with butterflies and a ferocious dragon, with plated metal cover factory marks to base 19cm. high £50-150

104

1742

1743

1746A

1744

1745

1747

1746

1748

1743. An Old Hall Oriana stainless steel tea and coffee set designed by Robert Welch, comprising; coffee pot and hinged cover, hot-water pot and hinged cover, milk-jug and sugar basin, on matched tray, another tray, an extra coffee pot and milk-jug, and four other Old Hall items designed by Welch stamped marks 14cm. high £50-150

1744. A Bramah stainless steel teapot and cover, designed by Eric Clements, with black plastic handle and finial, a Dansk Designs polished metal candlestick designed by Jens Quistgaard, and a collection of metalware various marks, 12.5cm. high £50-100

1745. An Old Hall set of Alveston stainless steel cutlery designed by Robin Welch, comprising; three serving spoons, six forks, five knives, six dessert spoons and forks and five butter knives stamped marks forks 20.5cm. high £80-120

1746. A Dunhill electroplated novelty table lighter, modelled as a jet fighter cast marks to base 16cm. wide £80-120 1749 1746A. An Art Deco chrome, brass and glass desk lamp, in the style of Maison Desny, shallow domed bowl, with cylindrical glass rod stem, on flat circular base unsigned 21cm. high £80-120

1747. A Danish cocktail shaker, in the manner of Georg Jensen, footed form, the cover with simple leaf and berry finial, a Chase, American electroplate cocktail shaker, six cups and a tray and a collection of cocktail related items stamped marks 25cm. high £100-200 Provenance Albert E Wade collection

1748. A pair of Modernist electroplated candlesticks, unsigned 25cm. high

£100-200

1749. An Asprey & Co electroplated novelty Lantern cocktail shaker, model no.6331, modelled as a hand-held lantern, with articulated ebonised wood handle and cylindrical glass body stamped marks, 27cm. high £400-600

1750. An English novelty cocktail shaker modelled as a champagne bottle, with walnut neck stamped marks, 34cm. high £300-500 1750

105

1751. A bisque headed doll with sleeping model number 192, with original mohair wig and jointed composition body, dressed in contemporary clothes, and another similar, stamped marks to head largest 41cm. high £80-120

1751

1752

1752. A Simon & Halbig, German bisque headed doll dressed as a Manchu Lady, model no.1329, pierced ears and elaborate wig, jointed composition body, dressed in original silk outfit with jade hair slide cast marks to head, missing shoes 35cm. high £600-800

1753. A McVitie & Price biscuit tin and cover, modelled as a grotesque bird, enamelled in colours, 22cm. high £200-300

1753

1754 1754. A Dunhill advertising table lighter for Joseph Lucas, Birmingham, the perspex body internally decorated with heraldic Lucas rampant lion symbol cast Dunhill and inscription to base 10cm. wide £350-450

1755

1756

1755. A Parker Stratus fountain pen and ball pen set, in original presentation box, a Parker 61 pen and fibre tip set, an American Parker 51 fountain pen and another Parker pen and ball pen set stamped marks £80-120

1756. A 9ct gold engine turned fountain pen and propelling pencil set, stamped marks, import marks SJR £80-120

1757. ‘Swan Pens’ a counter-top display cabinet, with two Swan Pen fitted trays, and a collection of pens and two glass decanter sets 49.5cm. high £100-200 Provenance The Lost Street Museum Collection, Christie’s South Kensington 17 October 1997, lot 612 Albert Wade Collection

106

1757

1758

1759

1762

1760

1763

1761

1764

1765

1758. A Longines rhodium plated silver watch, designed by Serge Manzon, model C17.18, no.16808687, with black leather strap signed Longines to the face, stamped marks to back plate 3.5cm. square face £100-200 1759. An Ivory dressing table set, mounted with simple yellow metal roundel, comprising; six various brushes, a hand mirror, comb, shoe horn, miniature hand mirror, glove stretchers and twelve various tools unsigned hand mirror 27.5cm. long £80-120 1760. A small Charles Horner silver and enamel brooch, elliptical form enamelled with roses stamped marks to reverse, damages to enamel 2.5cm. wide £50-100

1766

1767

1761. A Gip carved horn brooch, modelled as a dragonfly signed Gip 6cm. wide £200-300 1762. A Charles Horner enamelled silver brooch, cast in low relief with scrolling foliate stems, remains of blue and green enamel, with green and blue enamelled drop stamped marks, Chester 3cm. wide £80-120 1763. A Charles Horner silver and enamel pendant necklace, cast and pierced with foliage, enamelled in green and blue stamped marks, indistinct date mark 3.5cm. high £80-120 1764. A Norwegian silver brooch, modelled as a long boat, stamped KH 830S, 3.5cm wide £50-100 1765. An Arts and Crafts silver and enamel pendant necklace, the design attributed to Nelson and Edith Dawson, the rectangular panel enamelled with a thistle, in rectangular frame on scrolled link chain unsigned 4 x 3cm £600-1000 1766. A Georg Jensen inlaid iron pendant, designed by Arno Malinowski, model no.5025, decorated with two fish stamped marks, 4cm. high £150-200 1767. A continental Secessionist mother of pearl paperknife, the handle mounted with white metal and pale green stone unsigned 15.5cm. wide £100-200 1768. A Liberty & Co silver and enamel belt buckle, rounded rectangular form, cast in low relief with Celtic roundel, enamelled with a border of stylised feather decoration in shades of green and blue stamped marks, Birmingham 1907 6cm. high £200-400 1768

107

1769

1770

1771 1769. A set of twelve Liberty & Co silver and enamel cake forks, in original fitted case, the forks with simple foliate design enamelled in blue and green stamped marks, Birmingham 1928 £700-800

1770. A Liberty silver and enamel brush and hand mirror, model no.5692, with simple band of green and blue enamel foliage stamped marks, Birmingham various dates 26cm. high £200-300

1772

1773

1774

1775

1771. A Liberty & Co English Pewter and enamel napkin ring, the design attributed to Archibald Knox, model no.0919, cast in low relief and enamelled in blue with a butterfly stamped marks, 6cm. wide £120-180

1772. A Liberty & Co Tudric Pewter jug and hinged cover designed by Archibald Knox, model no.0278, cast in low relief with a band of stylised foliage, the handle with wicker covering, and an Elkington & Co electroplated twincompartment dish in the manner of Dr Christopher Dresser stamped marks, jug 14cm. high £100-200

1773. An H S Brown novelty silver table cigar lighter, modelled as a Moorish table with a Hookah on it, engraved decoration, stamped London 1890,height 10.8cm, approx. weight 4oz. £500-700

1774. A Liberty Tudric Pewter tray designed by Archibald Knox, model no.0357, rounded rectangular form with overslung handle, cast in low relief with ivy leaf decoration stamped marks 30cm. wide £100-200

1775. A Liberty & Co English Pewter and enamel twinhandled dish, designed by Archibald Knox, model 0287, the rim pierced and cast with clover leaf motif, the well enamelled blue stamped marks, 28cm. wide £250-350

1776. A Liberty English Pewter twin-branch candlestick, designed by Archibald Knox, model no.0530, cast and pierced foliate central column, with flaring branches, with two pewter sconces stamped Solkets mark, 28cm. high £1,000-2,000

108

1776

1777

1778

1777. A Compton Potters’ Arts’ Guild terracotta jardiniere the design attributed to Mary Seton Watts, cast in relief with scrolling foliage border unsigned 47cm. diam. £700-900

1778. A Liberty English Pewter biscuit box and cover, model no. 01166, designed by Archibald Knox, cast in low relief with stylised honesty, stamped marks 15cm. high £250-350

1779 1779. A Liberty English Pewter biscuit box and cover, model no. 01166, designed by Archibald Knox, cast in low relief with stylised honesty, hammered finish stamped marks 15cm. high £250-350

1780. A Liberty English Pewter tobacco box and cover designed by Archibald Knox, model no. 0194, cast in low relief with panels of stylised flowers stamped marks, 11cm. square £300-500 1780

109

Silver Tuesday 30th & Wednesday 31st October 2012

A set of four George III silver two-handled sauce tureens and covers, by Benjamin Smith, London 1819. Estimate: £8,000 - £12,000

ENQUIRIES Rupert Slingsby Tel: 01722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers Tel: 01722 424594 lucychalmers@woolleyandwallis.co.uk

Asian Art Wednesday 14th & Thursday 15th November

ENQUIRIES John Axford MRICS ASFAV Tel: 01722 424506 johnaxford@woolleyandwallis.co.uk

Lin Fengmian (1900-1991) Two Young Ladies with Fans, 66cm x 65.5cm. Provenance: purchased in the 1950s in China by The Commissioner of Chinese Customs in Hong Kong. Estimate: £60,000 - £80,000

British Art Pottery Wednesday 28th November 2012 Entries are now being accepted for this sale

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

A rare Martin Brothers stoneware grotesque jar and cover, dated 1900. Estimate: ÂŁ25,000 - ÂŁ30,000

Fine Porcelain and Pottery Tuesday 12th February 2012 Entries are currently being accepted for this sale.

ENQUIRIES Clare Durham Tel: 01722 424507 claredurham@woolleyandwallis.co.uk

A good and rare Don Pottery botanical dessert service, c.1810. Estimate: ÂŁ8,000 - ÂŁ12,000

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. 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. 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.

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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.

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

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.

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

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.

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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).

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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. After sale settlement of the net sum due to you normally takes place within 28 days of the sale (by crossed cheque to the seller) 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.

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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.

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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 clientâ&#x20AC;&#x2122;s needs.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales. Contact Christine Johnson 01722 424509

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.

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.

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Woo l le y & Wa l li s Absentee Bid Form 19th & 20th Century Design

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Wednesday 3rd October 2012 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 Debit/Credit Card details: VISA OTHER

MASTERCARD

SWITCH

(please specify)

We do not accept American Express cards

Cardholder Card No. Valid from Expiry date Issue No.

(Switch only)

If you have not settled your account within 21 days of the auction Woolley & Wallis Salisbury Salerooms Ltd reserves the right to debit all charges due. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. By signing below you are authorising this payment to be taken by us. 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

Price Excluding buyer’s premium & VAT

auCtiOn CalenDar 20TH CENTURY DESIGN 3rd October – 20th Century Design 28th November – British Art Pottery, including Studio Pottery Michael Jeffery 01722 424505 • michaeljeffery@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 16th October Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards 01722 411854 • markrichards@woolleyandwallis.co.uk CLOCKS, POCKET WATCHES & BAROMETERS 16th October Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Richard Price 01722 339752 • richardprice@woolleyandwallis.co.uk SILVER 30th & 31st October Rupert Slingsby 01722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers 01722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 1st November Jonathan Edwards 01722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting 01722 424595 • mariellewhiting@woolleyandwallis.co.uk ASIAN ART 14th & 15th November John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister 01722 424591 • sophielister@woolleyandwallis.co.uk PAINTINGS & BOOKS 12th December Victor Fauvelle 01722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler 01722 424592 • jobutler@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 12th February 2013 Clare Durham 01722 424507 • claredurham@woolleyandwallis.co.uk • Entries can usually be accepted up to six weeks prior to auction • Illustrated catalogues are available about ten days before the sale • Viewing is normally two days prior to the auction and on Saturday mornings • Catalogue subscriptions are available for all sales • Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk