22. Woolley & Wallis - Arts & Crafts by Jamm Design Ltd

WOOLLEY & WALLIS

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

Arts & Crafts

Wednesday 23rd June 2010

www.woolleyandwallis.co.uk

Including the collection of the late Barbara Morris

Wednesday 23rd June 2010

Auction Calendar

Specialist Departments

FURNITURE & WORKS OF ART 6th July 21st September 9th November Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards 01722 411854 • markrichards@woolleyandwallis.co.uk

Please dial 01722 followed by the number listed below

FURNITURE Will Hobbs Mark Richards Jim Gale Gemma Robinson

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CLOCKS Will Hobbs — Richard Price (Consultant) EUROPEAN CERAMICS & GLASS John Axford MRICS ASFAV — Clare Durham — ASIAN ART John Axford MRICS ASFAV — Orlanda Cooper — Tim Wright (Consultant) 20TH CENTURY DESIGN Michael Jeffery

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339752 411854 339161 339752

339752

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424502

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424510 Tim Woolley (Consultant) ACCOUNTS & OFFICE MANAGER Janice Clift —

424506 424507

GENERAL OFFICE Ruth Pike Linda Garthwaite Pauline West

424506 424506

424500

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424500

SALEROOM MANAGER Adam Molland

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424500

PRESS & PUBLICITY Clare Durham

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424507

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424503 424503

BOOKS & MANUSCRIPTS Liz Merry (Consultant)

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424500

SILVER Rupert Slingsby Lucy Grazier

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424501 424530

JEWELLERY Jonathan Edwards FGAA Marielle Whiting

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424504 424504

BOARD OF DIRECTORS Paul Viney ASFAV Chairman and Managing Director John Axford MRICS ASFAV Willi Verdon-Smith FRICS COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards

of Fine Art Auctioneers

SILVER 21st July 27th October Rupert Slingsby 01722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Grazier 01722 424530 • lucygrazier@woolleyandwallis.co.uk JEWELLERY 22nd July 28th October Jonathan Edwards 01722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting 01722 424504 • mariellewhiting@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 12th October John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Clare Durham 01722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 13th October 1st December - British Art Pottery Michael Jeffery 01722 424505 • michaeljeffery@woolleyandwallis.co.uk CLOCKS, POCKET WATCHES & BAROMETERS 26th October Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Richard Price 01722 339752 • richardprice@woolleyandwallis.co.uk

424505

PAINTINGS Victor Fauvelle Jo Butler

Members of The Society

HOUSE CONTENTS SALES Paul Viney ASFAV

ASIAN ART 17th November John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Orlanda Cooper 01722 424506 • orlandacooper@woolleyandwallis.co.uk —

424526

PAINTINGS 8th September 8th December Victor Fauvelle 01722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler 01722 424503 • jobutler@woolleyandwallis.co.uk BOOKS & MANUSCRIPTS 8th December Liz Merry 01722 424500 • lizmerry@woolleyandwallis.co.uk • Entries can 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

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

• Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk

ARTS & CRAFTS

Including the collection of the late Barbara Morris

WEDNESDAY 23RD JUNE 2010 AT 10.30AM

Viewing Times Saturday 19th June Monday 21st June Tuesday 22nd June Wednesday 23rd June

10.00am – 1.00pm 10.00am – 4.00pm 10.00am – 4.00pm 9.00am – 10.00am

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

Catalogue £10.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

BARBARA MORRIS, (1918-2009)

Arts & Crafts scholar and a curator at the V&A Museum Barbara Morris was a leading figure in the postwar generation of great scholarly curators who revitalised Britain’s museums. At the Victoria and Albert Museum she and an initially small band of colleagues were among the first to take Victorian art and design seriously; they changed taste and transformed the study of the era’s decorative arts from an amusing, if aberrant, enthusiasm into an academic discipline. She was also, in the great V&A tradition, a real connoisseur of beautiful things; she was gifted with an extraordinary eye and a rapid, seemingly instinctive appreciation and understanding of objects of all kinds, but in particular 19th-century embroidery and, her chief loves, ceramics and glass. She was a brilliant communicator of her enthusiasm, by turns witty, sharp and extraordinarily kind: qualities which also made her a superb hostess and won her a wide and varied circle of friends. Barbara Morris (née Trotman) was born in Willesden, northwest London, the only child of a comfortably-off family. Her father, an engineer specialising in the dairy industry, and a dominant grandmother gave her every encouragement and an expectation of high achievement. At the Brondesbury and Kilburn High School, and later the North London Collegiate School, she showed real academic promise, but a strong inclination for drawing led her to study fine art at the Slade School at University College London, then undoubtedly the most exciting of the art schools, in 1937. Three of the life drawings she made at that time, studies of London’s most celebrated life model Quentin Crisp, are currently on show at the National Portrait Gallery. The outbreak of the Second World War in 1939 interrupted her art student days. She did various teaching jobs during those years, but in 1945 she was able to return to the Slade to complete her course, gaining distinctions in drawing, anatomy and perspective. Various jobs followed, including a stint as a copywriter for the advertising agency J. Walter Thompson and, crucially, some part-time research at the V&A. In 1939 she married Max Morris (obituary September 10, 2008), a teacher, a member of the Communist Party and an activist in the National Union of Teachers. Although they divorced in 1960, they remained friends. She retained the name Morris, perhaps because she enjoyed the sense of identity with William Morris, whose own revolutionary idealism appealed and whose work as designer and craftsman would become one of her principal areas of scholarly and curatorial interest.

The Arts and Crafts movement first began to loom large in her life when in 1947 she was recruited into the V&A’s circulation department, a vibrant, section of the museum and at that time the only part of the organisation to take much interest in anything post-1830s. Newly appointed as head of “Circ” was the enigmatic Peter Floud, another Communist who gathered around him a trio of bright young women. Morris and her colleagues Shirley Bury and Elizabeth Aslin were known variously as “Flouds’s Women” or, more pleasingly, as the “Three Graces”. The great achievement of this team was the ground-breaking — if drily titled — exhibition, Victorian and Edwardian Decorative Arts, staged in 1952. The show, which also proved unexpectedly popular with the public, put the V&A at the forefront of the revival of interest in Victorian progressive design. In the years that followed Morris established herself as an authority on the Arts and Crafts movement. During a long and distinguished career she wrote important books on the department store Liberty & Co, on Victorian embroidery and on ceramics and glass. When the circulation department was closed in 1976 because of government cuts, she joined the museum’s department of ceramics, becoming deputy keeper before retiring in 1978. Not wishing to give up her active life, Morris, who had always enjoyed giving talks to all kinds of audiences, let it be known that she would continue to lecture and work as a free-lance consultant. She was immediately headhunted to work for the new educational wing of Sotheby’s where she spent six enjoyable years as one of the principal lecturers on its exclusive works of art course. She also joined the team of experts on the BBC’s Antiques Roadshow. Travelling across the country and identifying unexpected treasures proved fun; her vast experience of handling objects of all kinds, together with her witty but easy manner, made her a natural on camera. During these years she also continued to play an active part in several societies including the Decorative Arts Society, the Glass Circle, the Art Workers Guild and the William Morris Society. Barbara Morris had a lively social life and enjoyed mixing people with many shades of opinion, relishing the occasional sparks this created. Happily unconventional, since the early 1960s she had shared her life with another committed left-wing activist, Dave Bowman, a key figure in the National Union of Railwaymen. They eventually married in 1991, five years before his death. Over many years Morris built up her own interesting collection of glassware, ceramics and textiles. Only days before her death she was still rearranging the displays in her house in Brighton to accommodate the latest find. She had labelled many of her most interesting pieces as bequests to the V&A and the British Museum. Obituary courtesy of The Times, published August 17th 2009.

Photograph courtesy of Linda Sandino

The Collection of the late Barbara Morris

1 1. A James Powell & Sons, Whitefriars blue opal wine glass, designed by Harry Powell, flaring fluted bowl, unsigned paper labels to base 13cm. high £150-200 Exhibited Whitefriars Glass, Manchester Museum & Art Gallery 1995-1996. Provenance Brian Cargin & Chris Morley Mallett Illustrated Lesley Jackson, Whitefriars Glass, Richard Dennis Publications, page 102 plate 23.

2 2. A James Powell & Sons, Whitefriars Minerbi glass goblet , designed by Harry Powell, on elaborate open twisted stem, the flaring bowl with melted glass threads, crack to base of one twist, 22.5cm. high £100-200 Literature Lesley Jackson, Whitefriars Glass, The Art of James Powell & Sons Richard Dennis Publications, page 107 plate 45 for an example of this form. This 400 piece service was designed by Harry Powell in 1906 for Count Minerbi an Italian diplomat. The open twisted stem goblet was originally designed in 1899.

3 3. A James Powell & Sons clear glass carafe, square section with pulled in neck, two decanters and stoppers, two Powell glass bowls, a Webb bronze vase and a large collection of glass various manufactures, damages £100-200

4. A vaseline glass and wrought iron hall lantern cylindrical vaseline glass shade, the frame with scrolling and twisted decoration unsigned 37cm. high £100-200

5. A pair of James Powell & Sons, Whitefriars straw opal glass trumpet vases, in wrought iron mounts, and a James Powell & Sons blue opal vase and wrought iron mount unsigned, small nick to rim of blue opal vase, vases 19cm. high Literature Lesley Jackson, Whitefriars Glass Richard Dennis Publications, page 101 plate 21 for comparable pieces. £150-200 4

5 6. A large and impressive wrought iron, copper and vaseline glass ceiling light the wrought iron frame with three scrolling stem each terminating in copper flowerheads, with flaring vaseline glass shade, with hanging fittings unsigned 44cm. high £300-500

7. A large collection of press moulded glass, including a black glass sphinx, comprising white, black, blue and amethyst glass by various manufactures impressed marks, damages £100-200

8 part

9 part

11 part

10 part

8. A collection of blue and white transfer printed ware including platters, tureens and tableware various manufactures marks, damages £100-200 9. A set of six Minton’s blue and white transfer printed bowls for White Star Line and a collection of blue and white various marks, damages £100-200 10.

A large collection of relief moulded jugs various marks, damages £100-200

11. A George Jones majolica strawberry dish with cream and sugar pots modelled in relief with strawberry foliage, a cheese dish and cover, a Wedgwood jug, four plates and a collection of ceramics impressed marks, damages 36cm. wide £100-200 12. An L M & Cie Japoniste pottery tazza and plate designed by E Rousseau, and two other plates similar printed marks, minor damages 24’cm. diam £80-120

13. Five Minton’s pottery Essex Birds plates, octagonal form, each printed and enamelled with birds amongst flowers and foliage, and a collection of William Butterfield & Sons plates impressed and printed marks 22.5cm. diam. £100-200 14. Six various Minton & Co Japoniste pottery plates designed by W S Coleman, printed and painted with animals, insects and flowers printed marks, damages 26.5cm. diam. £100-200 Literature Elizabeth Aslin The Aesthetic Movement Ferndale Editions, page 140 plate 92 for two of these plates illustrated 15. A Minton & Co Japoniste pottery jug designed by W S Coleman, printed and painted with swallows amongst prunus blossom, a square box and a tile in the same range and seven other items printed marks, damages 13cm. high £100-200

16. An Art Nouveau Doulton Lambeth stoneware vase painted with iris Siberica sprays in colours, and three other items printed, painted and impressed marks, damages 27cm. high £100-200 17. A Liberty & Co jug, cast in low relief with roundels, glazed green, another Liberty & Co jug, and a small collection of ceramics including Poole Pottery impressed marks, damages 12.5cm. high £100-200 Literature Barbara Morris Liberty Design Chatwell Books, the two Liberty jugs illustrated page 62 18. A small Cantagalli lustre dish, painted to the rim with a band of stylised bell flowers in blue and sand lustre painted cockerel mark 14cm. diam. £50-100 19. A Simon Peter Gerz stoneware twin-handled vase possibly designed by Albin Muller, model no.1097, incised with Secessionist repeat, in blue and grey impressed marks, damages 21cm. high £50-100

20. ‘Mrs Crabbe as Cleopatra’ a rare Mintons portrait plaque by J D Rochfort after a design by Frederick Sandys dated 1877, painted holding up an asp, the rim with swallows and blossom sprays, in colours on a cream ground, sold with a Frederick Sandys monograph by Betty Elzea painted marks and inscription to the reverse, signed to the front dated 39cm. diam. £600-800 Provenance Frederick Sandys & The Pre Raphaelites 2001-2002, Norwich Castle Museum & Art Gallery, this plaque exhibited. Literature Betty Elzea, Frederick Sandys acc plate 44, catalogue 3.53 21. A W.A.S Benson silvered metal twin-handled tureen and cover, with foliate handles, another similar, a copper and brass kettle, two thermos flasks and a hot plate various marks 31cm. wide £100-200

22. A Benham & Froud mixed metal panel decorated with a classical maiden holding up a torch, framed stamped mark 45 x 23cm. £80-120

23. A small pewter easel back mirror designed by Ada Clegg, square decorated with Liberty & Co Peacock Feather design printed mark to reverse £100-150

24. A Liberty & Co English Pewter butter dish with glass liner and butter knife, designed by Archibald Knox, model no.0162, stamped marks 15cm. wide £150-200 Literature Stephen A Martin, Archibald Knox, ARTMEDIA page 208 illustrated model no 0162

25. A set of six Liberty & Co Cymric silver and enamel cake forks, designed by Archibald Knox, enamelled in blue and green with honesty terminals, in fitted case stamped marks, Birmingham 1902 £300-500

26. An Art Nouveau gold pendant probably Liberty & Co, designed by Archibald Knox, set with central turquoise, and natural pearl drop unsigned 4cm. long £150-200

27. A silver and enamel brooch cast in relief with heart shaped flowers, enamelled green and purple, stamped marks, Birmingham 1908 2.5cm. diam. £80-120

28. A continental silver pendant wirework form with mother of pearl and freshwater pearl drop stamped marks, RH 4cm. high £50-100 27

29. A silver and cloisonne enamel, jewel encrusted pendant locket by George Hunt, oval, the reverse etched with the Judgment of Paris, the front enamelled with foliate sprays in green, blue and white, inset with opal and amethyst stones stamped GH shield mark to interior 7.5cm. high £300-500 Literature John Kelly George Hunt, The Silent World of An Arts and Crafts Jeweller, exhibition catalogue, page 39, catalogue number 77 for a rosary with similar enamelling to the crucifix,

30. An enamel pendant in the manner of George Hunt, decorated with an amber cyclamen before foliage, and four Arts and crafts rings unsigned 5cm. high £100-200

31. A white metal moonstone and mother of pearl necklace, in the manner George Hunt, wirework foliage form, with blister pearl drop unmarked £100-200

32 32. A cloisonne enamelled metal locket by George Hunt, heart shaped form set with amethyst stone and drop, enamelled with violets, the reverse with white viola unsigned 6cm. high £200-300

33. An enamel and stone set brooch by George Hunt, oval, enamelled with a lady in a blue feathered hat, with blue enamelled leaf border set with rock crystal and pearls, signed G Hunt 1931, 6cm wide. £200-400

34. ‘Hon Miss Graham’ an enamelled portrait brooch by George Hunt, oval, enamelled in colours with blue leaf border set with moonstones signed G Hunt 1931, titled, repaired enamel 6.5cm. high £150-200

35.

‘Liberty Yuletide Gifts’ a Liberty & Co trade catalogue

£80-120

36.

‘Yule-Tide Gifts’ a Liberty & Co trade catalogue dated 1895-96

£100-200

37.

‘The Liberty Bazaar’ a Liberty & Co trade catalogue

£100-200 42

38.

‘Eastern Art’ and ‘Eastern Antiques’ two early Liberty & Co trade catalogues

£100-200

Literature Barbara Morris Liberty Design Chartwell Books page 76, Eastern Antiques reproduced

39.

‘The Liberty Bazaar’ an undated Liberty trade catalogue

£80-120

40.

‘Liberty Yuletide Gifts’ a Liberty & Co trade catalogue

£80-120

41.

‘Furniture’ a Liberty & Co trade catalogue

£100-200 43

42.

‘Yule Tide Gifts’ a Liberty & Co trade catalogue, dated 1907

£100-200

43.

‘Yule-Tide Gifts’ a Liberty & Co trade catalogue, dated 1906

£100-200

44.

‘Liberty Handbooks of Sketches’ a Liberty & Co trade catalogue

£80-120 44

45. ‘Yule-Tide Gifts’ a Liberty & Co catalogue, A Liberty & Co Quilts catalogue, a Liberty & Co Silk Shawls catalogue another part catalogue and a photostat of a Wylie & Lochhead catalogue £100-200

46. ‘Liberty 1933’ and ‘Liberty Christmas Gifts 1931-1932’ two Liberty & Co catalogues, and two undated smaller Liberty catalogues £100-200

47. ‘Creations Liberty’, ‘Cretonnes’, and ‘Tentures’ three Liberty & Co catalogues detailing textiles, and a copy of Liberty’s Choice and Charming Presents, a Liberty Dress catalogue and another part catalogue £100-200

48. An interesting archive relating to Liberty & Co, including ‘The Liberty Style’, Liberty 1875-1975 flyer, articles and contemporary references £100-200

49. ‘A Book of Bedroom Furniture’ (1918), ‘The Nursery Book‘, and ‘Catalogue of Wooden Bedsteads’ (148th edition) three Heal & Sons catalogues £80-120

50. ‘Catalogue of Garden Furniture’ A John P White Pyghtle Works catalogue £80-120

51. ‘Tam O’Shanter’ by Robert Burns, a vellum bound book, Essex House Press, published by Edward Arnold, limited to 150 copies, the cover embossed with the Guild of Handicraft carnation, numbered 15 of 150 £100-200 Provenance Phillips Auctioneers, Decorative Arts, 29th March 1994 lot 276.

52. A collection of books by Lewis F Day, Walter Crane and John Ruskin £80-120

53. ‘Kirkcudbright a Royal Burgh’ book 1 by Jessie M King published by Gowans & Gray, and a collection of reference work and research into Scottish decorative arts £50-150

54. ‘The City of the West’ a book with illustrations by Jessie M King and Pan Pipes, illustrated by Walter Crane £50-100

55. ‘Flower Fairies’ four paintings on silk after designs by Walter Crane, framed unsigned 18 x 13.5cm. £50-80

56. ‘An Almanac of Twelve Sports’ by Rudyard Kipling illustrated by William Nicholson, 1898 and a lithograph by William Nicholson £50-150

59 57. ‘The Studio Yearbook 1908’ and ‘The Studio Yearbook 1906’ two reference books, a collection of loose Studios and a collection of research on Arts and Crafts design £50-100

58. A lithographic print of a fairy story illustration by B Ellwood, framed and a small collection of prints signed in pencil 18/90 54 x 34cm. £50-100

60 59. ‘Book of Job’ no 30, a small lithograph by Frank Brangwyn, framed signed in pencil image 10 x 5cm. £50-100

60. ‘Roadworkers’ and ‘The Sower’ two dry point etchings by Ray Watkinson £50-100

61. A postcard album comprising tennis players, walkers, runners pilots and cricketers, Mr & Mrs Chamberlain, Henrik Ibsen, John Ruskin, Mark Twain, musicans and artists £50-100 61

64 62. A Gothic Revival oak hall mirror simple pegged oak frame unsigned 75cm. wide £50-100

63. An Aesthetic Movement ebonised wood cabinet the doors carved and painted with stylised flower stems in a blue and white vase unsigned 99cm. high £100-200

64. An Aesthetic Movement ebonised wood table the circular top inset with beadwork floral panel unsigned 71cm. high £80-120

65. An Aesthetic Movement red-stained occasional table after a design by E W Godwin, the top painted with flowers unsigned 66cm. high £50-100

66. A Thonet bentwood chair applied paper label 96cm. high £50-100

67. A brass extending standard lamp on cruciform base with claw feet, flanked with scrolling copper strapwork, and a copper mirror unmarked 138cm. high £50-100

68. A Cotswold School oak sideboard with carved drawer handles unsigned 136cm. wide £300-400

69. A Morris & Co walnut sideboard designed by Philip Webb, stamped marks to drawer top 152cm. wide ÂŁ8,000-12,000 Provenance Dr J W Browne, Fellow of Worcester College, Oxford until 1886. Thence by descent to Mr & Mrs Sylvester Gibb. Literature Decoration, Morris & Co. catalogue page 28 catalogue number 181, for a comparable form illustrated, priced at ÂŁ25. Sheila Kirk, Philip Webb, Pioneer of Arts and Crafts Architecture, Wiley Academy, page 53 for a comparable sideboard with closed ends.

70. An ash ‘Sussex’ single chair, probably Morris & Co, and another similar, and three other chairs unsigned 88cm. high £100-200

71. An ash ‘Sussex’ single chair, probably Morris and Co, rush seated, and three other chairs unsigned 85cm. high £100-200

72. A Morris & Co ash ‘Sussex’ armchair, rush seated, a ‘Sussex’ rush seated chair and another similar unsigned 89cm. high £100-200

73.

A silk embroidered fire screen probably Morris & Co, unsigned 117cm. high £100-200

74. A Morris & Co woodblock, numbered 780, and two folios of Morris & Company wallpaper designs with annotated text £100-200

75. A section of Sanderson’s ‘Willow Bough’ textile designed by William Morris, and a collection of modern William Morris and other textiles £50-100 73

76. A collection of books on William Morris including ‘Early Poems of William Morris’ and other works by William Morris £100-200

77.

‘Morris Wallpapers’ a Morris & Co catalogue

£80-120

78. ‘Decoration - Morris & Co catalogue - Arras Tapestries, Wallpapers, Fabrics, Furniture, Upholstery and Decoration’ a Morris & Co catalogue £100-200

79. ‘House Decorating and Furnishing by Morris & Co’ a Morris & Co catalogue £80-120

80. ‘Some Hints on Pattern Designing by William Morris’ published by The Chiswick Press, 1899, and ‘History of the Merton Abbey Tapestry Works’ £100-200

81. ‘Church Decoration and Furniture’ a Morris & Co catalogue, a Morris & Co catalogue from Hanover square, and a copy of the Peter Floud tribute on the ‘Wallpaper Designs of William Morris’ £80-120

82. An interesting and extensive archive relating to William Morris and Morris & Co comprising extensive research into the company with photographic copies of interiors, correspondence and articles £300-500

83. An interesting scrap album relating to William Morris including pencil tracings of Morris & Co minstrels, newspaper articles, a handwritten letter detailing the Stanmore tapestries and illuminated letter designs £200-300 83

The following seven lots are designs for two-tile panels 84. A Morris & Co pencil drawing on tracing paper of a Minstrel playing two pipes unsigned 25 x 12cm. £100-200 85. A Morris & Co pencil drawing of a Minstrel playing a lyre unsigned 26 x 12.5cm. £100-200 86. A Morris & Co pencil drawing of a Minstrel playing a pipe on plain background unsigned 26 x 13cm. £80-120 87. A Morris & Co pencil drawing of a Minstrel playing a pipe unsigned 25.5 x 12.5cm. £100-200 88. A Morris & Co pencil drawing of a Minstrel playing a stringed instrument unsigned 25 12cm. £80-120 88

89 89. A Morris & Co pencil drawing of a Minstrel playing a lyre, and two pencil border designs main panel in 2 pieces 25 x 12cm. £50-100 90. A Morris & Co pencil drawing on tracing paper of a Minstrel playing a lyre annotated and dated 1876 26 x 12.5cm. £100-200 91. A pencil drawing of a young couple embracing probably Morris & Co, with scroll of music top left corner, with additional pen highlights, framed unsigned 22 x 19.5cm. £50-100 92.

Four illuminated letters possibly Morris & Co, 10.5cm. wide £50-100

93. Two Morris & Co Kelmscott Press illuminated letter proofs in common frame unsigned largest 25.5 x 8cm. £50-100 90

94. ‘Psyche in the Garden’ a Morris & Co engraving, designed by Edward Burne-Jones and William Morris for the unpublished ‘The Tale of Cupid and Psyche’ unsigned annotated 10 x 5cm. £80-120 95. ‘Psyche Entering the Garden of Cupid’s Palace’ a Morris & Co engraving, designed by Edward Burne-Jones and William Morris for the unpublished ‘The Tale of Cupid and Psyche’ unsigned, annotated in ink image 10 x 5cm. £80-120 96. ‘Psyche Spying’ a Morris & Co engraving, designed by Edward Burne-Jones and William Morris for the unpublished ‘The Tale of Cupid and Psyche’ unsigned £80-120 97. ‘Psyche, Disregarding their call for help, passes safely by the shadowy man trying to load an ass and three old women weaving’, designed by Edward Burne-Jones and William Morris for the unpublished ‘The Tale of Cupid and Psyche’ unsigned 16 x 10cm. £80-120 98. Venus Setting Psyche the Task of Seperating the Heap of Grain and Seed’ a Morris & Co engraving, designed by Edward Burne-Jones and William Morris for the unpublished ‘The Tale of Cupid and Psyche’ unsigned 16 x 10.5cm. £80-120 99. A pencil and pen wash design for a chest possibly relating to Morris & Co, annotated unsigned 25.5 x 15cm. £80-120 100. ‘William Morris’ a pencil on paper portrait, in an envelope annotated ‘unpublished sketch of Wm Morris attributed to BurneJones unsigned 12 x 9cm. £100-200 Literature This portrait is similar to the photograph of William Morris in hat and smock circa 1876

100

101

102

103

104

101. A selection of letters relating to George Campfield regarding William Morris, letters from Ellis & White Booksellers, and some costings for the decorative work at St Martin’s Scarborough and St Giles Ascension and a letter from Rt Hon William George Granville Vernon Harcourt PC KC, Malwood, Lyndhurst £80-120

102. Three letters from William Morris to George Campfield, one pencil two in pen, £100-200

105 103. A letter from Edward Coley Burne-Jones to George Campfield requesting buying yellow gold, another letter from Georgina Burne-Jones and a letter to Campfield written by Sir Edward Coley Burne-Jones’ secretary (Sara Anderson), and an annotated sketch entitled ‘The Last Topic cartoon’. £100-200

104. A letter from Ford Maddox Brown to George Campfield dated May 3rd 1871 £50-100

106 105. A Letter from May Morris to George Campfield dated 1890

£50-100

106. An invitation to the ‘Eleventh Exhibition of Paintings and Drawings 1880’ inviting William Morris, annotated with pencil drawings and later annotated ‘W Morris Drawing inside’ £50-100

107. A letter from William Morris to George Campfield, dated March 22nd 1866 and a letter probably to William Morris from Pablo Lombardi photographers dated 1876 £100-200 107

108

112

109

110

113

111

114

115

108. ‘Farbige Raumkunst’ Stuttgart 1911, a contemporary design reference book, and a collection of continental research and catalogues £80-120 109. ‘The Decorative Art Society Journal’ volumes

£50-100

110. A collection of ceramic design reference books including; Royal Doulton, The Dictionary if Minton and Pilkington’s Lancastrian £80-120 111. A collection of reference books on textiles and embroidery £100-200 112. A collection of reference books on design including monographs on Godwin and W A S Benson £100-200 113. A collection of books on Plastics and design

£50-100

116

117

114. A collection of books on nineteenth century design including Nineteenth Century Design From Pugin to Mackintosh, £100-200 115. A Collection of books on jewellery and jewellery design including Jewellery Gallery Summary Catalogue by Shirley Bury £80-120 116. A collection of books on William Morris including William Morris, Victoria & Albert Museum exhibition catalogue £100-200 117. A collection of reference books on design including monographs on Archibald Knox and Lewis F Day £100-200 118. ‘Whitefriars Glass, James Powell & Sons of London, a reference book by Wendy Evans, Catherine Ross and Alex Werner, published by the Museum of London, and ‘Whitefriars Glass’ by Lesley Jackson published by Richard Dennis £100-200 119. A large collection of reference books on glass including; The Glass of Desire Christian and British Glass Between The Wars £100-200

118

119

120. A collection of auction catalogues mainly 20th Century Design £50-100 121. An archive of research into glass and glass making including photographic reproductions of James Powell & Sons, Whitefriars glass from circa 1900, a photocopy of a later Whitefriars glass trade catalogue, catalogues for Lawrence Whistler, Benny Motzfeldt, Dominick Labino, Steuben, Strathearn and Stuart and others, and a collection of notes, articles and photocopies relating to glass from 1850 to 1980. £100-200 120

122. A collection of reference books and catalogues relating to Dr Christopher Dresser including; ‘The Shock of the Old’, and Haslam & Whiteway/Fine Art Society catalogue £50-100

121

123. ‘Textiles of the Arts and Crafts Movement’ a poster for the Victoria & Albert Museum exhibition and a collection of various posters £50-80 124. ‘William De Morgan’ by William Gaunt and M D E Clayton Stamm and a collection of books on and by William De Morgan £100-200

122

123

125. A collection of reference books on American and European design and photography £80-120 126. A collection of art reference books, including Hockney Paints the Stage, William Blake and Diego Rivera monographs £80-120 127. An Elo Ware plastic box and hinged cover a collection of early plastics and plastic jewellery, and a collection of jewellery and reference works on plastics £100-200

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125

128. A Minton’s Pottery blank tile decorated by W B Simpson & Sons, painted with a cherub reading a tablet, a Wedgwood tile in the manner of Dr Christopher Dresser, and another tile painted and impressed marks 23.5cm. square £100-200 129. A Minton’s Pottery tile printed with stylised bell flowers and daisy clumps in yellow on a white ground, and another two tile panel impressed marks 14.5cm. square £100-200 130. ‘Scroll’ a William De Morgan tile, painted in ruby lustre, later wooden frame, unsigned 15cm. square £150-200 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 146 plate 631 for the original design.

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131. A J C Edwards tile designed by C F A Voysey, decorated in low relief with a devil portrait, glazed green, later framed impressed marks to reverse 15.5cm. square £400-500

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132. ‘Birds and Foliage’ a William De Morgan tile, painted in ruby lustre, in wood frame pencil inscription to reverse 15.5cm. square £400-600 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis, page 129 catalogue number 888. 133. ‘Tulip and Trellis’ a William De Morgan tile, on Carter’s, Poole blank, in later wooden frame impressed marks, crazed and surface wear 15.5cm. square £200-300 The Tulip and Trellis design was produced by William De Morgan and also for Morris & Co directly.

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134. A William De Morgan Sunflower tile designed by William Morris or William De Morgan, decorated in ruby lustre, framed painted W De Morgan & Co, Fulham London 15cm. square £400-600 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 59 plates 49-51 for three variations of this design. 135. A Dutch tin-glazed Sunflower tile designed by William Morris or William De Morgan, probably retailed at Morris & Co, later framed, 15cm. square £400-600 136. A tin-glazed three tile panel possibly retailed by Morris & Co, painted with flowers in shades of yellow, green and blue, later framed, each tile 15cm. square £500-800

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137. ‘Pink & Hawthorn’ a pair of Morris & Co tiles, designed by William Morris, painted in shades of green and yellow, later framed unmarked each tile 13cm. square Literature Richard & Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 96 figure 40e for a comparable pair. £500-800 138. ‘Daisy’ a pair of Morris & Co tiles, designed by William Morris, painted in shades of blue and yellow, later framed, damages, each tile 15.5cm. square £300-500 Literature Richard & Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 36 for 3 variations on this design illustrated.

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The Earthly Paradise Art Gallery of Ontario, page 186 catalogue number H:18

139. ‘Alceste’ a rare Morris & Company two tile panel, designed by Edward Burne-Jones for the Goode Wimmen series, painted in colours, later framed unsigned 26cm x 13cm. £8,000-12,000 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, another version illustrated from Sandroyd, near Cobham, Surrey.

140. ‘Dido’ a Morris & Co two tile panel, designed by Edward Burne-Jones from the Goode Wimmen series, painted in colours, later frame unsigned, top tile cracked 26 x 12.5cm. £4,000-6,000 Literature Richard & Hilary Myers, William Morris Tiles, Richard Dennis Publications, this tile panel illustrated page 40 catalogue 8D.

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A Private Collection of William De Morgan Tiles 141. Twenty-seven William De Morgan Late Fulham Persian border tiles, each painted with scrolling berried foliage in shades of aubergine and green inside blue borders on a white ground impressed marks each tile 15.5cm. wide £1,500-2,000

142. Five William De Morgan Merton Abbey Persian border tiles, painted with a scrolling flower design in purple and blue inside a blue border impressed marks 15.5cm. wide £100-200

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143. Four William De Morgan Persian corner tiles each painted with a carnation in blue and green on a blue ground stamped marks to two, chips 5cm. square £100-200

144. A William De Morgan Persian tile border eight tiles, painted with scrolling stylised foliage in shades of blue on a white ground impressed Poole Dorset marks, minor glaze chips 30.5cm. wide £200-300

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145. A William De Morgan Persian tile border eight tiles, with frieze of stylised foliage in shades of green, blue and aubergine on a blue band, on white ground impressed Poole Dorset marks, minor glaze nicks 39cm. wide £200-300

146. A set of four William De Morgan Sand’s End Pottery border tiles each painted with leaf and berried foliage spray repeats in green and yellow on a white ground impressed marks, 15.5cm. wide £80-120

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147. A set of four William De Morgan Early Fulham border tiles, each painted with a palm leaf, in shades of blue and green on a deep blue ground impressed marks, one repaired 23cm. long £200-300

148. A William De Morgan Early Fulham Persian tile border comprising four tiles and four corner tiles, each painted with stylised flowers and foliage, in shades of blue, aubergine and green, inside blue border, on white ground impressed flower mark 23cm. wide £200-300

149. Twenty-four William De Morgan Late Fulham border tiles, painted in brown with stiff-leaf foliage and brown borders on three border tile repeats impressed flower mark 15cm. wide £300-500 148

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152 150. Four William De Morgan Merton Abbey Persian border tiles painted with flower and foliage design in shades of aubergine, green and blue inside blue borders impressed marks to two each tile 15cm. wide £100-200

151. Two Maw & Co ruby lustre tiles, decorated with a flowering vine motif, and five other tiles impressed marks, wear to surface 15cm. square £50-100

153 152. A William De Morgan Sand’s End Persian nine tile panel painted with a spray of flower and foliage impressed marks, chips each tile 15.5cm. square. £1,000-1,500

153. A large William De Morgan tile designed by Halsey Ricardo, cast in low relief with a mythical beast, glazed gold lustre on a white ground impressed Sand’s End mark, chips to rims 23cm. square £800-1,200

154. A good William De Morgan Persian tile decorated in green and blue on a white ground with a duck impressed marks, minor glaze frits and small hairline to the rim 15.5cm. square £1,500-2,000

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Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 145 plate 227 this design reproduced.

155. A good William De Morgan Persian tile decorated in green and blue on a white ground with a duck impressed marks, minor glaze frits to the rim 15.5cm. square £1,500-2,000 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 145 plate 227 this design reproduced. 155

156. A William De Morgan charger painted to the well with a serpent amongst berried foliage, in ruby and sand lustre on a white ground impressed J Davis mark to reverse 30.5cm. diam. £500-800

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157. A Cantagalli Iznik pedestal bowl, painted with flowers and foliage in colours on a white ground painted cockerel mark, damages 24.5cm. wide £300-500 Similar bowls were retailed by Morris & Co and are illustrated in the Morris & Co catalogues.

158. A Cantagalli pottery ewer and cover decorated in ruby lustre with birds amongst stylised fruiting strawberry fronds painted mark, minor chips to top rims 18cm. high £450-550 157 158

159. A William De Morgan Sand’s End Pottery vase by Halsey Ricardo, twin scroll handled form, painted in ruby lustre with scaly fish, impressed mark, remains of HR monogram restored handle 27cm. high £1,500-2,000

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160. A William De Morgan pottery charger painted by Halsey Ricardo, in ruby with a mysterious winged portrait, flanked by hawks, above a mask and leaping fish, painted HR monogram, glaze loss to rim 37cm. diam. £1,500-2,000 Literature Martin Greenwood The Designs of William de Morgan Richard Dennis, page 43 plate 1112 for the original design illustrated, this charger also illustrated page 214 plate 81. It has been suggested that the mysterious figure is a caricature of Edward Burne Jones. 160

161. *A William De Morgan ruby lustre charger painted to the well with an antelope before a fruiting tree with a lizard climbing the trunk, in the foreground two scaly fish swimming in the river, in ruby lustre, highlighted in silver on a cream ground impressed number to reverse, in half and restuck, 37cm. wide £400-600 Literature The Designs of William De Morgan, Richard Dennis Publications page 209 plate 42 for a comparable dish Sold on behalf of AXA Art Insurance Services Ltd. Please note that this lot is subject to VAT on the hammer price as well as the buyer’s premium. 161

162. A William De Morgan pottery charger painted in copper and ruby lustre with four swans amongst lily pads, in the distance a galleon before the setting sun, unsigned, hairlines to rim 36cm. diam. £2,000-3,000 Literature Martin Greenwood The Designs of William de Morgan Richard Dennis, page 44 plate 1172 for the original design illustrated Pre-Raphaelite and Other Masters, The Andrew Lloyd Webber Collection, Royal Academy page 253 catalogue 212 for a comparable example.

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Tiles from the Jon Catleugh Collection

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164 163. A William De Morgan Marlborough three tile panel painted in shades of green, blue, yellow and aubergine marks concealed each tile 20.5cm. square £1,000-1,500

164. A William De Morgan Marlborough three tile panel painted in shades of green and blue, marks concealed each tile 20.5cm. square £1,000-1,500 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 76 plate 80 for a line drawing of the Marlborough design

165. A good William De Morgan Sand’s End Persian tile panel, painted with two facing peacock flanking a central panel of flowers and foliage, in shades of green, blue and purple on a white ground, framed marks concealed, damages 84 x 61cm. £4,000-6,000

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Literature Martin Greenwood The Designs of William De Morgan Richard Dennis, page 249 plate 332 for an identical panel

166. Three William De Morgan ruby lustre tiles each painted with a galleon at full sail, impressed mark to reverse each tile 15 cm. square £1,500-2,000 166

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167. Four William De Morgan Sand’s End Mongolian tiles each painted in shades of blue and green impressed mark each tile 15.5cm. square £1,000-2,000 Literature Jon Catleugh William De Morgan Tiles Trefoil, these actual tiles illustrated page 100 colour plate XII 168. A William De Morgan Chelsea Period tile painted with boxing hares in blue on a white ground impressed mark 15.5cm. square £1,000-1,500 Literature Jon Catleugh William De Morgan tiles, Trefoil, page 132 plate 196 this tile illustrated with the possible attribution of being decorated by De Morgan’s friend Dr Reginald Thompson. 169. A William De Morgan Persian tile painted with a parrot perched amongst stylised flowers and foliage unmarked, museum restored 15.5cm. wide £500-800 170. A good William De Morgan Late Fulham triple lustre tile painted with a peacock in blue, ruby and copper lustre on a white ground impressed mark 15cm. square £1,500-2,000 171. A pastel on paper design of a Pre-raphaelite woman by William De Morgan, standing before an Arthurian castle landscape, later frame paper label to reverse image 38 x 18.5cm. £1,000-2,000 172. Jon Catleugh, untitled, acrylic on board with applied beads, framed dated to the reverse, 1992, image 60 x 40cm. £200-300 Exhibited Jon Catleugh Late Paintings, De Morgan Foundation 2009, catalogue number 13 173. Jon Catleugh, untitled, acrylic on board, framed dated to reverse, 1992, exhibition label 60 x 60cm. £300-500 Exhibited Jon Catleugh Late Paintings, De Morgan Foundation 2009, catalogue number 16. 174. Jon Catleugh, untitled, acrylic on board, framed dated to reverse, 1992, exhibition paper label 60 x 60cm. £300-500

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Exhibited Jon Catleugh Late Paintings, De Morgan Foundation 2009, catalogue number 30

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180 175. A Copeland pottery tile painted with an Aesthetic maiden in clouds, impressed Copeland 23.5 cm. wide £80-120 176. A set of four Minton encaustic tiles in the style of A W N Pugin, decorated with the symbols of St John and St Mathew, and two floriated designs, in gilt on a blue ground impressed marks, minor chips 15cm. square £200-300

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177. Two Doulton Lambeth tiles each painted with opium pottery flowers in shades of white and green on an ochre ground printed marks 20.5cm. square £100-200 178. ‘Titania’ a Wedgwood pottery tile printed in blue on a white ground, and two other tiles impressed marks,minor nicks, 20.5cm. square £100-200 179. A Minton Pottery Japoniste three tile frieze painted with geese and ducks flying and swimming, in colours on a pale blue ground impressed marks, minor rim chips each tile 20.5cm x 20.5cm. £150-200 180. A set of three Farnham Pottery tiles cast in low relief with a central roundel depicting a castle, dated 1910, flanked with grape vine tiles, glazed green, mounted in an oak tray-frame 48cm. wide £300-500 181. ‘Artichoke’ a pair of tin-glazed tiles, probably retailed by Morris & Co after a design by William Morris or William De Morgan, painted in blue, unsigned, losses 13.5cm. square £100-200

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Literature Richard & Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 105 figure 170 for comparable tiles illustrated, recorded from a Philip Webb fireplace. 182. ‘Kenilworth’ a Shakespeare series Minton tile designed by John Moyr Smith, printed in brown and black, and a collection of 25 tiles including `Autumn’ and `Summer‘ two Minton tiles and four various Wedgwood Month Series tiles various marks, minor damages Kenilworth 20.5cm. £80-120 183. Eighteen various Dutch tin glazed Damascus Flower tiles retailed at Morris & Co, painted with foliate design in green and blue, and a Copeland tile stencil marks to reverse, damages 15.5cm. square £100-200 184. A large Aesthetic Movement porcelain plaque in the manner of W S Coleman for Minton’s, painted with Cleopatra reclining on a tented balcony, gazing out to sea, in colours, framed indistinct signature, crack to one corner panel 51 x 34cm. £500-800

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185. ‘Acqua’ a Maw tile designed by Walter Crane printed in black on a cream ground, in metal frame impressed marks,16cm. square £80-120

186. ‘Country Pursuits’ a set of six Minton’s tiles designed by William Wise, printed in black on a cream ground impressed marks printed signature, 20.5cm. square £300-500

187. A set of six Minton’s Hollins tiles designed by John Moyr Smith, printed in black on a cream ground loose in frame impressed marks each tile 15cm square £200-300

188. A pair of Aesthetic Movement Minton Hollins four tile panels each painted with a egret standing before bull rushes, one hunting a fish the other with a fish in its bill, painted in colours on a celadon ground impressed marks, minor rim nicks, 81 x 20.5cm. £800-1,200

189. A pair of Minton Pottery Anacreon plates, designed by John Moyr Smith, printed in colours on a white ground impressed marks, 25.5cm. wide £100-200 Literature Annamarie Stapleton John Moyr Smith Richard Dennis Publications, page 39 for a comparable plate illustrated figure 57.

190. A pair of Minton Pottery Anacreon plates designed by John Moyr Smith, printed in colours on a white ground impressed marks 25cm. diam. £100-200

191. A Minton tile planter the patinated brass frame mounted with four Minton Idylls of the King tiles designed by John Moyr Smith, impressed marks to tiles, frame cast W T & S 21cm. high £200-300 Literature Annamarie Stapleton John Moyr Smith Richard Dennis Publications page 43 figure 73 for a comparable planter 188

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192. A James Shaw & Sons parian model of St Mary’s, Nottingham font impressed mark to base, minor chips 30cm. high £400-600 193. A Summerley Art Manufacturing Hop Gathering parian beer jug and cover designed by H J Townsend, cast in low relief with figures harvesting and sacking hops impressed mark and regd diamond, repaired damages 24cm. high £300-400 Literature The Parian Phenomenon Richard Dennis Publications, page 24 figure 35. 194. A Gothic Revival biscuit porcelain jug decorated in low relief with tracery panels unsigned 25cm. high £50-150 195. A Parian model of a John Ruskin’s gravestone modelled as a Celtic Cross, inscribed John Ruskin 1819-1900 unmarked 20cm. high £80-120 196. A Wedgwood Pottery mantle clock with movement by J W Benson, printed and painted in the Imari palette with sprays of flowers, highlighted in gilt impressed marks 31cm. high £300-400 197. A Pair of Minton tureen and covers designed by A W N Pugin, printed with a blue foliate repeat border, highlighted in gilt, with bud finial impressed and printed marks, Lawleys retail mark 29cm. wide £150-200 200

Literature Paul Atterbury & Clive Wainwright Pugin, V & A catalogue, page 150 plate 278 for a comparable tureen in the same pattern. 198. A Minton’s Art Pottery Studio drum jardiniere on pedestal foot, decorated with butterflies amongst wild flowers, in colours on a cream ground printed and impressed marks, crack to base, restored top rim 30cm. high £200-300 199. A Minton’s Pottery plate painted with three cherub playing by a pool impressed marks, cracked 21cm. diam. £100-150 200. A Minton pottery Lazy Susan decorated with fleur de lys panels alternating with flowers, in colours impressed marks, restoration to rim and foot, minor hairlines 46.5cm. diam. £500-800 201. A Minton porcelain censor vase on tripod foot, glazed blue impressed marks 20cm. diam. £80-120

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202. A Good pair of Continental portrait plaques by H Stadler, each painted with a pre raphaelite maiden, one charger signed, impressed mark 40cm. diam. £1,800-2,400

203. A Mintons’ Art Pottery Studio vase shouldered form, painted with a pre-raphaelite maiden portrait roundel, inside sprays of prunus impressed, printed and painted marks, restored rim 34cm. high £400-600

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204. A large painted plaster plaque square, cast in relief with a maiden portrait indistinct signature, annotated 78cm. square £300-500 204

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205. ‘St George’ a rare Compton Art Pottery figure modelled slaying the dragon, in colours unsigned 21cm. wide £350-450 206. A rare Compton Pottery bowl, with inverted rim, cast in relief with dragons, in colours on a green ground impressed mark 23cm. diam. £200-300 207. A rare Compton Pottery bowl inverted form modelled in relief with fish, glazed in colours impressed mark 24cm. diam. £200-300 208. A pair of Watcombe Pottery wall brackets, modelled with a dragon amongst foliage, glazed green indistinct marks to inside, minor nicks 20 cm. high £50-100 Literature Keith Poole The Art of The Torquay and South Devon Potters, TPCS, page 23 figure 20 for a comparable wall bracket partially glazed turquoise 209. A pair of C H Brannam baluster vases incised and painted one with a fish the other an eagle, on a yellow ground impressed marks 29cm. high £300-500 210. A C H Brannam, Barum, pottery vase, compressed with flaring neck, applied with three handles, incised and painted with leaping scaly fish, in yellow, green and brown, incised marks, JB monogram dated 1898, chip to top rim 12.5cm. high £50-100 211. A Dearston Stoneware, Fulham pottery vase footed form with inverted rim, modelled in low relief with four roundels, glazed matt green/blue, and another vase incised marks 14cm. high £100-150 212. A pair of stoneware wall brackets each cast in relief with a portrait inside scrollwork border incised FP monogram, chips 23cm. high £100-200 213. A large C.H. Brannam Pottery floor vase shouldered form incised and painted with mythical eagles in a landscape, in colours on a yellow ground impressed marks 71cm. high £200-400 213

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214. A tall Sunflower Pottery ewer by Sir Edmund Elton tall vertical neck with loop handle, covered in a golden iridescent glaze painted Elton signature, repaired spout 43cm. high £300-500 215. A large Sunflower Pottery vase by Sir Edmund Elton ovoid body with flaring, pinched rim applied with slip flowers and foliage in shades of red on a running red, green and blue ground unsigned,. sold with a letter of authentification by Patricia Elton , minor glaze nicks to top rim 30cm. high £400-600 216. A tall Sunflower Pottery vase by Sir Edmund Elton, shouldered form with cylindrical neck, applied with loop handles, slip decorated with teasel flowers in brown and blue on a streaked blue and green ground painted Elton mark, professionally restored neck, 49cm. high. £200-300 217. A tall Sunflower Pottery vase by Sir Edmund Elton, ovoid body with cylindrical neck, applied with slip decoration of a stylised butterfly above sunflowers in blue and green on a streaked green and blue ground painted Elton mark 46cm. high £300-500 222 218. A tall Farnham Pottery jug tapering form incised with a Pre-raphaelite maiden, glazed green and brown monograms to base, glaze chips 33.5cm. high £80-120 219. A Fishley Holland, Fremington Pottery vase ovoid with four loop handles, covered in a mottled brown glaze incised marks to base 22cm. high £400-500 220. A Katharine Pleydell Bouverie stoneware box and cover circular section, incised decoration, glazed blue impressed seal mark 9cm. diam. £80-120 221. A Katharine Pleydell Bouverie stoneware vase compressed ovoid form with incised decoration, glazed treacle brown to the foot, and a small bowl ash glazed to the foot impressed seal mark 7cm. high £80-120 222. A small Burmantoft’s Faience grotesque figure glazed turquoise, impressed mark, minor glaze nicks 11cm. high £80-120 223. A Burmantoft’s Faience Anglo Persian vase twin-handled form, tubeline decorated with a crow, in brown on a green and blue ground impressed marks 31cm. high £350-450 223

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224. ‘Persia’ an Old Hall pottery plate designed by Dr Christopher Dresser square section, printed and enamelled with flowers and foliage printed and impressed marks, 23cm. wide. £60-100 225. A Minton porcelain plate date code for 1869, the rim modelled as a ribbon, the well painted with a butterfly, in colours, highlighted in gilt, a pair of plates with modelled bow rims, and a Minton part service enamelled to the rim with foliate design impressed and printed marks 23.5cm. diam. £150-200 226. A porcelain moonflask probably by Minton printed and enamelled in colours and gilt with scrolling flowers and foliage, on a white ground unsigned, hairline to base 26cm. high £80-120 227. A Linthorpe Pottery vase, designed by Dr Christopher Dresser, model no.2298. unglazed impressed marks 23cm. high £150-200 228. A Cloisonne enamelled porcelain part coffee set, probably Minton, comprising milk-jug and basin, six cans and saucers, each painted with a band of stylised flowers and foliage on a pink band, highlighted in gilt unsigned £100-200 232 229. A Watcombe Torquay pottery jug designed by Dr Christopher Dresser, printed in colours with geometric foliate frieze in green and white on a black ground impressed marks, small chip to spout 21cm. high £80-120 230. A Watcombe Torquay jug designed by Dr Christopher Dresser, angular form with silver rim printed mark, stamped marks, Sheffield 1878 21cm. high £150-250 231. An Ault pottery flower brick designed by Dr Christopher Dresser ovoid pierced form, impressed marks and facsimile signature 10cm. diam. £50-100 232. A pair of Minton porcelain Cloisonne vases the design attributed to Dr Christopher Dresser, each swollen form on integral modelled hardwood stand, enamelled in colours with flying cranes and clouds, highlighted in gilt impressed marks small chip to foot of one 20cm. high £700-900 233. An Ault Pottery vase probably designed by Dr Christopher Dresser, model no.519, cast in relief with three cats head masks, glazed yellow to brown impressed Ault mark, hairline to top rim 11.5cm. high £60-100 233

234. A rare Minton porcelain vase and cover the design attributed to Dr Christopher Dresser, Japanese gourd form with modelled silk tie, painted in the Persian manner with elaborate panels of flowers in yellow, coral and white on a red and blue panelled ground, highlighted in gilt printed mark to base 27cm. high ÂŁ4,000-5,000 Literature Christopher Dresser, Kunstgewerbemuseum, Koln 1981 exhibition catalogue page 39 plate 34, illustrates a Japanese Double gourd form from which the shape has inspired this vase - the pattern is also similar to Dresserâ&#x20AC;&#x2122;s textile designs for J W & C Ward reproduced page 43 from the Art Journal 1871. Christopher Morley Dresserâ&#x20AC;&#x2122;s Decorative Design page 154 figure 280 this vase illustrated in the forthcoming Dresser monograph

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235. A pair of Linthorpe Pottery vases designed by Dr Christopher Dresser, model no.337, twin-handled form, cast with geometric motif, glazed green, brown and ochre impressed mark,facsimile signature, chip to rim of one 20.5cm. high £600-800 236. A Linthorpe Pottery vase designed by Dr Christopher Dresser, narrow cylindrical neck with dimpled body, glazed green and brown impressed mark, facsimile signature, drilled to side 24cm. high £80-120 237. A Linthorpe Pottery ovoid vase designed by Dr Christopher Dresser, model no.152, ovoid with cylindrical neck, glazed green and ochre impressed marks and facsimile signature 15.5cm. high £120-180 238. A Linthorpe Pottery vase designed by Dr Christopher Dresser, twin-handled form, cast in low relief with a geometric panel, streaked green, ochre and brown glaze impressed marks, facsimile signature, professional restoration to one handle 21cm. high £300-400 239. A Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.957, with applied angular handles, with running ochre and green glaze impressed marks HT monogram, 14cm. high £200-300 240. A Linthorpe Pottery footed bowl designed by Dr Christopher Dresser, modelled with Chinese wood stand, painted in blue on a cream ground impressed marks, facsimile signature hairline to rim 25cm. diam. £60-100 241. Two graduated Linthorpe Pottery plates designed by Dr Christopher Dresser, cast in low relief with a stylised bird amongst flowers and foliage, glazed green impressed mark, HT monogram and facsimile signature 28cm. diam. £300-500 242. A Linthorpe Pottery plate designed by Dr Christopher Dresser, cast in low relief with a flying bird before flowers and foliage, glazed green impressed marks, HT monogram and facsimile signature 27cm. wide £100-200 243

243. A large Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.749, shouldered form with impressed floret panels, glazed a running blue over green and ochre impressed marks, facsimile signature 26cm. high £500-800

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244. A Doulton Lambeth stoneware vase by Elisa Simmance, dated 1885, decorated with applied beadwork exotic birds, on a crackled ground impressed and incised marks, professionally restored neck 30.5cm. high £100-200 245. A Doulton Lambeth stoneware vase by Florence Barlow, pate sur pate decorated with flying gulls on an abstract slip decorated ground impressed mark and incised artists marks 29cm. high £400-600 246. A Doulton Lambeth stoneware jug with silver hinged cover dated 1875, incised with scrolling foliage and applied florets in shades of blue and ochre impressed mark, incised ES monogram, stamped marks HA London hallmarks 20cm. high £150-200 247. A Royal Doulton stoneware vase by F C Pope, slender, swollen form with everted rim, painted with scrolling foliage in shades of blue, green and brown impressed marks incised monogram 35cm. high £400-600 248. A Doulton & Co Lambeth charger painted to the well with a boy holding a ball, incised geometric border, in colours on a cream ground painted marks 31cm. diam. £80-120

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249. A Royal Doulton stoneware vesta cast in low relief with flower displays, in shades of green, blue and ochre, stamped marks, restored tip 9cm. high £50-100 250. An unusual Royal Doulton Barboutine vase impasto painted with stylised foliage in shades of blue green and brown printed mark 20cm. high £80-120 251. A Doulton Lambeth faience vase by Alice Marshall, shouldered form, painted with narcissi in colours on a green ground impressed and printed marks, painted monogram 26cm. high £300-400 252. A large Doulton Lambeth stoneware vase by Emily J Edwards, dated 1876, incised with bands of stylised flowers and foliage, with applied florets, in shades of blue and brown impressed marks, incised monogram, restored top rim 36cm. high £500-700 253. A tall Doulton Lambeth stoneware vase by George Tinworth, dated 1877, incised with a broad band of scrolling seaweed with applied florets, glazed in shades of blue and brown on a buff ground impressed factory mark, incised monogram, restored top rim 40cm. high £800-1,200 253

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259 254. A pair of Royal Doulton stoneware vases modelled in low relief with cherub masks amongst swagged foliage, in shades of ochre and green marks, on later gilt wood bases concealed marks, lamped 36cm. high £80-120

255. A Doulton Lambeth stoneware pin-tray modelled in relief with a chick, its beak open in anticipation, and another Doulton Lambeth stoneware pin tray with a dragonfly impressed marks 11cm. wide £100-200

256. A Doulton Lambeth stoneware jardiniere stand cylindrical form, cast in low relief with interlocking arch design above flower stems, in blue ochre and brown impressed marks 38.5cm. high £80-120

257. A large Doulton Burslem Luscian Ware wall charger by H Piper, painted with roses, the border highlighted in gilt printed and impressed marks 39cm. diam. £400-600

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258. ‘The Judgement of Soloman’ a Doulton Lambeth terracotta panel by George Tinworth square, incised in low relief with Soloman seated on a Thebes throne, framed incised GT monogram 27 cm. square £200-300

259. ‘Cattle in a meadow’ a watercolour by Harry Nixon, dated 1940, framed signed and dated image 42 x 38.5cm. £250-300

260. A Doulton Lambeth stoneware vase by Hannah Barlow, dated 1881, incised with a band of horses resting by a young girl, between borders of flowers and foliage, glazed green, blue and ochre on a buff ground impressed marks, incised monogram restored neck 30cm. high £100-200

261. A Doulton Lambeth stoneware vase incised with a pride of lions, between foliage borders, glazed blue and brown on a buff ground impressed marks, incised monogram dated 1887, small flat chip to top rim 21.5cm. high £400-600 261

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Martin Brothers Pottery 262. ‘Martin Ware’ a Victoria & Albert Museum poster 73 x 48cm.

£40-80

263. A Martin Brothers stoneware plaque hexagonal form, cast with a smiling face, glazed oatmeal incised Martin Bros, London, re-stuck 6cm. wide £100-150 264. A Martin Brothers miniature stoneware vase ovoid with collar rim, incised with scrolling foliage, glazed brown incised marks, Martin Bros, London, chips to base rim 4.5cm. high £200-300 265. A Martin Brothers stoneware gourd vase compressed form, with incised decoration, glazed tan, green and blue incised marks 5-1903 Martin Bros London & Southall, small chips to underside of top rim 11cm. diam. £350-450

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266. A Martin Brothers stoneware miniature vase ovoid with pulled handles, covered in a speckled grey and ochre ground, on carved wood stand incised marks10-1904 Martin Bros London 4cm. high £200-300 267. A Martin Brothers stoneware miniature gourd vase flattened form, covered in a blue spotted glaze under brown, on a carved wood base incised mark 4-1908 Martin Bros London 6.5cm. high £200-300 268. A Martin Brothers stoneware gourd vase shouldered form incised with vertical columns, glazed green and brown on a buff ground, the base with glazed inscription monogram GS incised 9-1907 Martin Bros London & Southall, 10.5cm. high £700-900 269. A Martin Brothers stoneware vase square section, each side incised with a jelly fish, glazed olive and brown incised marks, 10-1902 Martin Bros, London & Southall, small chip to top rim 5.5cm. wide £400-600 270. A Martin Brothers stoneware solifleur gourd vase, covered in a textured buff and brown glaze incised marks 3-1907 Martin Bros London & Southall 12cm. high £300-400 271. A Martin Brothers stoneware gourd solifleur vase textured brown and over deep green glaze incised marks 3-1907 Martin Bros London & Southall 12cm. high £300-400

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272. An early Martin Brothers stoneware vase by Robert Wallace Martin, shouldered form with pierced rim, incised and painted with a white swan swimming inside stiff leaf foliage borders, glazed brown, white and blue on a buff ground incised R W Martin Southall 3-1878, chip to base rim, hairline to neck 19cm. high £300-500

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273. An early Martin Brothers stoneware tyg incised with roundel panels entitled Night and Morn, with cranes flying over white cliffs, and two birds roosting before a crescent moon, the handles sculpted with goat head finials above shields, in shades of green, brown and blue incised marks A10 R W Martin 10-74, small chip to top rim, 17cm. high £800-1,200 274. A Martin Brothers stoneware jug incised with dahlia flowers in brown and white on a buff ground incised 10 85 R W Martin & Bros London & Southall, restored neck 21.5cm. high £300-500 275. A pair of Martin Brothers Pottery stoneware vases shouldered form, each incised with finches amongst wild flowers, glazed ochre and blue incised 5-7-81 R W Martin London& Southall, restored base to one 21cm. high £500-800

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276. A Martin Brothers stoneware jug, slender waisted form, incised with anthropomorphic birds standing beside a palm tree, glazed in green, blue and brown on a buff ground incised 2-1897 Martin Bros London & Southall, professionally restored rim 22.5cm. high £1,500-2,000 277. A Martin Brothers stoneware jug tapering conical form, incised with finches and insects flying around cow parsley in shades of green, blue and brown on a buff ground incised marks 2-1893 Martin Bros London & Southall, professionally restored 23cm. high £400-600 278. A Martin Brothers stoneware vase baluster form, incised with a frieze of classical foliage in shades of brown incised 4-7-88 R W Martin & Bros, London & Southall 19.5cm. high £400-600 277

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279. A unique Martin Brothers stoneware bird box and cover made for the garden at the pottery in Southall, the front modelled as a sun motif with central aperture unsigned 22cm. high ÂŁ100-200 Provenance Richard Dennis 279

280. A large Martin Brothers stoneware jardiniere by Robert Wallace Martin, incised with monkeys eating fruit and playing amongst the classical foliate frieze, in shades of brown and ochre incised 7-1894 R W Martin & Bros, London & Southall 21cm. high ÂŁ3,000-4,000 280

281. A Martin Brothers Pottery stoneware Bishop chess piece modelled in relief, glazed off white incised R W M Sc. Martin & Bros, 6-1901 London & Southall, repaired damages to base, staff missing 17cm. high ÂŁ500-800 281

282. A rare, early Martin Brothers grotesque spoonwarmer/inkwell by Robert Wallace Martin modelled partially with hoofs and human hands, its broad smile showing sharp teeth, the curled tail forming a handle to lidded compartment, glazed brown incised marks R W Martin Southall 2-1878 to cover and R W Martin Southall to base 18cm. wide ÂŁ8,000-10,000 Provenance The Martin Brothers, David Rago/Philip Chasen, 1995, catalogue number 46.

283. A Martin Brothers stoneware vase shouldered form, covered in an unusual mottled pink and silver glaze, the neck with incised decoration glazed bronze incised marks, 5 1899Martin Bros London & Southall 23cm. high £400-600 284. A Martin Brothers stoneware vase shouldered form incised with insects flying between frilled orchids, glazed brown, green and blue on a buff ground incised 11-1897 Martin Bros London & Southall 21.5cm. high £500-800 283

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285. A Martin Brothers Pottery stoneware jardiniere, incised with a band of grotesque birds amongst exotic foliage, in shades of brown and ochre on a buff ground incised 101892, Martin Bros London & Southall, restuck glaze chip and hairline 21cm. high £2,000-3,000 285

286. A large Martin Brothers Pottery Aquatic vase incised with grotesque fish, eels and a lobster amongst waterweed and sea shells, the neck with a band of classical scrolling foliage, glazed ochre and brown on a buff ground incised 3-1889, R W Martin & Brothers, London & Southall 35cm. high £2,000-4,000 286

287. A rare Martin Brothers stoneware monkey jar and cover, modelled seated upright with hands clasped together, with cheeky smile and alert eyes, glazed ochre and brown, highlighted in white incised to base and neck 11 1903 Martin Bros, London & Southall,exhibition paper label, feint hairline to back rim of body 23cm. high ÂŁ13,000-15,000 Provenance Martin Brothers Pottery Exhibition Richard Dennis catalogue number 85

288 288. A good Martin Brothers stoneware Barrister face jug modelled in relief with a smiling face to both sides, glazed matt brown, grey and buff the eyes highlighted in white and black incised R W Martin & Bros, London & Southall 17.5cm. high ÂŁ5,000-6,000

289. A pair of Martin Brothers stoneware Aquatic vases swollen square section, each incised with fish and various water creatures including crab, limpets, prawns and jelly fish, in shades of green, blue and brown incised Martin Bros 2-1900 London & Southall, chip to corner and hairline to one vase 17cm. high ÂŁ1,000-1,500 289

290. A rare Martin Brothers stoneware ewer by Walter Fraser Martin, painted in an experimental lustre glaze with anthropomorphic birds standing amongst grasses and bull rush, painted WFM feint incised Martin Bros London & Southall mark, hairlines 17cm. high ÂŁ800-1,200 290

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291. A stoneware jug in the manner of James Stiff & Sons, dated 1878, painted with dancing anthropomorphic frogs in a wetland setting, in black on a brown ground painted WC monogram and date, restored 23cm. high £100-200 292. A rare Minerva Art Ware terracotta bottle vase by Carlo Manzoni dated 1897, flask form with knopped neck, incised with flowers and foliage on a pale blue ground, another similar and another smaller incised marks and dates, main vase restored neck 24cm. high £300-500 293. A Minerva Art Ware terracotta vase by Carlo Manzoni, tapering form with everted, fluted rim, incised and painted with fruiting vine, another vase decorated with peacock eye motif and two other solifleur vases incised marks, restorations 25cm. high £300-500 294. A Della Robbia Pottery bowl and cover applied twin scrolled handles, incised and painted with alternate rose stem and scroll panels in colours incised ship mark AEB monogram 14cm. wide £100-200 295. A pottery figure of a girl riding a horse glazed in colours unsigned 31cm. high £150-200 296. A wall plate by Muriel Pearson dated 1932, painted with stylised flowers and foliage in colours, another painted with a bridge, two with classical maiden portrait and a candlestick by the same artist painted marks 28.5cm. diam. £150-200 297. A pair of pottery candlesticks by Muriel Pearson, dated 1931, tall slender form, each painted with stylised flowers and foliage in red blue and yellow on a white ground painted marks and date 32.5cm. high £150-200 298. A Minton Secessionist plate tubeline decorated with stylised Art Nouveau flower stems, in green and mushroom impressed marks, hairline crack to rim 23cm. diam. £60-100 299. A large Della Robbia Pottery vase, by Alice Louise Jones, compressed form with waisted neck, incised and painted with flowers and foliage in shades of pink ochre and green incised ship mark,863 and painted LJ monogram, minor professional restoration to rims 28cm. high £800-1,200 299

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300. A large Ashby Potter’s Guild stoneware vase ovoid with everted rim, covered in a crystalline glaze in sand and silver blue impressed mark, RJ monogram hairline to body 24cm. high £80-120

301. A Bretby Pottery jardinere, cast in relief with stylised foliage columns, glazed yellow to green, and three other jardinieres impressed marks, minor damages 24cm. high £150-200

302. A Bretby Pottery ovoid jardiniere, with everted rim, modelled in relief with stylised foliage, glazed yellow and green, two Bretby Secessionist jardiniere and another jardiniere various impressed marks, damages largest 29cm. high £150-200

303. A William Bower Dalton pottery vase dated 1916, painted with columns of scrolling foliage in shades of green and pink between blue columns painted marks to base, minor restoration to top rim 14.5cm. high £100-200

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304. A Wedgwood part tea for two, painted with stylised flowers in shades of blue, purple and green on a yellow ground, comprising; teapot and cover, milk-jug and sugar basin, one cup, two saucers and a side plate impressed marks teapot 11cm. high £60-100

305. ‘The Refugee’ a waxed plaster figure by Phoebe Stabler, dated 1914, modelled standing in a cape incised signature, title and date, 34.5cm. high £300-500

306. A pair of Leeds Fireclay jardinieres, pedestal form with flaring bowl cast with a scrolling band, glazed oatmeal, unsigned, chips 81cm. high £300-500

307. ‘Gardiniere’ a pottery wash set designed by Mabel Leigh painted with flower in colours, comprising; pail, large bowl, box and cover and a chamber pot printed and painted marks 23cm. high £80-120

308. A Wardle Pottery jardiniere and stand modelled in relief with foliage sprays, glazed red, yellow and green impressed marks, minor damages 112cm. high £100-200

309. A Bretby Pottery jardiniere and stand, model no.1191, cast in relief with foliage, in shades of green and yellow impressed marks, glaze loss 85cm. high £80-120 309

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310. A large Burmantoft’s Faience Anglo Persian vase model no.2123, decorated with classical dolphin in shades of blue, green and turquoise, between borders of stylised foliage impressed marks, repaired neck 54 cm. high £300-500 311. A ruby lustre pottery plate possibly Maw & Co, painted with a heraldic eagle to the well, the rim scrolling vine foliage, and another smaller decorated with scrolling foliage unmarked 33cm. diam. £200-300 312. A Bernard Moore gourd vase painted with a grape vine in ruby and copper flambe printed Bernard Moore mark 22cm. high £200-300 313. An interesting Aesthetic Movement Minton charger slip decorated with an Egyptian dancer to the well, the rim with bird roundels amongst foliage, in colours on a terracotta ground impressed marks, date code 1872, minor glaze loss to rim 34cm. diam. £800-1,200 314. Eight Ruskin Pottery stoneware brooches, set in silver and white metal mounts, stamped marks and printed marks to some largest 5.5cm. diam. £150-200 315. A collection of Ruskin Pottery stoneware buttons some with impressed marks £150-200 316. A Ruskin Pottery high-fired stoneware vase compressed form with cylindrical neck, covered with a semi-lusterous lavender glaze over white impressed marks dated 1916, hairline to top rim 15 cm. high £100-200 317. A Ruskin Pottery stoneware vase dated 1911, flask form, covered in a running green glaze impressed marks, repair to top rim 21cm. high £200-300 318. A Ruskin Pottery high-fired stoneware vase dated 1910, shouldered cylindrical form, glaze lavender and sang de beouf with turquoise splashes impressed marks, minor professional restoration to base rim 30cm. high £800-1,200 318

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319. A Pilkington’s Lancastrian vase by Richard Joyce, compressed form painted with flowerhead roundels in brown on a pale green ground impressed marks, artist cypher 10.5cm. high £250-300

320. A Pilkington’s Lancastrian vase by Charles Cundall, with applied handles, painted with a frieze of vine in red and golden lustre on a midnight blue ground impressed and incised marks dated 1909 10cm. high £500-800

321. A Pilkington’s Royal Lancastrian twin-handled vase by William S Mycock, decorated with stylised flower stems under a golden lustre glaze impressed marks, painted artist cypher, datemark possibly 1916 19cm. high £300-500

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322. A Pilkington’s Royal Lancastrian vase shouldered form, modelled in low relief with stylised lions, glazed orange impressed marks 26cm. high £250-300

323. A Pilkington’s Royal Lancastrian vase by Richard Joyce, decorated with fish amongst waterweed, in deep lustre on a vivid blue ground impressed marks, artist monogram 20cm. high £700-1,000

324. A large Pilkington’s Lancastrian Pottery vase by William S Mycock, dated 1909, painted in golden lustre with a four galleons at full sail, on a vivid red ground impressed and painted marks, painted cypher and datecode 30cm. high £1,500-2,000 324

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325. A James Macintyre & Co Aurelian Ware vase, designed by William Moorcroft, printed in colours and gilt with panels of flowers and foliage printed marks, neck repaired 27cm. high £200-300 326. A James Macintyre & Co ‘Rose Garland’ vase designed by William Moorcroft, painted in colours on a white ground, highlighted in gilt printed mark, painted signature, restored top rim 25cm. high £150-250 327. A Moorcroft Pottery Flamminian Ware vase designed by William Moorcroft, retailed by Liberty & Co, tubelined with foliate roundel, on a red ground incised signature, printed Liberty mark, applied Liberty paper label 24cm. high £400-600 328. ‘Flamminian Ware’ a Moorcroft Pottery vase, designed by William Moorcroft, made for Liberty & Co, covered in a red glaze impressed mark, restored top rim 10.5cm. high £80-120 329. ‘Pansy’ a Moorcroft Pottery brooch, circular form, painted in colours, in metal mount impressed marks 4.5cm. diam. £300-500 330. ‘Green and Gold Florian Ware’ a James Macintyre & Co vase designed by William Moorcroft, slender, swollen form painted with flower stems, highlighted in gilt printed and painted marks 24.5cm. high £500-800 331. ‘Moonlit Blue’ a Moorcroft Pottery bowl on Tudric Pewter foot, made for Liberty & Co, painted in colours stamped marks 25cm. diam. £1,000-2,000 332. ‘Moonlit Blue’ a Moorcroft Pottery vase designed by William Moorcroft, painted in shades of green and blue impressed marks, painted green signature, sprayed to interior 21cm. high £1,000-1,500 332

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333. ‘Eventide’ a rare Moorcroft Pottery flambe vase painted in purple of sand, and flambe painted blue signature, hairline to top rim 19cm. high £2,000-3,000

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334. ‘Peacock Feathers’ a large Moorcroft Pottery jardiniere, designed by William Moorcroft, painted in green, white and blue on a midnight black ground impressed marks, restored 22cm. high £1,500-2,000

335. ‘Flambe Big Poppy’ a large Moorcroft Pottery vase designed by William Moorcroft, covered in a rich flambe glaze painted blue signature, dated 1930, paper label 39cm. high £4,000-6,000 The size and fact this vase is dated suggest it was probably produced as an exhibition vase.

336. ‘Carp’ a large Moorcroft Pottery limited edition vase designed by Sally Tuffin, 1991, limited edition of 100, painted in colours on a celadon ground painted J Moorcroft signature ST des 77/100 67cm. high £3,000-5,000 336

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337. An unusual Art Nouveau Gustafsberg vase dated 1900, modelled in relief with looped leaf stem handles, glazed golden lustre impressed and painted marks, small chip to foot rim 25cm. high £80-120 338. A Clement Massier vase shouldered form with four applied fish handles, the rim with pierced trefoil motif, glazed streaked blue and brown impressed marks, hairline to one handle, glaze chips 20cm. high £200-300 339. A Galle style faience candlestick, modelled as a cockerel, glazed in colours printed and painted marks 23cm. high £200-300 340. A pottery vase shouldered form with flaring pierced rim, the body applied with snails unsigned 17cm. high £100-200 341. An Amphora Pottery Art Nouveau vase cast with strap handles, and cat’s head finials, in colours, highlighted in gilt impressed marks, 19cm. high £300-500 342. A pair of George Citere, Unis miniature vases ribbed form, covered in a mottled blue petrol lustre glaze impressed marks 4cm. high £80-120 343. A Gouda Pottery Regina Art Nouveau twin-handled vase painted with flowers and foliage in colours, and another Gouda vase painted marks 18cm. high £80-120 344. A Zsolnay Pecs pottery vase shouldered form, painted in copper and ruby lustre on a black ground with sprays of blossom and a flying butterfly printed marks 13cm. high £100-200

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345. A large and impressive Keramis charger by Etondeur painted with two petrols before a geometric waves and stars, in colours on a vivid blue ground, highlighted in gilt painted signature, painted marks to reverse, restuck section to rim 62cm. diam. £1,500-2,000

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346. A Lonhuda Pottery, Denver vase shouldered form with everted rim, painted with cyclamen flower, in shades of brown, yellow and white, and two other vases similar impressed marks 18cm. high £80-120 The Lonhuda Pottery was taken over by Weller Pottery in the mid 1890s

347. A Pewabic Pottery, Detroit stoneware vase ovoid with cylindrical neck, covered in a blue and violet lustre mottled glaze impressed mark 15cm. high £80-120 The Pewabic Pottery was founded in 1903 by Mary Chase Perry and her partner Horace Caulkins in Alfred Street, Detroit.

348. A Van Briggle ovoid vase, modelled in low relief with a frieze of foliage, glazed matt blue, another similar and two smaller Van Briggle vases incised marks 11cm. high £100-200

350 349. A Van Briggle pottery vase modelled in low relief, glazed matt pink, another smaller and a Van Briggle shouldered vase similar incised marks 11.5cm. high £100-200

350. A Van Briggle pottery vase modelled in relief with three native indian heads, glazed deep red and blue etched marks to base 31cm. high £800-1,200

351. A large Bombay School of Art Wonderland Art Pottery charger the central well painted with a figure in majesty in a temple setting, the rim with a procession of figures, in colours some painted marks to reverse, minor damages and some restoration, 47cm. diam. £400-500 351

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356 352. A Willi Russ pottery mantle clock modelled in relief with the signs of the zodiac, a skull and crossbones at the base, glaze cream signed in the casting 26cm. high £300-500 353. A Simon Gerz stoneware ewer designed by Peter Behrens model no.1146, glazed in grey and blue impressed marks 25cm. high £150-200 Literature Peter Greenhalgh Art Nouveau Victoria & Albert Museum exhibition catalogue, page 198 plate 12.6 for an identical ewer.

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354. A Delphin Massier Art Nouveau jardiniere and stand, the bowl modelled in low relief with thistle flowers, and three applied looped foliate handles, the stem with similar modelled leaves and flower stems, in colours on a white ground painted Delphin Massier marks, 113cm. high £200-400 355. A large Goldscheider Pottery Art Nouveau wall mask by Cardenas, model no.2237 modelled with long flowing hair, naturalistically glazed impressed marks, facsimile signature 54cm. high £400-600 356. A large service by Porzellan-Manufaktur Burgau, designed by Ferdinand Selle modelled in low relief and printed in blue with a stylised flower design, comprising; a large soup tureen and cover, four graduated platters,, two tureen and covers, a sauce tureen, cover and ladle, an open sauce boat, a small tray, nine dinner, six entree and eight side plates, two other small plates, eight soup bowls and a large fish platter decorated with leaping fish printed marks, minor damages largest platter 50cm. wide £800-1,200 357. A Charles Korschann Art Nouveau gilt bronze mounted vase the tapering rectangular body cast with Art Nouveau child amongst strapwork and flower panels, the reverse with Louchet Paris seal signed PL Alp 19cm. high £2,500-3,500

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361 361. A part set of enamelled wine glasses possibly decorated by Gertrude Bayes or Jessie Bayes, comprising two decanters, two wine goblets and two water goblets, each enamelled with floral swags and animals the glasses dedicated Gertrude and Gilbert Bayes, the decanters with GB roundels losses to enamels, chips to foot rim of one wine and one water goblet decanters 22cm. high £250-300 Gertrude Bayes was the wife of the sculptor Gilbert Bayes.

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363A 362. A James Powell & Sons Whitefriars straw opal glass basket on wrought iron mount probably designed by Harry Powell, unsigned 20cm. high £300-500 Literature Lesley Jackson, Whitefriars Glass Richard Dennis Publications, page 101 plate 21 for comparable mounted glass vases 363. A pair of James Powell & Sons, Whitefriars glass and wrought iron candlesticks, unsigned 31cm. high £600-800

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363A. A James Powell & Sons, Whitefriars glass Tear vase designed by James Hogan, shouldered sea green glass applied with blue teardrop prunts unsigned 26cm. high £350-450 Literature Lesley Jackson, Whitefriars Glass, Richard Dennis Publications page 125 plate 114 for a comparable example. This vase was retailed by Morris & Co for 30s. and illustrated in the George St catalogue page 20 364. A James Powell & Sons, Whitefriars Sea Green glass decanter with silver stopper probably designed by Harry Powell, the glass with textured finish stopper stamped J P & S London 1905 26cm. high £800-1,200

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358. A pair of James Powell & Sons, Whitefriars green glass scent bottles, tapering, spiralled form with metal collar and fire opal decoration unsigned 8.5cm. high £200-300 359. A James Powell & Son, Whitefriars green glass candlestick, flaring domed foot with central twist stem and fluted wide drip pan, twisted sconce unsigned 23cm. high £300-500 360. A James Powell & Son, Whitefriars amber glass decanter with silver neck and stopper, the ovoid body with cylindrical neck, applied with rigoree bands and prunts neck and stopper stamped F N & S Ltd London 1922/23 18cm. high £500-800

365. A James Powell & Sons sea green glass decanter with silver mount designed by Harry Powell, bellow form internally decorated with white melted threads stamped London 1912 26cm. high £1,000-1,500 Literature Lesley Jackson Whitefriars Glass Richard Dennis Publications, page 107 plate 43 366. A rare James Powell & Sons, Whitefriars glass vase probably designed by Harry Powell, tapering form with waisted, slender neck and everted rim, blue glass, internally decorated with white and aventurine inclusions, unsigned 24cm. high £1,000-1,500 Literature Wendy Evans, Catherine Ross and Alex Werner Whitefriars Glass, James Powell & Sons of London, page 98 plate 104 for two related vases. 367. A James Powell & Sons Whitefriars sea green glass vase waisted form engraved with three lily flowers on single stem unsigned 23cm. high £500-800

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368. A Daum Winter Landscape enamelled glass vase elliptical form, acid etched with a forest landscape enamelled white snow feint signature, small nicks to top rim, enamel missing 8.5cm. high £100-200 369. A Daum enamelled glass vase compressed ovoid form with narrow solifleur neck, enamelled with sweetpea stems in pink and green acid etched mark, painted HW monogram to base 7cm. high £300-500 370. A Loetz glass vase compressed form with everted rim, applied handles mottled green surface lustre above pink lustre, and six other glass vases unsigned, Loetz glass repaired 13.5cm. high £150-200 371. A large Loetz vase and cover applied twin-handles with light iridescent finish unsigned 32cm. high £200-400 372. A Loetz glass bowl on three ball feet mandarin glass with dark blue striations, with applied blue rim unsigned 26.5cm. diam. £200-400 373. A Loetz glass vase the design attributed to Michael Powolny, swollen orange body with knopped neck with vertical aubergine glass trials and rim, unsigned 20cm. high £80-120 374. A Loetz glass vase, compressed form with flaring neck, covered in a textured golden iridescence unsigned 20cm. high £100-200 375. A Loetz solifleur glass vase shouldered form the body with band of impressed decoration, the swollen neck with vertical pull to rim, splashed iridescent finish unsigned 19 cm. high £300-400 376. A Loetz orange Phanomen glass flower vase modelled as a single trumpet flower with two scrolling leaves, on flaring base, unsigned 27.5cm. high £1,000-1,500 Literature Hatje Cantz Loetz Bohemian Glass 1880-1940 Neue Galerie, page 75 catalogue number 24 for a comparable vase 376

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379. A painted glass roundel of a woman in profile portrait unsigned 22cm. high £150-200 380. A stained glass panel decorated with the dove of peace descending, above a winged saint holding a staff unsigned, damages 61cm. high £200-300 381. ‘Expulsion from the Garden of Eden’ a stained glass panel unsigned 66 x 46cm. £400-600 382. ‘Noah and the Dove’ a stained glass window panel, unsigned 61 x 65cm. £400-600 383. Four Aesthetic Movement stained glass panels rectangular with flower and fruit panels, and geometric foliate border unsigned 61 x 50cm. £300-500

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384. A stained glass panel of by William Glasby rectangular, depicting a pre-raphaelite maiden dreaming at the waters edge, inside a border of foliate panels, mounted in a painted wood frame signed in the panel, panel 62 x 50cm. £600-900

377. ‘The Cloisonne Glass Company’ an illustrated catalogue £50-100

William Glasby (1863-1941) worked at Morris & Co, according to Charles Sewter between 1909-1911 and 1913-1923. He trained initially at James Powell & Sons, Whitefriars before taking a post in Henry Holliday’s studio. After working for Morris & Co he set up his own company and regularly exhibited at the Royal College of Art

378. Ten various Edwardian stained glass windows each with simple stylised flower panels largest 79 x 46cm. £150-200

385. ‘Days Come and Days Go’ a stained glass panel, designed by Charles Edward Kempe decorated with a woman harvesting grapes from fruiting vine, possibly an allegory for summer, inscribed Days come and days go, year follows year, any you and i alas we sigh, to find the end so near’ unsigned 116 x 48cm. £800-1,200

386. ‘Gather Ye Rosebuds’ a stained glass panel, designed by Charles Edward Kempe, decorated with a woman picking briar rose, possibly an allegory for winter, inscribed ‘ Gather ye rosebuds, While ye may, Old time is still a flying, also inscribed ‘The shadow passes, the light remains forever’ unsigned 116 x 48cm. £800-1,200

387. ‘St Michael, St Uriel and St Chamuel’ and ‘Archangel Gabriel and St Joseph’ two important Saunders & Co stained glass windows designed by William Burges for Lord Bute’s chapel at Castell Coch, each £150,000-250,000 panel 72 x 37cm.

Original cartoons for the two windows

Lord Bute, in 1872, requested Burges to submit his thoughts for the 13th century ruined castle; his two suggestions were to leave the ruin or restore it to a new splendour – as an ‘occasional country residence for summer’. Lord Bute’s resulting request for Burges’ to renovate the ruin would firmly cement the relationship between patron and artist. Included in the commission was the dormer chapel – a chapel believed not to have been constructed until a photograph surfaced illustrating it. Included in the chapel was a twenty light window based around Christ in majesty. The Panel of St Michael depicts the standing figure in white robes holding sword and scales, flanked by St Uriel in red with a yellow halo and St Chamuel with an orange halo. The panels were manufactured to Burges’ designs by Saunders & Co who Burges chose for their ability to produce ‘medieval’ stained glass. He was disappointed with the larger commercial manufacturers – such as James Powell of Whitefriars whose glass was too clean, too well made and expensive. He liked the glass to be streaky with imperfections included in it. The other panel shows the archangels, Saint Gabriel holding a white lily and the winged figure of Saint Jophiel holding a Flamberge sword, wearing purple and yellow vestment. Burges’ estimates book for 1878 lists the cost of the twenty lights for the chapel at Castle Coch at £62.0.0

Castell Coch, showing the chapel

Cartoon for the complete set of window designs

The remaining eighteen panels are held at Castell Coch and Cardiff Castle

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Works on Paper & Reference Books 388. ‘William Burges - and the High Victorian Dream’ a book by J Mordaunt Crook, published by John Murray, 1981 £200-300 389. ‘Elements of Handicraft and Design’ a book by W.A.S Benson, published by Macmillan & Co, 1893 £60-100 390. ‘The Works of Sir Robert Lorimer’ a book by Christopher Hussey, published by Country Life, 1931 £300-400 392

393 391. ‘Wrens City Churches’ a book by A H Mackmurdo, published by G Allen, Orpington 24cm. high £300-500 392. ‘A View of the New Morris Showrooms’ a Morris & Co catalogue, with an original negative and modern print of an alternative view for the catalogue back cover £100-200 Provenance A E Nelson, professional photographer used by Morris & Co for the photographs of the Hanover Square premises 393. ‘William Morris’ a portrait published by Walker & Boutall from a photograph taken in 1889, framed, image 26.5 x 21cm. £200-300 394. ‘Decoration - House Decorating and Furnishing by Morris & Co’ an original Morris & Co catalogue £100-200

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395. ‘Decoration - Morris Chintzes, Silks, Tapestries’ a Morris & Co catalogue £100-200 396. A reference collection of William Morris wallpaper designs, including ‘Fruit- Pomegranate’, ‘Willow’, ‘Artichoke’, ‘Persian’, ‘Autumn Flowers’, ‘Trellis’, ‘Willow Bough’, ‘Bird and Anemone’, ‘Bruges’, ‘Poppy’, ‘Marigold’, and ‘Diaper’ £200-300 397. ‘The Art of William Morris - Easter Art Annual 1899’, ‘The Decorative Art of Sir Edward Burne-Jones Easter Art Annual’, two volumes, ‘William Morris Designer’ by Gerald Crow, and four Studio Yearbooks £100-200

396 part

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400

400 398. ‘The Savoy’ a quarterly publication, illustrated by Aubrey Beardsley, January 1896, and a print of ‘Madonna & Child’ by Aubrey Beardsley, signed in the print Quarterly 26.5cm. high £200-300

399. ‘Studies in Design’ eleven lithographic plates designed by Dr Christopher Dresser published by Cassell, Petter & Galpin, framed 36 x 25cm. £200-300

401 400. An interesting album of original designs for book plates by Major E Bengough Ricketts and other hands, the album including the original ink designs mounted with an example of the printed bookplate, including; Alice E Ricketts, 1897, R G de Uphaugh - Hollingbourne House, Revd John Watkins, Julian Marshall, H W Fincham, J L Graham, The Manor House Hollingbourne, Ernest Hale, The Hon Florence Sergison - Slaugham Place, Charles Hoskins Master, C R Homer, Florence Harris, August Albers, Nellie Bates, Julian Marshall, and with an original design for the cover ‘Bookplates - 1898’, sold with a copy of Quo Vadis displaying a E B Ricketts bookplate, and a christmas card from Harry Marrilier, Kelmscott House 1897 £300-500 Literature The Studio Special Winter 1898-9, Major E Bengough Ricketts’ work including the plates for Ernest Hale and E Heller is illustrated pages 32-33 in an article on British Book Plates written by Gleeson White. Major Bengough Ricketts published a volume Composite Book-plates in 1897-8.

401. ‘The Days of Creation’ a set of six photogravures after a design by Sir Edward Coley Burne-Jones, in carved oak frame 123 x 60cm. £400-600

402. A print by Sir Edward Coley Burne-Jones, published by Frederick Hollyer, framed blindstamp image 33 x 20cm. £100-200 402

403

404

407

405

406

408

409

403. ‘Sketches of Examples of Historic National Ornament’ two original designs for Greek and Arabian ornament for the National Exhibition, framed 82 x 57cm. £200-400 404. A watercolour on paper of alium stems framed unsigned image 69 x 38cm. £80-120 405. A South Kensington School original body colour design for an art nouveau vase with annotated notes, framed unsigned 54 x 40cm. £100-200 406. A watercolour on paper of a stork by Henry Stacy Marks (1829-1898), framed signed with initials, 38 x 31cm. £400-600 407. ‘Study of the Christ Child’ a textile collage by Mary Ireland, dated 1950, another ‘Study for Our Lady in Blue and Gold’ dated 1950, and another ‘Mary‘s Vision of the Holy Grail’ dated 1944, all framed signed in the collage Christ child study 21 x 16cm. £200-300 408. ‘Girl in a Blue Gown’ a textile collage portrait of a lady by Mary Ireland, dated 1936, modelled seated, and another ‘Madonna & Child’ textile collage by Mary Ireland, both framed signed in the collage 31 x 27cm. £200-300 409. A lithographic print after a design by Aubrey Beardsley, and two others similar, framed signed in the print AUB image 21.5 x 16cm. £80-120 410. A pencil and wash design of classical figures originally designed for gesso panels to decorate RMS Queen Mary by Gilbert Bayes, dated 1952, framed signed and dated in pencil image 75 x 53cm. £1,800-2,200 Gilbert Bayes produced this version of the original 1936 version for his family.

410

Literature Louise Irvine & Paul Atterbury Gilbert Bayes Richard Dennis Publications, page 83 for the original 1936 version illustrated.

411

412

413

411. ‘Paris Illustre’ a lithograph in colours on paper after a design by Jules Cheret, framed signed in the print image 40.5 x 30cm. £200-250

412. A lithograph in colours of a dancing couple, after a design by Jules Cheret, framed signed in the print image 43 x 33cm. £200-300

413. ‘La Commedie’ a lithograph in colours after a design by Jules Cheret, framed signed in the print image 31 x 21cm. £150-200

414. ‘Reverie’ and ‘Meditation’ two lithographs in colour, after a design by Jane Atche, in circular frames signed in the print image 36cm. diam. £600-700 414

415

416

417

Furniture

415. A large Gothic Revival oak desk in the manner of J P Seddon, the back inset with marquetry radial sun design and central patinated metal panels stamped VR locks 137 x 76cm. £800-1,200

416. A large Anglo Persian sideboard with pierced gallery, mirrored back above three drawers, on turned feet unsigned 199cm. wide, 234cm. high £1,000-2,000 418

417. A William Watt Anglo Persian oak sideboard with pierced and mirrored back over twin drawers applied enamel label 122cm wide, 175cm. high £700-900

418. A pair of Medieval Revival painted wood armchairs in the manner of William Burges, red stained frame painted in gilt with scrolling panels unsigned 85cm. high, 61cm wide £1,000-1,500 Stained wood armchairs with similar decoration were included in Burges’ design for Lady Bute’s bedroom at Castell Coch.

419. A Gothic Revival oak hall gong with carved trefoil decoration, unsigned 94cm. high £200-300 419

420

424

421

422

423

425

426

420. An Aesthetic Movement Cottier & Co ebonised wood stool probably designed by Daniel Cottier, rectangular form, with gently flaring legs and brass rail, painted with panels of stylised foliage and Lotus panels unsigned 53 cm. wide £600-800 Literature Max Donnelly, Cottier and Company, Art Furniture Makers The Magazine Antiques, Volume 159 no.6, June 2001 421. An Aesthetic Movement ebonised wood two-tier table rectangular section with pierced undercarriage, on turned legs unsigned 94 x 58cm. £350-450 422. An Aesthetic Movement ebonised wood card table with turned legs unsigned 74cm. high, 89cm. wide £150-200 423. A mahogany hall chair designed by Richard Norman Shaw, stamped FF to backsplat 95cm. high £50-100 Literature John Andrews Arts & Crafts Furniture acc, page 27 plate 21 for a comparable chair 424. A Gothic Revival stained pine desk, in the manner of A W N Pugin, on casters unsigned 91cm. high £100-200

427

425. An Aesthetic Movement patinated metal tripod table, with circular marble top inset with mother of pearl stylised rose flower frieze unsigned 64cm. high £250-350 426. An Aesthetic Movement oak bookcase, in the manner of J S Henry, with glazed cabinet doors unsigned 152cm. high, 92cm. wide £300-500 427. An Aesthetic Movement mahogany occasional table on turned legs unsigned 75cm. wide £300-500 428. An Aesthetic Movement rush seated armchair in the manner of E W Godwin, and another unmarked 87cm. high £50-100 428

429

430

431

429. A Morris & Co ash ‘Sussex’ armchair rush seated unsigned 92cm. high £80-120

430. An Aesthetic Movement canterbury rectangular section with turned ball finial, on ceramic casters unsigned 49 x 34cm. £200-300

432

431. A mahogany four fold screen each inset with rectangular silk embroidered lily panels unsigned 153 x 45cm. each panel £300-500

432. A Morris & Co oak washstand the top inset with green tiles, the back inset with reproduction William De Morgan tiles, unsigned £800-1,200 Literature Hans Van Lemmen Tiled Furniture, Shire Album, page 14 for a comparable example with William De Morgan BBB tiles from Arlington Mill, Bibury

433. An Arts and Crafts three fold screen set with Morris & Co Lily and Rose textile panels unsigned 153cm. high, 126cm. wide £500-800 433

434

435

438

436

439

437

440

441

434. A William Birch oak rush seated carver chair unsigned 110cm. high £80-120 435. A William Birch oak rush seated armchair turned legs and solid back rest unsigned 107cm. high £100-200 436. A set of eight Liberty & Co rush seated ladderback chairs, comprising six chairs and two carvers unsigned 104cm. high £800-1,200 437. A rush seated ash ladderback chair designed by Ernest Gimson, with ladderback, and another similar unsigned 106cm. high £150-200 438. An ebonised wood occasional table after a design by E W Godwin, unsigned 66cm. high £100-200 439. A Maple & Co walnut hall chair the design attributed to H Batley, the back carved with Aesthetic Movement panels of flowers stamped marks 106cm. high £300-400 440. A small oak hanging shelf possibly Scottish, two shelf form with carved teardrop aperture unsigned 58cm. high £200-300 441. A stained oak bookcase with simple cut-out spade motif unsigned 128cm. high, 78cm wide £100-200 442. A mahogany three fold screen inlaid with fruitwood banding, set with three Pre-Raphaelite prints, by Frederick Leighton, the central panel The Garden of The Hesperides, unsigned main panel 157 x 80cm. £250-350 442

443

444

445

446

443. A Cotswold School walnut hall mirror with carved frame and applied crest, carved W S V 1929 unsigned 108cm. high £300-400 444. A stained ash hall chair designed by Ernest Gimson with turned legs, stretchers and back splats unsigned 101cm. high £300-400 Literature Ernest Gimson, His Life & Work, plate 38 445. A Cotswolds School walnut bureau with ebony feet and drawer handles, unsigned 92cm. high, 62cm. wide £300-500

447

448

446. An oak cabinet by Derek Lizardman Slater, rectangular section, with hinged cupboard and shelf, carved lizard signature 86cm. wide £250-300 447. A Cotswold’s School oak occasional table, with circular top unsigned 57cm. high £100-200 448. A satinwood tripod table, in the manner of Phillip Webb for Morris & Co, the octagonal top on three flaring turned legs unmarked 61cm. high £300-400 449. A Gordon Russell walnut bureau, simple form with ebonised wood handles and roundel decoration applied metal label 117cm. high £200-300 450. A Cotswolds school oak bookcase possibly Gordon Russell, with walnut top and shelf support unsigned 112 x 65cm. £200-300

449

450

451

452

453

454

451. A large inlaid corner display cabinet in the style of Shapland & Petter, inlaid with pewter and brass floral panels unsigned 108.5cm. high £200-400

452. A Shapland & Petter oak dressing chest three drawers and tilting mirror, stamped S & P B locks 148cm. high, 92cm wide £150-200

453. A Shapland & Petter coal box rectangular with overhanging mantle, the door and back rail with inlaid decoration 71cm. high £200-300

454. A Scottish oak dressing chest the design attributed to Harris Lebus, three drawer form with tilting mirror, its supports inset with leaded glass roundels unsigned 99cm. wide £300-500

455. A Shapland & Petter billiard cue stand inset with green tile border unsigned 151cm high, 47cm wide £200-400

455

456

457

458

456. An oak umbrella stand in the manner of Shapland & Petter, with simple chequer decoration unsigned 106cm. high £300-400

457. A Shapland & Petter mahogany dressing table locks stamped S & P B 166 x 76cm. £200-400

458. A Shapland & Petter mahogany revolving bookcase unsigned £200-300

459

462

460

461

463 459. An inlaid occasional table square top with inlaid decoration, on tapering square section legs 71cm wide £300-500

460. A William Birch rush seated chair with wavy back slats unsigned 99cm. high

£100-150

461. A set of four William Birch oak high-back chairs with turned supports and wavy splat backs unsigned 102cm. high £100-200

462. A pair of Aesthetic Movement ebonised wood chairs each painted with panels of berried foliage unsigned 86cm. high £80-120

464 463. A Gillow & Co ebonised wood octagonal table the top quartered burr walnut stamped marks, 4175, 61cm. high £500-800

464. An ivory and pewter inlaid ebonised wood hall chair in the manner of Carlo Bugatti, high back form with angled slat back, and flaring architectural terminal, square seat with flaring plank legs with spade-shaped cut out, inlaid with Arabic and European motif unsigned 110cm. high £300-500

465. An ebonised bentwood table, the design attributed to Josef Hoffmann, circular top, the legs flanked with ball decoration unsigned 54cm. high £100-200 465

466

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468

469

466. ‘A Book of Bedroom Furniture’ a Heal & Son illustrated catalogue, dated 1935 £100-200 467. A Heal’s oak extending dining table and four chairs with applied factory labels table 107 long, 75cm. high £800-1,200 468. A limed oak dining table in the manner of Heal’s unsigned 84cm. wide £500-800 469. A large Heal’s oak dining table originally designed by Philip Tilden for Winston Churchill at Chartwell unsigned 228 x 121cm. £2,500-3,000 Literature Susanna Goodden At The Sign of the Fourposter - A History of Heal’s page 48 and 49 for comparable examples 470. An early Heal’s oak sideboard designed by Ambrose Heal and possibly exhibited at the Paris 1900 exhibition, inset with ebony and boxwood chevron bands, and diaper inlaid diamond motif unsigned 152cm. wide £1,000-2,000 Literature Susanna Goodden At The Sign of the Fourposter - A History of Heal’s page 26 and 27 for comparable examples of Heal’s inlaid furniture Heal’s catalogue for a writing bureau exhibited in Paris with similar decoration. 470

471

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476

Textiles 471. A collection of woven silk textiles probably designed by A W N Pugin, decorated with alternating panels of berried foliate sprays and crucifix, on a red ground unsigned £100-200 472. A silk embroidered panel of a minstrel playing a viola d’ amore in arched frame unsigned panel 63cm . high £200-300 473. A Glasgow School silk embroidery circular panel of a woman with a lyre before a flowering rose bush, framed unsigned 34cm. £80-120 474. A pair of woollen curtains possibly Silver Studio, decorated with a poppy and bell flower repeat on a green ground unsigned 260 x 145cm. £150-250 475. A Morris & Co silk embroidered panel decorated with four flowerheads inside a border of scrolling leaf unsigned 49 x 51cm. £600-800 476. A wool embroidered table cloth with central panel and border of flowering vine climbing through trellis, in colours on a cream ground unsigned 180 x 183cm. £100-200 477. A Leek Embroidery Society silk embroidered panel decorated with stylised flowers amid scrolling foliage unsigned 79 x 57cm. £400-600 Literature Linda Parry Textiles of the Arts and Crafts Movement plate 113 for a comparable example 477

478 478. A silk embroidered panel designed by Walter Crane, rectangular form, decorated with three cherubs on a golden silk ground, framed unsigned 131 x 31cm. £400-600 Literature John Andrews Arts & Crafts Furniture acc page 59 for a screen with embroidery design

479. A Secessionist woven wool tablecloth, decorated with a border of stylised flowers in cream and green on a plum ground unsigned 140 x 140cm. £100-200

479

480. An Art Nouveau linen tablecloth, decorated to the border with stylised tulip flowers unsigned 163 x 163cm. £50-150

480

481

481. A pair of embroidered silk curtains, decorated in green and gold on a cream ground with thistle seedhead repeat unsigned 210 x 240cm. £150-200

482. An embroidered portiere possibly designed by the Silver Studio, decorated with a stylised floral design on blue ground 170 x 170cm. £100-200 482

483

487

484

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485

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486

490

Metalware 483. A Benham & Froud copper and brass tray oval, the centre with Aesthetic Movement panel in the manner of Kate Greenaway stamped marks 48cm. wide £80-120 484. A Gothic Revival brass cross attributed to the Artificers Guild, engraved with the lamb of god and four evangelists, enamelled turquoise detailing unsigned 51cm. high £500-800 485. A Gothic Revival enamelled brass chalice and cover the tapering conical roof with four arched window above a band of stylised foliate, the body set with four enamel angel roundels between foliate panels, set with four moonstone cabouchon unmarked 35cm. high £200-300

491

486. An Aesthetic Movement jewellery casket, probably Indian, rectangular section, with hinged lid and bevelled glass door, the overhanging cover supported with elephant head columns, mixed woods inlaid with ivory and applied with gilt metal unmarked 35.5cm. wide £300-500 487. A pair of Gothic Revival brass vases in the manner of A W N Pugin, flattened disk form with flaring foot and rim, applied handles with quatrolobed roundel, and applied foliate panels unsigned 45cm. high £500-800 488. A Gothic Revival enamelled brass candlestick, the design attributed to Edward Welby Pugin, cylindrical form with pierced fleur de lys terminal and foliate foot, the body enamelled red, white and blue inscribed ‘Alleluia’ unsigned 17.5cm. high £400-600 Provenance Stanbrook Abbey Stanbrook Abbey, completed in 1871, was designed by E W Pugin 489. A Benham & Froud brass mounted wood coal scuttle model no.10990, in the manner of Dr Christopher Dresser, stamped no.10990 45cm. high £50-100 490. A large Gothic Revival patinated brass ceiling light star shaped section, with six lights, the frame with pierced decoration unsigned 66cm. wide £400-600 491. A Medieval Revival walnut casket with bronze mounts the design attributed to A W N Pugin, unsigned 25cm. wide £1,000-1,500

492

492. A pair of wrought iron standard candlesticks in the manner of Ernest Gimson, on hammered tripod foot, the square section stem set with two lights unsigned 153cm. high £500-800

493

494

496

495

497

498

493. A pair of Benham & Froud brass fire dogs designed by Dr Christopher Dresser, with angular foliate terminals, stamped mark 26cm. wide £400-600 Literature Christopher Dresser, The Fine Art Society/Haslam & Whiteway catalogue, 1990 catalogue number 60 for a comparable example 494. A Hukin & Heath electroplated biscuit barrel, in the manner of Dr Christopher Dresser, model no. 01318, twin door form with ebonised wood handle, on ball feet stamped number to base 25 cm. wide. £200-400 This biscuit barrel with its two hinged doors uses Ebenezer Hall Juniors patented fixed handle and opening chain mechanism patented in 1884. 495. A pair of cast iron firedogs designed by Dr Christopher Dresser, cast with angular spiky foliage unmarked 20.5cm. wide £100-200 496. A modern ebonised wood and electroplate soup ladle originally designed by Dr Christopher Dresser unsigned 35cm. long £400-500 497. A Hukin & Heath electroplated Picnic tea set designed by Dr Christopher Dresser, comprising; teapot and cover, hot-water pot and cover, milk-jug and sugar basin, and a spirit flask stamped marks, designed by Dr C Dresser to tea pot 17 cm. wide £200-300 498. A Benham & Froud copper and brass jardiniere, the design attributed to Dr Christopher Dresser, ovoid with flaring neck, with twin handles, decorated to the shoulder and base with a panel of scalloped copper stamped no.3,26cm. high £300-400 499. A Benham & Froud copper and brass teapot and stand designed by Dr Christopher Dresser, probably manufactured for the Art Furnishers’ Alliance ovoid body with riveted brass decoration, applied tripod over-slung handle, the stand with loose brass shelf supported on scroll rests stamped 5 25cm. high £500-800 Literature The Studio volume XV 1898, page 111 the design for this teapot and stand illustrated in an article on Christopher Dresser. Michael Whiteway Christopher Dresser, Skira page 146 this design reproduced in an original photograph from the Chubb Archive.

499

500

501

504

505

502

506

503

507

500. A Cotswold style cast iron fire-screen with central lattice square decoration, on scroll terminal feet unmarked 56.5cm. wide £50-100 501. A pair of hand wrought iron fire dogs, probably Cotswold School, simple low form with flattened disk finials unsigned 58cm. deep £150-250 502. A pair of panels each printed with a classical figure unsigned 101 x 36cm. £80-120

508

503. A brass adjustable wall/table lamp the design attributed to W A S Benson, flaring tripod foot with hooked wall mount, stamped 4 to foot 40cm. high £400-600 504. A set of Thornton & Downer wrought iron firetools on stand comprising tongs, shovel and poker, each with twist and punched decoration unsigned 71cm. high £400-600 Provenance Arts and Crafts, Christie’s South Kensington 21st November 2001 lot 150 505. A small brass hall lantern flaring conical form, unmarked 23.5cm. high £50-100 506. A copper and brass casket, rectangular section with hinged cover, lined with cedar unmarked 22cm. wide £100-200 507. An adjustable brass wall/table lamp with vaseline glass shade the design attributed to W A S Benson, flaring tripod foot with hooked wall mount unsigned 43.5cm. high £400-600 508. An Usher mixed metal double inkwell and pen tray by George Edward, the copper frame set with white metal putti panel painted marks to base 22cm. wide £300-400 509. A bronze bell cast from a model by Henri Pernot, the handle modelled as a naked youth signed in the bronze, cast foundry mark 19.5cm. high £300-500

509

510

514

511

515

512

516

513

517

510. A John Seward pewter tobacco jar and cover after a design by A E Jones, cast in low relief motif ‘ There is no Herb Like it under the Canopy of Heaven’ stamped marks 12cm. high £150-200 511. A Duchess of Sutherland Cripple’s Guild of Handicrafts electroplated copper fruit bowl wrythen fluting and central flower head motif stamped mark to rim 23cm. diam. £100-150 512. A George Lawrence Connell silver christening mug designed by Kate Harris, embossed with a frieze of stylised flower stems stamped marks, London 1911 8.5cm. high £200-300 513. A silvered copper coffee pot and cover in the style of Edward Spencer, hammered from with chased borders, wicker handle, unmarked 17.5cm. high £100-150 518 514. An Iona style pewter mounted wooden box and cover, the pewter cast with a longship at sail, on a mother of pearl roundel, applied label to interior R F and an anchor 9cm. diam. £100-200 515. A William Hornby silver and enamel frame, rectangular cast in relief with Art Nouveau foliage, enamelled green, on easel back stamped marks WH 1899, 11.5cm. high £100-200 516. An A E Jones silver preserve pot and cover with glass liner, drum form with cast Tudor rose decoration, hammered finish stamped marks, Birmingham 1919 13cm. high £100-200 517. A Keswick School of Industrial Arts electroplated metal dish on tripod foot with three handles, hammered finish stamped KSIA 28cm. wide £80-120 518. A Duchess of Sutherland’s Cripples Guild of Handicrafts cigarette box and hinged cover rectangular form with domed cover, the cover inset with Tudor rose and clam shell motif, cedar lined stamped marks 22cm. wide £200-300 519. A Duchess of Sutherland Cripple’s Guild of Handicrafts electroplated footed punch bowl drum form, chased with birds amongst fruit and foliage, the foot with similar band of fruit and foliage stamped mark to base 26cm. high £200-300 519

520

521

523

522

524

525

520. An Omar Ramsden and Alwyn Carr silver and enamel dressing table set comprising two brushes and a hand mirror, each decorated with St George killing the Dragon pierced on blue enamel ground, with dog rose border stamped marks, London 1915 Omar Ramsden et Alwyn Carr Mr Fecerunt, mirror, 35 cm. wide £3,000-5,000

521. A William Comyns silver twin-handled bowl on fluted foot, the bowl decorated with simple shield panels stamped marks, London 1905 23cm. wide. £300-500

522. A William Hutton & Son Art Nouveau electroplated tray the rim cast with pierced foliate panels, stamped marks 30cm. diam. £80-120

523. A rare Birmingham Guild of Handicrafts silver twin-handled bowl designed by Arthur Dixon, with applied wirework handles and scroll decoration, on hammered ground stamped marks, BGH Ld Birmingham 1900 18cm. wide. £200-400

524. An A.E. Jones silver three piece tea set each piece on three ball feet, the pot with hinged cover, comprising; teapot, milk-jug and sugar basin, hammered finish stamped marks Birmingham 1916 13cm. high £700-900

525. A copper and brass table lamp with vaseline glass shade with trefoil, hammered copper strapwork unsigned 34cm. high £100-200

526. A Douglas Clock Company silver mantle clock, tapering rectangular form, with overhanging domed mantle, rivet and hammered finish stamped marks DCC Birmingham 1901 18cm. high £1,500-2,000 526

527

528

531

529

532

530

533

534

527. A brass table lamp the design attributed to W A S Benson, on tripod foot pierced for all mounting unsigned 31cm. high £400-600 528. A W.A.S Benson brass adjustable desk/wall lamp with ball weight counterbalance stamped Benson 33cm. long £350-500 529. A patinated copper wall mirror rectangular, stamped in relief with stylised heart-shaped foliage stems unsigned 48cm. high £200-300 530. A copper and enamel casket with hinged cover, rectangular section, applied with an enamel seascape panel, the cover with an oval enamel panel with initials R E G, velvet lined unmarked 18cm. wide £80-120 531. A Birmingham Guild of Handicrafts copper double inkwell, rectangular tray section, the twin wells with hinged covers, glass liners stamped BGH mark 25cm. wide £200-300

535

532. A small patinated copper and vaseline glass hall lantern the cylindrical glass shade with trilobed copper frame and hanging chains unsigned 28cm. high £200-300 533. A Keswick School of Industrial Arts copper muffin dish and cover by J Richardson, dated 1900, twin-handled form hammered in relief with gadrooning and fleur de lys motif, the interior silvered stamped mark, incised signature, numbered B3046 32cm. wide £150-200 534. A Glasgow School patinated copper and enamel hall mirror, hammered in relief with stylised flowerheads enamelled vivid red unsigned 56 x 48cm. £500-800 535. A rare W.A.S Benson electroplated metal tripod bowl cast in relief with flower sprays, on tripod foot with heart shaped feet, with green glass liner stamped WAS Benson mark 16cm. high £500-800 536. A pair of W.A.S Benson electroplated metal candlesticks each with tripod foot, and central cylindrical stem stamped marks to feet 17cm. high £250-300 536

537

538

539

537. A patinated copper wall mirror on wooden frame, the copper hammered in relief with scrolling flowers and foliage unsigned 61cm. high £200-400

538. A stamped copper wall mirror, rectangular stamped in relief with three galleons at sail unsigned 53 x 41cm. £450-550

540

541 539. A Newlyn copper tray, elliptical form with raised, pierced gallery, hammered in relief with a frieze of apples, stamped Newlyn 47cm. wide £80-120

540. 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 £150-200

541. A hammered copper vase with applied strap handle, decorated with exotic birds before crown and sun motif unsigned 23cm. high £200-300

542. A John Pearson repousse copper charger hammered to the well with three flying birds, the rim with foliate and roundel motif stamped JP monogram 39cm. diam. £600-800 542

543

544

545

547

546

548

543. A Newlyn copper jug tapering square section, hammered in relief with a cormorant flanking a central sun motif, wicker handle stamped mark 17cm. high £100-200 544. A Newlyn copper double wall sconce shaped rectangular back plate hammered in relief with a ship at full sail stamped Newlyn 37cm. high £300-500 545. A Newlyn copper wall sconce rectangular wall plate stamped with a fishing vessel raising a lobster pot, with attendant seagulls, the loose sconce with a frieze of three fish stamped Newlyn 32cm. high £200-300 546. A Newlyn copper wall sconce repousse hammered with a galleon at full sail, twin sconce form stamped Newlyn 36cm. high £300-500 Literature Daryl Bennett & Colin Pill Newlyn Copper Sansom & Company page 24 for a comparable single sconce with a Lugger design

549

547. ‘Longships’ a Newlyn copper tea caddie by Herbert Dyer, square section, hammered in relief with the Longships lighthouse, a fish and a fishing boat stamped marks 15cm. high £200-300 548. A large Newlyn hammered copper rose bowl hammered in relief with a frieze of grotesque fish, Stamped Newlyn 30cm. diam. £350-450 549. A Newlyn copper tea caddie and cover elliptical form, hammered in relief with three sailing ships, the cover with two clam shells and loop handle stamped Newlyn to the side 12.5cm. high £300-500 550. A large Newlyn copper wall sconce by John D Mackenzie and P Hodder, repousse hammered with a speared serpent in an apple tree, based on the Earth design by J D Mackenzie for the exterior panels of the Newlyn Art Gallery, etched marks 41.5cm. high £800-1,200 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company page 48-49 for the element panels illustrated. 550

551

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555

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554

558

551. A pair of Liberty & Co Cymric silver and enamel hat pins, each enamelled in blue and green to both sides with Celtic entrelac terminal, in fitted Brown Bros Art Jewellers case unsigned 21cm. long £300-500 552. A Theodore Fahrner Secessionist link bracelet yellow metal set with mother of pearl teardrop panels, in presentation box unsigned 21cm. long £1,000-2,000 553. A silver pendant in the style of the Guild of Handicrafts the pear shaped pendant with foliate decoration and central blister pearl, set with two turquoise cabochons, on silver chain, unmarked 5.5cm high. £250-300

559

554. A pair of turquoise mounted yellow metal earrings possibly retailed by Liberty & Co, wirework form set with turquoise roundels unsigned £150-250 555. A Liberty & Co silver and enamel pendant, elliptical enamelled panel by Charles Fleetwood Varley, with a tree landscape, inside wirework foliate frame with blue enamelled leaves, hanging blister pearl from green enamelled leaf mount unsigned 4cm. high £800-1,200 556. Three Keswick School of Industrial Arts silver spoons, each cast with bird, weight and bell terminals, stamped marks Chester 1924 10cm. long £100-200 557. A Guild of Handicrafts silver spoon with hammered bowl stamped marks, London 18cm. long £80-120 558. A John Maitland Talbot silver buckle, pierced celtic knot form, hammered finish, stamped marks 13cm. diam. £400-600 Literature Arts and Crafts Christie’s South Kensington 27th November 2007 lot 86 for a comparable buckle 559. A continental silver belt, probably Norwegian, cast in low relief with zoomorphic panels stamped trident and 830 marks £300-500 560. ‘Twilight’ an enamel plaque by Frederic Shields in copper frame signed with monogram, pencil title to reverse 12cm. diam. £350-450 Literature Lyon & Turnbull 21st April 2004 lot 216 for a copper box with enamel panel by the same artist

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562

563

565

566

561. A Robert Kraft Pforzheim electroplated metal napkin ring cast in low relief with Secessionist foliage design unsigned 5cm. diam. £80-120 Literature The Decorative Arts Society, volume 14 Liberty & Co’s Nola Metalware: Art Nouveau Silver Jewellery from Pforzheim 562. A Georg Anton Scheidt Niello vesta case in the manner of Koloman Moser, inlaid with stylised foliate sprays stamped GAS mark 5cm. high £100-200 563. A Wiener Werkstatte silver napkin ring, probably designed by Josef Hoffmann, stamped marks, stamped imports marks for George Stockwell, London 1912 5cm. diam. £300-500

567

564. A pair of W.M.F electroplated candlesticks hammered finish with cast beadwork borders stamped marks 15cm. high £150-200 565. A pair of Jugendstil electroplated knife rests cast with Secessionist design set with green stone decoration unsigned 9.5cm. wide £100-200 566. A continental metal basket in the manner of Josef Hoffmann, with pierced handle and rim unmarked 21cm. high £80-120 567. A patinated brass dish in the manner of Gustav Gurschner, floriform, cast in low relief with geometric patterning, stamped N91 28cm. diam. £200-300 568. A pair of Coburg patinated metal candlesticks, the stem modelled as a leaping fish, on three scroll foot unsigned 21.5cm. high £100-200 568

569

570

573

574

571

575

572

576

569. An Art Nouveau Orivit pewter twin-handled dish, pierced and cast with stylised flowers in long sinuous stems stamped marks 32cm. diam. £80-120 570. A W.M.F Art Nouveau pewter dish cast in low relief with a couple kissing in profile, and another W.M.F dish decorated with an Art Nouveau maiden stamped marks 28cm. wide £150-200 571. A W.M.F Art Nouveau pewter centrepiece the quatro-lobed foliate bowl with maiden rising from the centre stamped marks 26cm. high £500-800 572. A pair of W.M.F patinated metal and oak candlesticks swollen column form on domed base stamped marks 21cm. high £150-200 573. ‘St Cecilia’ a patinated bronze plaque after the Renaissance unsigned 54.5cm. high £400-600 574. ‘Hasseur D’Aigles’ patinated bronze figure of an archer cast from a model by Edouard Drouot, modelled firing his bow, above a dead eagle signed in the bronze, applied label 44cm. high £500-800 577

575. A Tiffany & Co silver wine taster cast in low relief with a scrolling foliage design stamped marks 11cm. diam. £150-200 576. A Tiffany & Co silver Fern pattern wine coaster cast in low relief with flowers and foliage stamped marks 14cm. diam. £350-450 577. A rare Wolfers Freres silver chocolate pot and cover designed by Philippe Wolfers, circa 1900, cast in low relief with a wave motif to body and hinged cover, the spout with bull rushes, ivory insulators to handle stamped marks to base 22cm. high £1,500-2,000 578. A large W.M.F Art Nouveau electroplated centrepiece cast to one end with a fairy leaning over the bowl, cast to the corners with bell flowers, with clear glass liner, and a spare metal liner stamped marks 53cm. wide £600-800

578

579. A Liberty & Co terracotta Beowulf jardiniere, with four applied handles, cast in low relief with Celtic entralac motif, impressed factory mark 63cm. wide £400-600 Literature Veronica Franklin Gould “Modern Celtic Art” Garden Pottery page 20, original Liberty photograph reproduced, circa 1903 579

580. A large Liberty & Co patinated copper wall mirror, designed by Archibald Knox, cast in low relief with Celtic knot design to corners and top border applied ivorine label 90 x 61cm. £2,000-3,000 Literature Stephen Martin Archibald Knox ARTMEDIA, page 229 for two comparable mirrors. 580

581. A rare Liberty & Co mahogany Thebes stool rectangular twin-seat section, on four turned legs, with remains of strung seat unmarked 80 x 37cm. £500-800 581

582

583

584

Liberty catalogue circa 1895

582. A Turkish table inlaid with mother of pearl and fruitwood, octagonal form with arched legs unsigned 55cm. high £100-200

583. A Turkish occasional table inlaid with mother of pearl and cedar wood, and another similar unsigned 52cm. high £80-120 Literature Eastern Art Library Catalogue page 53, priced 6 guineas

585

586 584. A Turkish side table octagonal form, inset with bone, mother of pearl and pewter, possibly retailed by Liberty & Co, unsigned 56cm. high £200-300 Literature The Liberty Bazaar a Liberty & Co contemporary catalogue page 20 for comparable furniture illustrated.

587

585. A small Turkish table inlaid with pewter, bone and mother of pearl octagonal form, unsigned 51cm. high £50-100

586. An oak hanging cabinet in the manner of E W Godwin, with offset cupboards unsigned 85cm. wide £300-400

588

587. A Liberty & Co mahogany hanging glazed wall cabinet unsigned 113.5cm. wide £200-300

588. A Japoniste two shelf wall shelf unmarked 85cm. wide £80-120

589. A Liberty & Co Thebes stool square section on four turned legs unmarked 42cm. square £300-500 Literature Barbara Morris Liberty Design Chartwell Books page 101 for a comparable form 589

590. A watercolour of paper by Archibald Knox, mountain landscape probable Isle of Man, framed unsigned 60 x 42cm. £1,600-2,000

591. A watercolour on paper by Archibald Knox, depicting a seascape design probably Isle of Man, framed unsigned image 45 x 35cm. £1,800-2,200

592. A Liberty & Co Cymric silver three piece coffee service designed by Archibald Knox, comprising coffee pot and hinged cover, milk-jug and sugar basin, each cast with Celtic entrelac motif, the pot with ivory handle stamped marks, Birmingham 1903, 1908 and 1912 16cm. high £5,000-8,000 Literature Victor Arwas Art Nouveau From Mackintosh to Liberty page 120 for a comparable set illustrated

593. A pair of Liberty & Co Cymric silver glove stretchers mounted with simple turquoise stone stamped marks Birmingham 1905, 21cm. wide £150-200

593

594

594. A Liberty & Co silver belt the design attributed to Oliver Baker, cast with intertwined design, highlighted in green and yellow enamels, the buckle with EE monogram highlighted with green stones stamped marks, Birmingham 1910 £800-1,200

595. An opal set gold ring possibly retailed by Liberty & Co, cast with foliate motif to shoulder, set with elliptical opal stone stamped 14A £250-350

596. A Liberty & Co gold and opal ring designed by Archibald Knox, Celtic entrelac knot set with opal roundel stamped marks, Birmingham 1902 £700-1000 595

596

597. A blister pearl set yellow metal ring possibly retailed by Liberty & Co, pierced and cast foliate design with central blister pearl stone stamped 18 £350-450

598. A Liberty & Co silver and enamel brooch designed by Archibald Knox, Celtic knot motif enamelled blue and green unsigned 4.5cm. wide £400-500

597

598

Literature Stephen Martin, Archibald Knox, Artmedia page 265 this model illustrated, model no.1314

599. A Liberty & Co Cymric silver spoon designed by Archibald Knox, hammered finish, the stem cast with foliage stamped marks, Birmingham 1904 16cm. wide £300-400

600. A Liberty & Co Solkets pewter cigarette box with hinged cover, hammered finish the cover with ‘Ruskin’ ceramic stone, with cedar lining stamped marks 11.5cm. wide £200-300 599

600

601

602

601. A Liberty & Co Tudric Pewter and glass claret jug designed by Archibald Knox, model no.0308, cast in low relief with berried, whiplash stems stamped marks 31cm. high £1,200-1,800 602. A rare pair of Liberty & Co Tudric pewter candlesticks, designed by Archibald Knox, model no. 0219, cast in low relief with stylised ivy leaf frieze stamped marks, 10cm. high £800-1,200 603. A Liberty & Co Cymric silver and enamel mirror designed by Jessie M King, rectangular form, cast in low relief with flowers and foliage panels on a green and blue enamel ground, stamped marks, Birmingham 1907 35cm. high £3,000-5,000 Literature Victor Arwas Art Nouveau from Mackintosh to Liberty, Andreas Papadakis, page 53 for a dressing table set in the same design.

603 detail

603

604

605

607

608

606 604. A pair of Liberty pewter candlesticks, model no.0222, square section with four columns supporting circular sconce stamped number 9.5cm. high £100-200 605. A Liberty Tudric Pewter three piece tea set model no. 0231, designed by Archibald Knox, cast in low relief with honesty, on a hammered ground stamped marks 9cm. high £300-500 606. A Liberty & Co Tudric pewter vase designed by Archibald Knox, model no. 01104, flaring cylindrical form, cast in low relief with stylised honesty on whiplash stems stamped marks 17cm. high £300-400 607. A Liberty & Co Tudric pewter biscuit barrel, designed by Archibald Knox, model no.0194, cast in low relief with stylised flower stems stamped marks 13cm. high £300-500 608. A Liberty & Co Tudric pewter charger model no.0114, cast to the well with a peacock, the rim with stylised peacock roundels stamped marks 33cm. diam. £250-300 609. A Liberty & Co Tudric pewter tobacco jar and cover designed by Archibald Knox, model no 0193, cast in low relief with stylised flower stems stamped marks 13cm. high £1,000-1,500

609

610. A rare Liberty & Co Tudric pewter architectural mantle clock designed by Archibald Knox, model no.096, tapering rectangular section, the face and hands set with abalone shell panels stamped marks 30cm. high ÂŁ8,000-12,000

611. A Liberty & Co Tudric Pewter and copper mantle clock model no. 660, architectural form with arched top, cast in low relief with a row of stylised trees, the dial copper stamped marks 29.5cm. high ÂŁ6,000-8,000

612. A Liberty & Co Cymric silver and glass claret jug designed by Archibald Knox, model no.2088, cast in low relief with celtic entrelac panels, the large entrelac panels set with turquoise stones, hinged cover with tall thumb press, with internal stopper stamped marks, Birmingham 1903, 32cm. high ÂŁ8,000-12,000

613. A Liberty & Co Tudric Pewter and enamel mantle clock designed by Archibald Knox, model no.0609, rectangular form with cast foliate decoration, the dial inset and enamelled with berried foliage in shades of red, green and blue stamped marks 21cm. high ÂŁ4,000-6,000

Literature Barbara Morris Liberty Design, a comparable clock illustrated on the frontispiece.

20th Century Design Wednesday 13th October 2010 Closing date for entries 13th August

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

An original ink wash design by Dodo Burgner. Estimate: ÂŁ300 - ÂŁ500

20th Century Design Wednesday 13th October 2010 Closing date for entries 13th August

A rare Ballet Russe poster designed by Jean Cocteau for the first performance in 1911. Estimate: ÂŁ8,000 - ÂŁ12,000 The Victoria & Albert Museum exhibition, Diaghilev and the Golden Age of the Ballets Russes 1909-1929

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

Furniture & Works of Art Tuesday 6th July 2010

The Sally Tuffin collection of Quilts. Estimate: £300 - £1,000

ENQUIRIES Will Hobbs Tel: 01722 339752 willhobbs@woolleyandwallis.co.uk Mark Richards Tel: 01722 411854 markrichards@woolleyandwallis.co.uk

Auction Information OPENING HOURS Monday to Friday 9am to 5.30pm and 10am to 1pm on Saturdays VIEWING All our specialist auctions are on view at least two days prior to the sale, and details will be found in the relevant catalogues. BIDDING To bid at the auction, you will need a bidding number. This can be obtained from the office either during the view or on the day of the sale. ABSENTEE BIDDING If you are unable to attend the sale you can leave a written commission bid. This will be executed on your behalf by the auctioneer who will endeavour to purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. On the more expensive lots it is usually possible to bid on the telephone by prior arrangement with the office. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot where practical. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 19.5% + VAT at the appropriate rate. SALE RESULTS Results from this sale are available from our office on 01722 424500 and are posted on our website www.woolleyandwallis.co.uk a few days after the sale. STORAGE CHARGES Storage charges will be levied on all lots in the Furniture and Works of Art and Clock sales not collected within 14 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.

ARTISTS RESALE RIGHT / DROIT DE SUITE Lots potentially subject to the levy are marked with a ‡ symbol next to the lot description. Works by living artists who are nationals in European Union Countries and certain other countries are subject to the levy if they sell for a hammer price of the sterling equivalent of €1.000 or more. The levy will be added to the purchaser’s invoice and the full amount will be paid by us to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale, or for any further information. Royalty

For the Portion of the resale price - in Euro

4% 3% 1% 0.5% 0.25%

Up to €50,000 €50,000.01 - 200,000 €200,000.01 - 350,000 €350,000.01 - 500,000 In excess of €500,000

Up to a maximum levy of €12,500

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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 may 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 limit of £5,000. Wire transfers should be sent to: Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB. Account name Woolley & Wallis Salisbury Salerooms Ltd. Clients Account 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 It is company policy not to accept single or multiple payments in cash equivalents in excess of £5,000 (or the equivalent value in another currency). Where practical, payment can be made and purchases collected during the auction. Please note that lots will 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. PACKING AND SHIPPING All our packing and shipping is arranged through Alban Shipping. Please see details at the back of this catalogue. VAT Lots marked with an asterisk (*) are subject to VAT at the standard rate 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. The colours printed in the catalogue are not necessarily true. All weights and measures given in the catalogue should be regarded as approximate.

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 424510

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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Woolley & Wallis Salisbury Salerooms Ltd. Registered in England No. 2998482 VAT No: 9832 29 in association with Woolley & Wallis, Chartered Surveyors Design & Production by Jamm Design - Tel. 020 8901 7522

103

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 19.5% + 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 17.5% 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. 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). 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. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. Ask us if you need help. 9. Bidding. Bidders may 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 may 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).

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. There is a minimum charge of £5 per lot. 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(a) 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. Minimum bids and our discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 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. 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. 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.

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.

14. Authority to deduct commission and expenses and retain premium and interest.

4. THE PURCHASE PRICE

(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.

5. VALUE ADDED TAX

(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.

The Buyer shall pay the hammer price together with a premium thereon of 19.5% + VAT at the appropriate rate. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due (b) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (c) No purchase can be claimed or removed until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition orestimated 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. 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. 21. English law applies to the interpretation of these Conditions.

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. EXPORT LICENCES European Community and United Kingdom. The following are examples of categories with the current limits above which either an EC or a UK licence is required for the export of cultural goods more than 50 years old. Archaeological objects Elements of artistic, historical or religious monuments Zero Manuscripts, documents and archives (excluding printed matter) Architectural, scientific and engineering drawings produced by hand over 50 years of age Photographic positive or negative or any assemblage of such photographs over 50 years of age

Zero

Zero Zero £10,000

Textiles (excluding carpets and tapestries) over 50 years of age £12,000 Paintings in oil or tempera £180,000 An EC licence is required for the export from the European Community of cultural goods controlled by EC regulations. A UK licence is required for the export from the UK to another member state of the EC of all cultural goods valued at or above the UK licence limit but below the EC licence limit. EC and UK licences are issued by the Department of National Heritage.

Packing and Despatch We have negotiated competitive rates with Alban Shipping – Specialist Shippers of Antiques, Collectors’ Items and Fine Art, for the packing and despatch of lots purchased at our salerooms. Unfortunately, Woolley & Wallis are unable to offer any other packing and despatch service of their own. Alban Shipping collect items for our Salisbury Salerooms on a weekly basis and offer a fast, friendly and efficient shipping service via all methods of modern transport, by air, sea and road, including – air-post, courier, air and seafreight. They also offer a case making service.

Insurance Full comprehensive Transit Insurance is charged from £2.50 or 1.5% of the hammer price. For further details please contact: Mr. Andrew Jackman on 01582 493 099 who will be able to assist with any enquiries or information that you may require. Alban Shipping Specialists Shippers of Antique, Collectors’ Items and Fine Art Unit 4, Premier Business Park, Dencora Way, Luton, Bedfordshire LU3 3HP

Quotations Alban Shipping will be pleased to provide a prompt individual quotation for this service. Minimum Charge Their minimum charge is £35 plus VAT which includes the collection, expert packing and despatch for inland delivery. Mastercard and Visa are welcome.

Telephone Fax E-mail Web

01582 493 099 01582 490 147 info@albanshipping.co.uk www.albanshipping.co.uk

WOO L LE Y & WA L -

Delivery Instructions

Please complete and return to: Woolley & Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508 Name

GOODS FOR COLLECTION

Address

Sale Date

Lot No(s)

Description

Postcode Telephone

Fax

Name Delivery address

Postcode Telephone

Fax

Email Mobile Please tick relevant boxes: For collection from

Castle Street

Old Sarum

Accounts

Date

I authorise Alban Shipping to collect the above lots on my behalf and deliver to the address given above. I understand that payment is to be made direct to Alban Shipping.

Carrier

Date

Signed

For Office Use

Date

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

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Arts & Crafts

Brief Decription

Wednesday 23rd June 2010 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

Specialist Departments

FURNITURE & WORKS OF ART 6th July 21st September 9th November Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards 01722 411854 • markrichards@woolleyandwallis.co.uk

Please dial 01722 followed by the number listed below

FURNITURE Will Hobbs Mark Richards Jim Gale Gemma Robinson

— — — —

—

339752 411854 339161 339752

339752

—

424502

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424510 Tim Woolley (Consultant) ACCOUNTS & OFFICE MANAGER Janice Clift —

424506 424507

GENERAL OFFICE Ruth Pike Linda Garthwaite Pauline West

424506 424506

424500

—

424500

SALEROOM MANAGER Adam Molland

—

424500

PRESS & PUBLICITY Clare Durham

—

424507

— —

424503 424503

BOOKS & MANUSCRIPTS Liz Merry (Consultant)

—

424500

SILVER Rupert Slingsby Lucy Grazier

— —

424501 424530

JEWELLERY Jonathan Edwards FGAA Marielle Whiting

—

424504 424504

of Fine Art Auctioneers

424505

PAINTINGS Victor Fauvelle Jo Butler

Members of The Society

HOUSE CONTENTS SALES Paul Viney ASFAV

ASIAN ART 17th November John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Orlanda Cooper 01722 424506 • orlandacooper@woolleyandwallis.co.uk —

424526

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

• Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk

WOOLLEY & WALLIS

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

Arts & Crafts

Wednesday 23rd June 2010

www.woolleyandwallis.co.uk

Including the collection of the late Barbara Morris

Wednesday 23rd June 2010