Woolley and Wallis High Res by Jamm Design Ltd

Woo l le y & WA l lI s SA L I S B U R Y SA L E R O O M S

Arts & Crafts Including The Aesthetic Movement

Wednesday 22nd June 2011

Specialist Departments Please dial 01722 followed by the number listed below

20TH CENTURY DESIGN Michael Jeffery

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424505

ASIAN ART John Axford MRICS ASFAV — Sophie Lister — Clare Durham — Tim Wright (Consultant)

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BOOKS & MANUSCRIPTS Liz Merry (Consultant)

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CLOCKS Will Hobbs — Richard Price (Consultant)

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GENERAL OFFICE Ruth Pike Pauline West Linda Garthwaite

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SALEROOM MANAGER David Jordan

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PRESS & PUBLICITY Kate Williams

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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PAINTINGS Victor Fauvelle Jo Butler

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SILVER Rupert Slingsby Lucy Grazier

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Members of The Society

ACCOUNTS & OFFICE MANAGER Janice Clift —

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

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424510

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 Rupert Slingsby Jonathan Edwards FGAA

of Fine Art Auctioneers

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

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Arts & CrAfts Including the Aesthetic Movement

Wednesday 22nd June 2011 at 10.30am

Viewing Times Saturday 18th June Monday 20th June Tuesday 21st June Wednesday 22nd 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 £12.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

the MAshIko eArthquAke AppeAl Mashiko is a town similar in population to Stratford-on-Avon, set amidst rural farmland about 100km north of Tokyo. Pottery has been made there since the Jomon period, although it wasn’t until 1930, when the internationally recognised potter Shoji Hamada settled there and created his workshop, that Mashiko became famous as a pottery centre. His influence was wide-ranging. In the UK and the USA his style and philosophy led to his being revered as the archetypal ‘Oriental’ potter. In 1955 he was designated a ‘Living National Treasure’ by the Japanese government. There are four hundred kilns in Mashiko and the long Main Street is one pot shop or gallery after another. One can see works by, amongst others, Shoji Hamada and other members of the Hamada family, Ken Matsuzaki, Shimaoka Tatsuzo, Kamoda Shoji, Sakuma Totaro, and Gen Murata. The Mashiko Museum of Ceramic Art holds a wonderful collection that includes many British potters associated with Bernard Leach. Unfortunately, Mashiko was seriously affected by the earthquake on 11 March. In Mashiko the quake registered 6.6 on the seismic scale. While not the 9 felt in Sendai, for Mashiko it was still stronger than anyone there can remember. Almost every noborigama (climbing kiln) and brick-built kiln was destroyed, including both the historically important kilns of Shoji Hamada, the current Hamada workshop kilns of Tomoo and Shinsaku, and Tatsuzo Shimaoka’s and Matsuzaki Ken’s kilns. There was also severe damage to Hamada’s reference museum with about twenty-five percent losses. Many buildings, including workshops and potters’ houses, were damaged, but luckily no one was killed and injuries were few. However, for many, to get back on their feet it is going to be a hard struggle, and certainly for many of the younger potters who were trying to rejuvenate Mashiko with new ideas and styles, this disaster has come as a crushing blow. In an effort to help the potters there to re-establish, the Leach Pottery in St. Ives has set up an appeal fund. The Leach Pottery’s links to Japan date back almost a century, and continue to be of great importance to them. As the director of the Leach Pottery, Julia Twomlow said.… ‘We have not forgotten the friendship we received from the people of Mashiko pottery village in 2008 when we were rebuilding the Leach Pottery. Individuals there donated over £7,500 to the restoration, contributing to a total of £40,000 that came from Japan towards rebuilding our pottery in St Ives. We would like to offer them back the hand of friendship now’. I would also like to thank most sincerely all the makers and dealers who have generously donated works. I know from my own experience that potters are often approached for donations to one cause or another. The outside world sometimes thinks that potters have a never ending supply of work but it is a fact that good pots don’t just happen over night….there is a great deal of investment in time and energy. As a potter I know more than most exactly what that means. For the galleries and dealers who have contributed their donation represents a direct hit on their pocket……Thank you so much to everyone. Woolley and Wallis have kindly agreed to donate the buyers premium on all 29 lots in the Mashiko Appeal section. All the proceeds will go to the Leach Pottery Appeal and then, from there, to the fund set up by Ken Matsuzaki together with the Mayor of Mashiko and will be distributed exclusively to potters who need assistance. Please don’t think about how much you are paying…think more about how your money will help others to rebuild their lives and thereby re-establish the community of Mashiko.

PHIL ROGERS 2011

1. Bernard Leach (1897-1979) a limited edition lithograph of a bird vase, signed in pencil and number 87/100 image 48 x 41cm. £200-300 Provenance Donated by Goldmark Gallery

2. Bernard Leach (1897-1979) a limited edition lithograph of a six tile tiger panel signed in pencil numbered 78/100 52 x 43cm. £200-300 Provenance Donated by Goldmark Gallery

3. John Leach (born 1939) a Muchelney Pottery stoneware pitcher, glazed to the rim and handle, dated 2010, impressed seal marks, 34cm. high £80-120 Provenance Donated by John Leach

4. John Leach (born 1939) a Muchelney Pottery stoneware black mood lugged vase, dated 2009, impressed seal marks 14cm. high £100-200 Provenance Donated by John Leach

5. Philip and Frannie Leach ‘Natsuko 2’ a Springfield Pottery slab built earthenware vase, incised and slip decorated with a figure to each side impressed seal marks and titled to base 34cm. high £100-200 Provenance Donated by Philip and Frannie Leach

6. Gareth Mason a Dark Light Series porcelain and iron stoneware vase, decorated to the foot with a manganese and celadon glaze impressed seal mark 24cm. high £300-500 Provenance Donated by Gareth Mason, from his personal collection 7. Peter Swanson a slab built stoneware vase, with oak ash nuka glaze with brushed iron markings impressed seal mark 29cm. high £150-200 Provenance Donated by Peter Swanson 8. Jim Malone a stoneware footed bowl, resist decorated with brush stroke repeat in tenmoku, the interior glazed celadon impressed seal marks 17cm. wide £80-120 Provenance Donated by Jim Malone

10 9. Marcus O’Mahony a wood fired stoneware bottle vase, rectangular form with collar rim, on squared feet, covered to the foot in an ash glaze incised 10 13cm. high £60-100 Provenance Donated by Marcus O’Mahony 10. Marcus O’Mahony a wood fired stoneware faceted vase, with collar rim, covered to the foot in an ash glaze impressed seal 21cm. high £80-120 Provenance Donated by Marcus O’Mahony 11. Tim Hurn a woodfired salt-glazed stoneware bottle, glazed to the foot with shell scarred base impressed seal mark to base of handle 31cm. high £60-100 Provenance Donated by Tim Hurn 11

12. Mike Dodd a stoneware vase with applied loop handle, resist decorated with grass motif under tenmoku glaze impressed seal mark 24cm. high £100-150 Provenance Donated by Mike Dodd

13. Phil Rogers a stoneware vase with pinched handles, resist decorated with finger wipe design, under a rich tenmoku glaze impressed seal mark 26cm. high £200-300 Provenance Donated by Phil Rogers

14. Phil Rogers a stoneware plate, decorated to the well with an abstract roundel in wax resist, in tenmoku and kaki impressed seal mark 21cm. diam. £80-120

Provenance Donated by Phil Rogers

15. Jacob van der Beugel a lidded vessel with red tear, impressed seal mark, 18.5cm. high

£200-400

Provenance Donated by Jacob van der Beugel, Joanna Bird Gallery

16. Pippin Drysdale a porcelain closed form, dated 2009 incised signature 27cm. high £500-1,000 Provenance Donated by Pippin Drysdale, Joanna Bird Gallery

17. Gordon Baldwin ‘Developed Bottle’, 1982, painted signature 35cm. high

£500-1,000

Provenance Donated by Anita Besson, Galerie Besson 17

19 18. John Bedding (born 1947) ‘Shards, a Tribute to Mashiko 11.3.11’, Gaolyard Studios earthenware vase and cover, rectangular section, with raised tablet inscribed ‘Mashiko’ in Japanese calligraphy incised For Mashiko 2011 31cm. high £100-200 Provenance Donated by John Bedding

19. Micki Schloessingk a porcelain bowl, wood-fired with ash flecked Shino glaze to the interior, impressed seal mark 15cm. diam. £100-150 Provenance Donated by Micki Schloessingk, the bowl was fired on the 1113th March

20. Lisa Hammond a black clay tsubo vase, poured white shino and soda glaze incised X signature 25cm. high £300-500 Provenance donated by Lisa Hammond

21. Svend Bayer a tall, squared wood-fired vase, with collar rim and elliptical section, with scallop shell decoration from firing, Shino glaze unsigned 45cm. high £800-1,200 Provenance Donated by Svend Bayer

22. Clive Bowen a Shebbear Pottery large earthenware vase, slip decorated to the shoulder with inter-linking brush stroke arches above combed band unsigned 53cm. high £850-950 Provenance Donated by Clive Bowen 22

23. Mashiko a stoneware charger, painted with white cross design over blue and tenmoku on a celadon ground unmarked 40cm. diam. £200-250 Provenance Donated by James Fordham, Oxford Ceramics 24. Yo Thom a thrown and altered stoneware Ai (indigo) vase, faceted form with incised decoration, semimatt white tin glaze impressed seal mark 26cm. high £80-120 Provenance Donated by Yo Thom 25. Yo Thom a thrown and altered stoneware Ai (indigo) vase, faceted form with incised decoration, semimatt white tin glaze impressed seal mark 25cm. high £80-120 Provenance Donated by Yo Thom

26. Gas Kimishima a stoneware unomi, covered to the foot in a rich pitted tenmoku glaze unsigned 9cm. high £60-100 Provenance Donated by Gas Kimishima 27. Jack Doherty a large porcelain round pot, mare at the Leach Pottery, with simple impressed comb decoration under soda glaze impressed seal mark 24cm. high £200-400 Provenance Donated by Jack Doherty 28. Tomoo Hamada (born 1967) a Mashiko Pottery stoneware bottle vase, flattened and pierced double gourd form, with painted panel decoration unsigned 30cm. high £400-600 Provenance Donated by Tomoo Hamada 29. Ken Matsuzaki an oribe glazed Mizusashi, (water carrier), in wooden box and cover, incised signature to base 17cm. high £500-1,000 Provenance Donated by Ken Matsuzaki

‘Japan is almost crushed by the Tohoku Huge Earthquake Disaster, which we have never experienced before. In Mashiko nearly all the nobori kilns fell down, and Mashiko’s firing is about to go out. We potters cannot help being shocked because the kiln is the soul of us. We cannot turn off this fire in ‘Mashiko, the Sacred Place of Mingei’, ‘Mashiko, Town of Handcraft’, which Shoji Hamada established. We must keep the smoke coming out of chimneys in Mashiko.We are asking young potters to rebuild the nobori kilns. It is important to help each other to rebuild the kilns. We believe that this young power will revive ‘Mashiko, Town of Handcraft’. Also, the rebuilding of Mashiko Sankokan Museum, the cultural heritage that Shoji Hamada left, is a must. I will also rebuild my kilns and will do my best to contribute to Mashiko as well as all the places suffering from the Tohoku Disaster. I would like to ask for your support. Thank you.’ Ken Matsuzaki

GlAss 30. An Aesthetic Movement painted glass vase, painted with finches perched on bamboo canes, in colours on an opaque glass body unsigned 24.5cm. high £80-120 31. A James Powell & Sons glass bowl and silver cover, the hammered cover with ball finial stamped marks, J P & S London 1907 11cm. diam. £100-200 32. 38

A James Powell & Sons, Whitefriars amethyst Wave-ribbed glass vase, original paper label 34cm. high £80-120 Literature Lesley Jackson Whitefriars Glass, Richard Dennis Publications, page 115 plate 82 for a comparable example illustrated

33. ‘Whitefriars Glass James Powell & Sons of London’ a reference book by Wendy Evans, Catherine Ross and Alex Werner, published by Museum of London £100-200 34. A James Powell & Sons, Whitefriars sky blue glass, the double knopped stem with gold foil inclusions unsigned 18.5cm. high £200-300 39

Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications page 113 for a comparable glass 35. A James Powell & Sons, Whitefriars sky blue glass, the knopped stem with gold foil inclusions unsigned 22cm. high £200-300 36.

A John Walsh Walsh vaseline glass vase, tall thin stem with fan shaped, fluted bowl unsigned 30cm. high £300-400 37. A sea green glass vase attributed to James Powell & Sons Whitefriars, waisted form engraved with three lily flowers on single stem unsigned 23cm. high £300-400 38. A pair of James Powell & Sons, Whitefriars glass and wrought iron candlesticks, unsigned 31cm. high £300-400 39. A Wedgwood black basalt vase made for James Powell & Sons, Whitefriars, shouldered form with applied loop handles and simple band decoration to shoulder impressed factory marks, Powell Whitefriars 13cm. high £100-200 40

40. A rare James Powell & Sons, Whitefriars glass vase, probably designed by Harry Powell, ovoid with waisted cylindrical neck, pink glass with white and ochre striations, cased in clear unsigned 24.5cm. high £1,000-1,500

41. 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 £100-200 Gertrude Bayes was the wife of the sculptor Gilbert Bayes. 42. An Art Nouveau Emile Galle cameo glass vase, shouldered form purple glass overlay decorated with violet flowers, over yellow cameo Galle signature 9cm. high £200-300 43. A J&L Lobmeyer, Vienna etched glass tumbler designed by Michael Powolny, beaker form engraved with a putti holding a bell, the reverse simple flower stems etched Lobmeyer mark 19cm. high £80-120 Literature Judy Rudoe Decorative Arts 1850-1950 British Museum Catalogue, page 251 catalogue number 244 plate 106 for a comparable 44. A gilt metal mounted alabaster oil lamp, with iridescent glass shade, probably Loetz, unsigned 46cm. high £250-350 45. A Tiffany Favrile glass salt, compressed ovoid form with pulled glass lugs, covered in a golden iridescence etched L.C.T R2722 5cm. wide £80-120 46. A Tiffany Favrile glass vase, ovoid with collar neck, the body with pulled link decoration, covered in a golden and green iridescence etched L.C.T D410 9.5cm. high £200-300

47. A Loetz glass vase, shouldered form with everted, fluted rim, with veined blue lustrous finish unsigned 11.5cm. high £200-250 48. A Loetz phanomen glass box and cover circular section on three ball feet, pink glass, internally decorated and cased in clear unsigned 15cm. diam. £350-400 49. Three Secessionist enamelled glass panels, probably English, painted with Tudor Rose, and lily stems in colours on opaque white glass, modern frames unsigned 75.5cm. high £400-500 49A. A Richardson’s Cameo Overlay glass vase, flaring cylindrical form, green over clear faceted glass decorated with iris, acid etched mark 20.5cm. high £100-200 50. Three Aesthetic Movement painted glass roundels, painted with Great Reed Warbler, Great Grey Shrike and a Corn Bunting, in colours unsigned 20cm. diam. £300-400

49A

the elstree sChool ChApel WIndoWs by

ChArles eAMer keMpe

52 51. A stained glass window, the rectangular panel depicting an angel holding a golden chalice, above sinuous flame motif, the arched top panel with three angels looking down unsigned overall height 120cm. high £1,000-1,500 Provenance J Longman & Son, Funeral Directors, Mortuary Chapel, 11 King Street, Watford 53

52. Two stained glass windows by Charles Eamer Kempe, each, arched rectangular panel decorated with an angel holding up a curtain, below Gothic tracery and blue scrolling leaves unsigned each panel 115cm. high £500-800 Provenance Elstree School Chapel J Longman & Son, Funeral Directors, Mortuary Chapel, 11 King Street, Watford Literature Margaret Stavridi Master of Glass, Charles Eamer Kempe 1837-1907, John Taylor/The Kempe Society, page 24 colour plate of The Crucifixion, St Peter’s Easthope, Shropshire 1933 showing comparable use of tracery and blue foliate ground 53. A stained glass window by Charles Eamer Kempe, arched form decorated with Christ, a child before angels, playing instruments and holding the curtain top unsigned height 95cm. high £200-400 Provenance Elstree School Chapel J Longman & Son, Funeral Directors, Mortuary Chapel, 11 King Street, Watford The windows designed for the Elstree School Chapel, designed by Sir Arthur Blomfield, range in date from 1877 to 1926 and are described by Margaret Stavridi as ‘a wonderful range of windows’. In the late 1950s, the school had long since moved location, the windows were sold to J Longman before the chapel was demolished. Longman installed them in his funeral chapel at 11 King Street, Watford. Literature Margaret Stavridi Master of Glass, Charles Eamer Kempe 1837-1907, John Taylor/The Kempe Society, page 114 54. ‘The Baptism of Christ’ a Charles Eamer Kempe stained glass window, depicting Christ being baptised by St John the Baptist, before angels, and the Holy Dove, the arched top panel with Gothic tracery and blue scrolling foliage unsigned overall height 182cm. high £2,000-3,000 Provenance Elstree School Chapel J Longman & Son, Funeral Directors, Mortuary Chapel, 11 King Street, Watford This panel was made in 1877 for the chapel

55 55. ‘Love of Jonathon for David’ a Charles Eamer Kempe stained glass window, the main rectangular panel depicting Jonathon and David in a palace interior, a castled landscape seen through the arches, below an arched panel of Gothic tracery and blue scrolling leaves unsigned overall height 181cm. high £2,000-3,000 Provenance Elstree School Chapel J Longman & Son, Funeral Directors, Mortuary Chapel, 11 King Street, Watford This panel was made in 1926 for the chapel. and it is listed in the Corpus of Kempe Stained Glass page 111 as having replaced plain glass panels

56. ‘St Mary Magdalene’ a stained glass window by Charles Eamer Kempe, the rectangular panel depicting St Mary Magdalene standing, her hands clasped in prayer with slightly raised head, above a rectangular panel of an angel holding up a banner ‘We Praise thee our God’, all below an arched panel of an angel holding the curtain back drop, below Gothic tracery and blue scrolling foliage unsigned overall height 267cm. high £2,000-3,000 Provenance Elstree School Chapel J Longman & Son, Funeral Directors, Mortuary Chapel, 11 King Street, Watford This panel was made in 1877 for the chapel

57. ‘Centurion’ a Charles Eamer Kempe stained glass window, central panel of a resting, praying centurion figure, below an arched panel of an angel holding up the curtain, below Gothic tracery and blue scrolling leaves, above a single angel panel holding a scroll inscribed ‘We Praise Thee Our God’ unsigned, overall height 229cm. £2000-3000 Provenance Elstree School Chapel J Longman & Son, Funeral Directors, Mortuary Chapel, 11 King Street, Watford This panel was made in 1877 for the chapel

58 detail

58 58. A Swaine Bourne, Birmingham, stained glass leaded window, rectangular, the central panel decorated with heraldic roundel, flanked by rectangular panels of flowering boughs, inside stylised foliage frieze border, with circular coloured glass roundels painted Swaine Bourne to the border 94 x 51cm. £400-600

59. ‘St Francis’ a gouache and watercolour stained glass window design by Louis Davis A.R.W.S, over printed base, framed signed Louis Davis image, 111 x 38cm. £350-450

60. A pencil cartoon for a stained glass window, by J Ninian Conper (1864-1960), framed original paper label 67 x 38cm. £200-300

61. ‘St Agnes’ a painted glass, leaded window, in oak frame unsigned, window 77 x 31cm. £200-400 61

MArtIn brothers pottery

62. A Martin Brothers stoneware miniature Aquatic vase, square section, each side incised and painted with a jelly fish, in green and ochre on a blue ground incised 3-1913 Martin London & Southall, very minor professional restoration to top rim, 4.5cm. high £600-900

63. A Martin Brothers stoneware Aquatic vase, compressed form with flaring neck, incised and painted with grotesque fish and jelly fish, in shades of brown and ochre on a pale blue ground incised 1-1899 Martin Bros London & Southall 19.5cm. high £1,000-1,500

64. A Martin Brothers stoneware Aquatic vase, ovoid with everted rim, incised and painted with grotesque fish, eels, star fish and squid, in shades of green and ochre on a pale blue ground incised 9-1896 Martin Bros London & Southall, professionally restored base rim 17cm. high £2,000-3,000

65. A Martin Brothers stoneware Japoniste vase, slender baluster form with cylindrical neck, incised and painted with cranes flying by blue flag iris and insects, one wading with a fish in its beak, in colours on a buff ground incised 4-1887 R W Martin & Bros London & Southall, professional restoration to neck 36cm. high £1,000-1,500

66. A Martin Brothers stoneware vase, baluster form with incised and painted grotesque lizard/dragon creatures, in brown and blue on an olive green ground incised 3-1898 Martin Bros London & Southall, minor hairline to top rim 22cm. high £2,000-3,000 66

67. A Roger Guerin stoneware jardiniere, shouldered form with collar rim, covered in a running blue glaze incised marks, hairline to top rim, 12.5cm. high £50-100 68. A Martin Brothers stoneware gourd vase, by Edwin & Walter Martin, fluted body, glazed in brown and blue incised 1-1915, Martin Bros, London,11cm. high £300-400 69. A Martin Brothers stoneware gourd jardiniere, textured finish glazed matt black incised 10-1911 Martin Bros London & Southall 12.5cm. high £150-250 70. A glazed stoneware architectural tile, probably Martin Brothers, cast in low relief with foliate roundel, glazed brown and ochre unsigned 26.5cm. wide £80-120

71. A Martin Brothers stoneware miniature gourd vase, shouldered form, slip decorated in white and blue with veins and foliate design to shoulder, over olive green incised 10-1909, Martin Bros London & Southall, 2cm. high £300-400 72. A Martin Brothers stoneware vase, shouldered form, incised and painted with scrolling foliage in blue and green on a buff ground incised 8-1905 Martin Bros London & Southall 16cm. high £300-500 73. An early Martin Brothers stoneware Medieval vase, by Robert Wallace Martin, incised with boys fishing by a river, modelled in low relief with an owl mask, in shades of blue, green and brown incised E.32, R W Martin London 5-1875, professionally restored, 15.5cm. high £250-300 74. A Martin Brothers stoneware vase, baluster form incised with scrolling foliage in blue and deep umber, on a brown ground incised 6-1893 Martin Bros London & Southall 22cm. high £350-450 75. A Martin Brothers stoneware Aquatic vase, unglazed, incised with grotesque fish and jellyfish indistinct marks 14.5cm. high £200-300 76. A Martin Brothers stoneware gourd vase, solifleur form incised with organic decoration glazed brown incised 3-1907 Martin Bros London & Southall, minor restoration 15.5cm. high £200-300

77. A Martin Brothers stoneware face jug, by Robert Wallace Martin, modelled in relief with a smiling face to both sides, glazed grey and ochre incised R W Martin, & Bros London & Southall 16.5cm. high ÂŁ2,000-3,000 77

78. A Martin Brothers stoneware face jug, by Robert Wallace Martin, modelled to both sides with a smiling face, glazed ochre and grey incised R W Martin & Bros London & Southall 13cm. high ÂŁ1,500-2,000

79. An unusual Martin Brothers face vase, modelled to both sides with a smiling face, glazed brown and ochre incised 7-1889 Martin Bros London & Southall, firing crack to base 24cm. high ÂŁ3,000-5,000

81 80. A Martin Brothers stoneware jug, tapering cylindrical form, incised and painted with three monkeys eating nuts, amongst strapwork borders and scrolling foliage, in shades of brown and ochre 4-1894 Martin Brothers London & Southall29cm. high £2,000-3,000

81. A Martin Brothers stoneware vase, shouldered form, incised with flowers amid scrolling foliage, in ochre on a deep brown ground incised R W Martin & Bros, London & Southall 1-1886, restored 29cm. high £300-400

82. A Martin Brothers earthenware ewer, square section, painted with a grotesque mask, amidst scrolling foliage, in shades of brown incised 12-1895 Martin Bros London & Southall, minor professional restoration to top rim, 18cm. high £500-800 82 83. A Martin Brothers stoneware ewer, square section with looped handle, incised with grotesque dragon like creatures climbing through scrolled foliage, in shades of brown, green and blue incised 10 -1892 Martin Bros London & Southall 21cm. high £1,500-2,000

84. A Martin Brothers stoneware jug, by Robert Wallace Martin, incised and painted with rose flowers, in ochre and green on a mottled ochre ground incised marks 28.2.82 R W Martin London & Southall, professionally restored top rim, 21.5cm. high £300-400

85. A Martin Brothers stoneware ewer, by Robert Wallace Martin, incised with a stylised snake repeat to the neck, above scroll motif, brown, blue and ochre incised 736 R W Martin London & Southall 23.5cm. high £700-900 83

86. A Martin Brothers stoneware bird jar and cover, by Robert Wallace Martin, modelled with forward facing slightly titled stare, glazed ochre and green, highlighted in white, on ebonised wood base incised marks to head and base R W Martin & Bros, London & Southall 10.4.1903, professional restoration 24cm. high ÂŁ6,000-10,000

87. A Martin Brothers stoneware baluster vase, by Robert Wallace Martin, incised with a flock of flying birds above Japoniste foliage, in shades of blue, green and brown on a buff ground incised 10-88 R W Martin & Bros London & Southall, restored neck 22.5cm. high £300-500 88. A Martin Brothers stoneware Botanical vase, ovoid with everted rim, incised and painted with hummingbirds flying and hovering by slipper orchids, in blue ochre and green on a brown ground incised 12-1895 Martin Bros, London & Southall 22cm. high £1,500-2,000 91 89. A Martin Brothers stoneware vase, by Robert Wallace Martin, ovoid form with everted rim, incised and painted with a frog climbing through stylised flowers and foliage, the reverse with a serpent and grotesque creature, in shades of brown and ochre incised 4-1889 R W Martin & Bros London & Southall 19cm. high £1,500-2,000 90. A Martin Brothers stoneware solifleur vase, flattened disk form with pulled handles, incised with flowering grasses, in green on a pale blue ground incised 2-1900 Martin Bros London 10.5cm. high £350-450

91. A Martin Brothers stoneware vase, shouldered square section with flaring rim, incised and painted with white lily stems, on a mottled brown ground incised 3-1892 Martin Brothers London & Southall, minor restoration to top rim 22.5cm. high £1,200-1,500 92. A Martin Brothers stoneware vase, shouldered, flaring cylindrical form incised with winged lizards, a serpent, a butterfly and a stag beetle amongst scrolling and fruiting pomegranate in shades of brown and blue on a dark brown ground incised 4-1903 Martin Bros London & Southall, restored neck and foot 40cm. high £1,000-1,500 93. A large and early Martin Brothers stoneware vase, by Robert Wallace Martin, shouldered baluster form with cylindrical neck, incised with a frieze of roosting birds, between arched architectural borders, with mon designs, the neck with overlapping foliate repeat, in shades of blue, brown and green on a buff ground incised 149 1877 R W Martin London, restored to base of neck, 63cm. high £500-800

94. A Martin Brothers stoneware Imp Musician, by Robert Wallace Martin, modelled playing a mandolin, glazed brown, unsigned 10cm. high ÂŁ800-1,200

95. A Martin Brothers stoneware Imp musician, by Robert Wallace Martin, modelled as a singer with open hymn book, glazed brown unmarked, 9.5cm. high ÂŁ800-1,200

96. A Martin Brothers stoneware Imp Musician, modelled seated playing a mandolin, glazed white and brown unsigned, professional restoration to mandolin end 10cm. high ÂŁ1,000-1,500

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97. A Martin Brothers stoneware tile by Robert Wallace Martin, modelled with a leaf motif, glazed green, blue and ochre, incised R W Martin to the side, factory rim chips 11cm. square £100-150 98. A Mintons tile, the design attributed to A W N Pugin, printed with a intertwined foliate design in yellow on a blue ground, framed impressed marks to reverse 20cm. square £80-120 Literature Pugin and The Gothic Revival Bonhams, 15th July 2009 lot 172 for a comparable tile 99. A Mintons tile designed by A W N Pugin, printed and painted with a geometric flower design in claret, green and yellow unmarked 23cm. square £200-300 Literature Fired Earth Dennis & TACS page 100 catalogue number 163 for this design in the blue colour way manufactured by Minton 100. An early Samuel Wright encaustic Marian tile, probably designed by Augustus Welby Northmore Pugin for St Mary’s College Oscott, unsigned 15.5cm. square £250-350 101. A pair of Mintons China Works tiles, the design attributed to Dr Christopher Dresser, printed in platinum on a blue ground with geometric flower design, framed impressed marks, 20.5cm. square £100-200 102. A Maw four tile panel, each tile dust pressed in low relief with acorn and oak leaf radiating design, glazed brown, a Mintons four tile panel, a Mintons Aesthetic tile printed with a flying crane and three other tiles various marks, acorn tile panel 30cm. square £100-200 Literature Fired Earth Dennis & TACS, page 109 catalogue number 237 for a comparable tile 103. Three W Godwin encaustic tiles, designed by J P Seddon, each decorated with a radial, geometric flower design in ochre on a black ground impressed marks to reverse 15cm. wide £300-500 104. Three Maw & Co tiles, designed by J P Seddon, decorated with medieval revival floral repeat in blue, ochre and brown impressed marks, each tile 15.5cm. square £100-200 Literature Jeremy Cooper Victorian and Edwardian Furniture and Interiors Thames and Hudson, page 184-185 plates 179-182 for this design reproduced 105. A encaustic five tile panel, the design attributed to William Burges, decorated with a repeat of two stylised birds and a stylised flowerhead, framed, each tile marks concealed, minor chips, 15.5cm. square £500-800 106. A set of six Mintons encaustic tiles, the design attributed to A W N Pugin, each decorated with medieval figures or heraldic lions, framed each tile 15cm. square £300-500 Literature Paul Atterbury & Clive Wainwright Pugin V&A/Yale, page 144 plate 261 for 4 tiles from this Old English series made by Minton from 1842 107. A Maw & Co four tile panel, the design attributed to J P Seddon, cast in low relief with panels of geometric flowers and foliage below flying birds, framed, each tile 20cm. square £400-500

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108. ‘Calm’ a hexagonal tile painted by Major-General John Talbot Coke (1841-1912), dated 30th March 1878, painted with a moored sailing ship painted marks, date and title, paper label to reverse 17cm. wide £50-100 109. A Doulton Lambeth stoneware advertising pen tray, modelled as a tile fire surround, glazed in colours impressed Doulton Lambeth, painted BN, glaze chips 23cm. wide £100-150

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111 110. Two Maw & Co Liber Studiorum tiles after the original prints by J M W Turner, comprising Raglan Castle and Little Devil’s Bridge over the Russ, Alldorft, Switzerland, printed in blue monochrome, framed impressed marks, each tile 20cm. square £150-250 111. An Alfred Meakin ten tile panel, in the manner of Charles Francis Annesley Voysey, slip decorated with calla lily in green and white on a pale green ground, framed, each tile 15.5cm. square £300-500

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112. Three William De Morgan KL Rose ruby lustre tiles on Wedgwood blanks, each painted with two flowers in ruby lustre, framed, and a William De Morgan Ruby lustre tile impressed roundel mark, minor chips 15.5cm. square £300-500 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications page 244 plate 299 an example illustrated 114 113. Two Pilkington’s Lancastrian tiles mounted in an oak coat rack, attributed to Thomas Foy Evans each with barges sailing past a windmill, in colours impressed marks to reverse 61cm. wide £200-300 114. A tile panel attributed to W.B.Simpson, painted with Christ carrying the cross, in colours, framed impressed marks to tiles 77 x 30cm. £300-500 115 115. ‘Sunday’, ‘Monday’ and ‘Tuesday’ three Mintons tiles, designed by Ellen Houghton, printed and painted in shades of blue and ochre, impressed marks, 15.5cm. square £200-300 116. Two Dunsmore Alice in Wonderland tiles, designed by Charles Francis Annesley Voysey, printed in colours, comprising The Carpenter and The Mad Hatter, impressed marks, 15.5cm. square £300-500

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117. A set of four Ratton limited edition tiles designed by Paula Rego, each painted with scenes in colours for the Tate Gallery, comprising ‘Frightened Fox’, ‘Woman and Lion’, ‘Hypnotizing a Dog’ and ‘Woman and Marabou’, framed, with original paper slipcases and certificates numbered 49 and 45 of 100 hand signed Paula Rego to reverse each tile 14cm. square £800-1,200 117

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125 118. An Aesthetic Movement Minton’s tile, painted to the centre with a frog amongst flowers, painted in shades of blue, two Minton’s tiles designed by John Moyr Smith and a Minton’s portrait tile of Van Dyke impressed marks 15.5cm. square £80-120 119. A Minton & Hollins tile, designed by Walter Crane, printed and painted with Bo Peep in a riverscape, impressed marks, signed CB to front 15cm. square £80-120

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127 120. A Minton Hollins large tile, painted with a vase of pink and white peony flowers impressed marks, 30cm. square £150-250 121. Five continental pottery majolica tiles, circa 1870s, each moulded in low relief and glazed in colours, unsigned 15cm. square £50-80 122. An Aesthetic Movement Wedgwood Pottery tile, printed and painted in colours with a seated geisha, inside geometric border impressed marks to reverse, hairline crack 15cm. square £200-300 123. ‘Looking In’ a ceramic tile plaque by Miss Mary Hilton, produced for the Howell & James Art-Pottery exhibition in 1881, painted in colours, with red velvet frame, applied paper label, incised monogram and date plaque 45 x 25cm. £80-120

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124. An Aesthetic Movement four tile panel, printed with a wading exotic crane, in shades of green framed 29.5cm. square £100-200 125. An Aesthetic Movement two tile tray oak, rectangular frame with two tiles probably Minton’s printed and painted with finches perched on foliage sprays 50cm. wide £200-300 126. A Shapland & Petter, Raleigh tray, inset with three Pilkington’s Lancastrian tiles, designed by Lewis F Day, each tile slip decorated with flower sprays, in yellow and green on a white ground, inside green spacer tile border applied Raleigh ivorine label tray 67cm. wide £150-250

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Literature Daryll Bennett, Shapland & Petter Ltd of Barnstaple page 84 plate 5.35 for a comparable tray A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, page 13 colour plate XI for comparable tiles

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130 127. A tile designed by Lewis F Day, slip decorated with a lily flower in yellow and green on a blue ground, framed impressed RD No.257475 15.5cm. square £80-120 Provenance Terence A. Lockett Literature Terence A Lockett Collecting Victorian Tiles, page 92 plate 69 this actual tile illustrated Fired Earth, Dennis & TACS page 130.

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128. Five Old English Aesthetic Movement tiles, each printed with a month scene, comprising, January, July, August, November and December, in blue two printed Old English 15.5cm. square £150-250 129. A set of eight W B Simpson & Sons Aesthetic Movement tiles, each printed and painted with a bird before lily flower stems, with border tiles, impressed marks, damages 15.5cm. square £150-250 130. A large pair of pottery two tile plaques, painted with allegorical figures in the manner of Walter Crane, framed 41 x 20cm. £800-1,200 131. A pair of nine tile panels, probably W B Simpson & Sons, painted with classical urns with laurel sprays, glazed in shades of grey and brown, framed, 183cm. high £600-700

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132. Ten Mintons tiles, designed by John Moyr Smith, each printed in black and ochre with historical scenes, including Rob Roy and Fair Maid of Perth impressed marks, two repaired, 20.5cm. square £300-500 133. A Minton’s Pottery tile planter, the tiles designed by John Moyr Smith, in cast bronze frame impressed marks, to tiles, facsimile signature, one tile cracked 20cm. high £300-500 134. An Aesthetic Movement ebonised wood flower trough, turned wood legs with ceramic casters, the trough set to all sides with Minton Season tiles designed by John Moyr Smith unsigned 103cm. wide £600-1,000 134

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135. A Morris & Co tin-glazed Scroll pattern tile, painted in shades of blue on a white ground, and four Elsley pattern tiles, unmarked, chips and damages 15cm. wide £100-120 136. A Morris & Co tile, painted with flower and foliage spray panelled design in shades of blue on a white ground, and a J C Edwards ruby lustre tile main tile unsigned, repaired 15cm. wide £80-120 139

137. A Pilkington’s Lancastrian tile, decorated in low relief with a heraldic dragon, in copper lustre on a blue ground impressed P to reverse, minor glaze nicks 15.5cm. square £80-120 Literature A J Cross Pilkington’s Royal Lancastrian Pottery & Tiles Richard Dennis, page 23 plate 14 for a tile with a comparable dragon in a shield motif 138. A middle eastern Qujar tile, painted with blue flowers and foliage on a white ground unmarked, restored glaze loss 23cm. square £130-150

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139. Three Maw & Co terracotta tiles, modelled in low relief with pomegranate fruit, partially glazed, and four other tiles impressed marks, minor chips 15.5cm. square £80-120 Literature Barnard Victorian Tiles, page

WIllIAM de MorGAn 140. A William De Morgan Chelsea Period BBB tile, painted in shades of blue, green and aubergine on a white ground impressed mark, minor glaze frits to edge, 15cm. square £140-180 141. A William De Morgan KL Rose tile, on Poole Architectural blank, painted in shades of green, yellow and ochre on a white ground impressed marks, museum repaired 15cm. square £100-120 142

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142. A William De Morgan Early Fulham BBB tile, painted in ruby lustre impressed mark, light surface wear 15.5cm. square £80-120 143. A William De Morgan KL Rose tile, on Poole Architectural Blank, painted in shades of blue and green on a white ground impressed marks 15cm. square £120-160 144. A William De Morgan Late Fulham tile, painted with a foliate design in green on a white ground impressed mark, minor chips 15cm. square £80-120 145. A William De Morgan KL Rose pattern tile, painted in shades of blue and green on a white ground impressed mark 15.5cm. square £140-160

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146. Twenty William De Morgan Early Fulham Period Persian tiles, painted with flower and foliage repeat in shades of blue, green and aubergine on a white ground impressed marks, minor restoration, each tile 15cm. square £5,000-8,000 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 125 plate 171 for a line drawing of this design

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147. A William De Morgan Chelsea Period Pineapple pattern eight tile panel, painted in shades of green, ochre and aubergine on a white ground, framed impressed marks, restoration and minor losses, each tile 15.5cm. square £800-1,200 148. Four William De Morgan late Fulham Period tiles, each painted in shades of green with foliage design, on a white ground impressed roundel mark, museum restoration to rim of one, minor glaze loss 15cm. square £400-500 149 149. A William De Morgan Merton Abbey Manchester pattern three tile panel, painted in shades of aubergine, blue and green on a white ground impressed marks, glaze chips, 21cm. square £700-900 150. A William De Morgan Merton Abbey Manchester pattern three tile panel, painted in shades of aubergine, blue and green on a white ground impressed marks, glaze chips, 21cm. square £800-1,200 150

151 151. Nineteen William De Morgan Early Fulham Persian border tiles, each painted with blue carnations in shades of blue, green and aubergine impressed Tulip mark, minor chips 15cm. wide £1,000-2,000 152. A William De Morgan Early Fulham eight tile frame, painted with aubergine flowers on green impressed marks, minor damages longest tiles 14cm. wide, frame 33.5cm. wide £200-300 152

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153. 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 £200-400 154. A William De Morgan Early Fulham Period twelve tile border frame, painted with scrolling foliage in shades of white and blue impressed tulip[ mark, largest tiles 15.5cm. wide, frame 46.5cm. square £250-350

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155. Four William De Morgan Sand’s End Pottery Persian border tiles, each painted with flowers in shades of blue, turquoise and purple on a white ground impressed Tudor Rose mark, chips 23cm. wide £150-250 156. A William De Morgan Sands End Pottery border tiles, each painted with alternate sprays of berried foliage and berries, in green and yellow on a white ground impressed marks 15.5cm. wide £80-120

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157. A William De Morgan Sands End Pottery border tiles, each painted with alternate sprays of berried foliage and berries, in green and yellow on a white ground impressed marks 15.5cm. wide £80-120

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158. A William De Morgan Merton Abbey eight tile frame, painted with blue and white flowers, on a blue ground impressed marks, longest tile 15.5cm. wide, frame 23cm. wide £150-250 159. Seven William De Morgan Merton Abbey border tiles, each painted with yellow and aubergine flowers on a green ground impressed marks, 15.5cm. wide £200-300 160. A William De Morgan Sands End Pottery composite tile frame, painted with cartouche of flowers and foliage in shades of blue and aubergine on a lime green ground various impressed marks, damages largest tile 15.5cm. wide £200-300 161. Four William De Morgan Merton Abbey border tiles, each painted with stylised foliate design in blue and white below green border impressed mark 15.5cm. wide £80-120 164 162. A William De Morgan tile, painted with boughs of foliage in green with blue berries, on a white ground impressed No.5 to reverse 15cm. square £80-120 163. A William De Morgan Late Fulham Period tile, painted with a kingfisher with a large fish speared by its beak, in shades of green, with iron frame impressed mark to reverse, hairline crack 15cm. square £300-500 164. A William De Morgan Persian Eagle and Snake tile, painted in shades of blue, and green on a white ground unmarked, repaired 15cm. square £1,000-1,500 165. A William De Morgan Ornate Bird tile, painted in shades of blue, inside a blue spacer tile border, framed, bird tile 15.5cm. square £400-600 Literature Martin Greenwood, The Designs of William De Morgan Richard Dennis Publications, page 128 for the original design 165

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166. A William De Morgan New Pineapple pattern tile, painted in shades of red lustre on a white ground unmarked 15.5cm. square £150-200

167. A William De Morgan Mongolian tile, on Poole Architectural blank, painted in shades of blue and green on a white ground impressed marks, minor restoration to one corner 15.5cm. square £140-160

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168. A William De Morgan Sand’s End Pottery Persian tile, painted in shades of blue, aubergine and green on a white ground impressed mark, 15.5cm. square £200-300

169. A William De Morgan Persian tile, painted with a parrot perched in a tree bough, unsigned, museum restored 15.5cm. wide £300-400 Provenance Jon Catleugh Collection

170. A set of five William De Morgan Fantastic Duck tiles, painted in ruby unmarked 15.5cm. square £1,500-2,000 171

Literature Jon Catleugh William De Morgan Tiles, Trefoil page 148 plate 235 for a comparable tile illustrated

171. A William De Morgan twin-handled vase, painted with rearing stylised deer and flaming masks, in ruby lustre on a white ground unsigned, chips and repairs to top rim 21cm. high £300-400

172. A William De Morgan twin-handled vase, painted with mythical birds in ruby lustre, the rim with dolphins, painted 16 H, chips to base rim, repairs to neck 28.5cm. high £500-1,000 172

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173. A John Pearson ceramic charger, painted with a galleon at full sail, in colours impressed marks, 22 and painted JP monogram 31cm. diam. £700-900

174. A William De Morgan ruby and copper lustre charger, by Charles Passenger, painted with a galleon at sail to the well, the sail decorated with a bear and stars, the rim a band of scaly fish before scrolling water incised CP monogram 37.5cm. diam. £5,000-8,000

175. A William De Morgan Persian vase, shouldered form with everted rim, painted with a frieze of mythical birds, in shades of blue, green and aubergine on a white ground impressed Merton Abbey mark, minor old restoration to the top rim, frit to body 20.5cm. high £1,500-2,000 175

176. A Burmantoft’s Faience Anglo Persian vase, model no.2049, shouldered cylindrical form, modelled in low relief with stylised carnation flowers in shades of blue, green and brown on a white ground impressed and painted marks 35cm. high £300-500

177. A large Burmantoft’s Faience Anglo Persian bottle vase, designed by Leonard King, model no. 273, painted with panels of flowers and foliage in shades of blue, ochre and green impressed and painted marks 36cm. high £700-900 176

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178. A tall Royal Doulton stoneware vase by Florrie Jones, shouldered form, painted with a band of flowers in colours, another three Doulton stoneware vases, a Royal Doulton veined flambe vase, a Royal Doulton Art Nouveau plate and a continental pottery vase various marks 31cm. high £100-200

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179. A Doulton Lambeth pottery solifleur vase, painted with sprays of prunus, in colours on a pale blue ground, and four other Doulton items impressed marks, painted monograms 29cm. high £100-150 180. A tall Royal Doulton stoneware vase by Elisa Simmance, baluster form with everted rim, painted with rambling rose border in shades of cream and green on a blue ground impressed marks, incised monogram 35cm. high £100-150

181. A Doulton Lambeth stoneware vase, by Francis Pope, slender, swollen form with everted rim, incised with stylised foliage in shades of blue, green and ochre, and another Royal Doulton stoneware vase impressed and incised marks, damages 39cm, high £100-200 182. A Royal Doulton stoneware vase by L Parker, shouldered form slip decorated with flowers and foliage, in colours on a mottled brown grounds, and two others similar impressed and incised marks 24cm. high £100-200 183. A pair of Doulton Lambeth vases, by Agnes Baigent, baluster form painted with Art Nouveau berried foliage sprays in colours on a cream ground printed and painted marks, 23cm. high £120-180

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184. A Royal Doulton stoneware vase by Maude Bowden, painted with a galleon at sail, on a blue ground, and another Royal Doulton vase similar impressed marks, 20cm. high £100-150 185. A Pair of Royal Doulton stoneware vases, by Florrie Jones, painted with a shepherd herding in a wooded landscape, in colours impressed marks, 24.5cm. high £80-120 186. A Doulton Lambeth Faience vase by Lillie Partington, painted with grape vines , in shades of purple green and brown on a buff ground, and another similar painted with Glasgow School rose trellis design printed and painted marks 20cm. high £120-180 187. ‘Rhuddlan Castle’ a Royal Doulton vase by J Hughs, painted in colours printed and painted marks 15cm. high £70-100 188. A pair of Doulton Lambeth chimneys, swollen cylindrical form, modelled in low relief with flowers and foliage, glazed mustard yellow impressed marks, minor damages 30cm. high £50-150

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189. ‘Mephistopheles and Marguerite’ a rare Doulton Burslem figure, designed by Charles Noke, glazed in ivory, highlighted in gilt printed marks, minor chips to sword and petals 31cm. high £400-600

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190. A Doulton Burslem ewer, by Fred Hancock, model RA2280, decorated with flowerheads in monochrome ruby, highlighted in gilt signed, printed Doulton mark, small frit to top rim 15cm. high £80-120

191. A large early Doulton Lambeth stoneware vase by Hannah Barlow, dated 1874, twin-handled form, incised with a scene of running deer, the reverse deer at rest, in shades of blue, green and brown on a buff ground, between bands of incised and applied scrolling foliage incised HB to the body, impressed mark, restored top rim 44cm. high £500-600

192 192. A Doulton Lambeth stoneware ewer, by Hannah Barlow, the body incised with a family of deer resting by a stream, in ochre between incised bands of stylised foliage, in green and blue, with applied metal hinged cover, impressed and incised marks to base, dated 1883 23cm. high £100-200

193. A Royal Doulton stoneware jardiniere and stand moulded in low relief with floral cartouche in shades of green, blue and brown impressed marks, minor damages 90cm. high £200-300

194. A Doulton Lambeth Aesthetic Movement stoneware four piece planter, each interlocking, square section piece modelled and applied with flower roundel and flower stem, glazed blue and green impressed and incised marks, minor chips, each section 19cm wide, overall 75cm wide. £200-400 193

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195. A pair of Minton solifleur Cloisonne vases with table setting stand, possibly designed by Dr Christopher Dresser, painted with simple bands of stylised flowers, with pink bands and another similar glazed white printed and impressed marks, damages 13,5cm. high £100-200 196. A Minton’s pottery plate, printed and painted with fruiting raspberry sprays, and five other plates impressed marks 24cm. diam. £100-150

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197. An Aesthetic Movement solifleur ewer, probably Coalport, printed in blue with convolvulus on a gilt ground unsigned 23.5cm. high £80-120 198. An Aesthetic Movement large Royal Worcester twin-handled tureen, the handles modelled with elephant masks, the cover finial a grotesque, printed and painted with Japoniste motif printed marks 38cm. wide £80-120 199. An Aesthetic Movement Brownfield Jeddo jug, the design attributed to E W Godwin, modelled in low relief with flying cranes impressed marks and regd diamond 15.5cm. high £60-100 Literature Elizabeth Aslin The Aesthetic Movement, Ferndale, page 137 plate 86 for a comparable jug illustrated 200. An Aesthetic Movement Brown Westhead and Moore plate, printed in blue with a finch perched on mushrooms watching flies, another similar and a pedestal dish printed with parakeet impressed and printed marks, minor damages 26cm. diam. £80-120

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201. A pate sur pate decorated vase, shouldered, rectangular form with cast grotesque handles, decorated with a young girl holding a cat on pink ground with gilt highlights unsigned 17cm. high £100-200 202. A Minton’s pate sur pate plate possibly Louis Solon, decorated with a butterfly flying beside wild flower stems, on a black ground, with gilt rim printed factory mark 23cm. diam. £250-350 203. A pair of Minton New Stone jardinieres, probably designed by A W N Pugin, flaring square section, printed with a geometric pattern in puce, green and blue impressed marks, date code 1864 17cm. high £400-600 204. A large Minton’s Pottery moonflask and cover, printed in silver and gilt with ferocious dragon mon, the reverse pomegranate fruit, below geometric border impressed marks, restored cover, 31cm. high £250-350

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205. A Continental porcelain moonflask, flattened disk form with pulled handles, printed and painted with panels on a purple ground, highlighted in gilt unmarked 33cm. high £100-200

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206. An Aesthetic Movement Minton’s Pottery moonflask, printed in blue and gilt with a flowerhead motif, impressed marks 14cm. high £80-120

207. An Aesthetic Movement moonflask, probably Minton’s Pottery, painted with primrose in green and yellow on a red ground, and another decorated with prunus unsigned 15cm. high £80-120

208. An Aesthetic Movement tile panel, in the manner of W S Coleman, painted with a naked, reclined maiden, holding ostrich feather fan, watching a longboat pass by her window, in colours, framed indistinct signature, cracked corner 45 x 31cm. £250-350 209

209. A pair of Mintons Pottery Aesthetic Movement moonflasks, each printed and painted with butterflies amongst blossom and hops, in colours on a celadon ground, highlighted in gilt impressed marks, date code for 1873, minor restoration to base rim, 34.5cm. high £300-500 Provenance Dan Klein Ltd Literature Brian Coleman The Best of British Arts and Crafts, Schiffer, page 86 for a comparable pair of flasks designed by William S Coleman.

210. A large Burmantoft’s Faience griffin jardiniere stand, modelled seated on shaped plinth covered in a rich olive glaze impressed marks, minor chips 103cm. high £700-900 210

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211. A Brownfield ceramic tray, decorated with a design by Kate Greenaway, printed and painted in colours impressed factory marks 50cm. wide £200-250 212. A Mintons Aesthetic Movement plate, painted with a figure stalking a butterfly in a garden setting impressed marks, 28cm. diam. £100-200 213. 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 £80-120

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214. An Aesthetic Movement Minton’s Pottery low tazza, designed by William Coleman, printed with flower stems, butterflies and a peacock feather, a Minton’s bowl decorated with a parrot, and a Creil Montereau plate designed by Francis Eugene Rousseau, printed marks, small chip to main item, 24.5cm. diam. £100-200 215. An Aesthetic Movement basket, rectangular bamboo structure, printed in colours with flower sprays, a Royal Doulton vase and four other items various marks 19cm. wide £80-120 216. A blue and white Willow pattern beaker vase, made for Miss Cranston’s Tearooms, Glasgow printed Miss Cranston’s, 5cm. high £150-200

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217. A Burmantoft’s Faience Pottery jardiniere stand, model no 1948, modelled in low relief with panels of flowers and foliage in yellow and white on a green ground impressed marks 68cm. high £100-150 218. A Wedgwood Pottery jug, pattern C.5453, painted with panels of flowers in blue and green on a white ground impressed and painted marks 16cm. high £80-120 219. A Minton’s Pottery cloisonne vase, decorated in silver and gilt with prunus spray, on a turquoise ground impressed and printed marks, hairline to top rim 18cm. high £80-120 220. A Minton’s cloisonne vase, shouldered form with everted rim, decorated with a band of stylised flowers, in highlighted in gilt and red on a blue band, on a turquoise ground, and a George Jones Overton shaped vase impressed marks, 13cm. high £100-150 221. A Bretby Pottery stick stand, model no. 1101 , modelled in low relief with mask border above stylised flowers, glazed blue impressed marks, glaze chips 63cm. high £100-150

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222. A pair of Minton’s Secessionist vases, designed by John Wadsworth and Leon Solon, waisted form tubeline decorated with flower motif in shades of yellow and green on a blue ground printed factory marks, repaired £80-120 223. A pair of Minton Secessionist vases, designed by John Wadsworth and Leon Solon, model no.3334, tapering cylindrical form slip decorated with stylised flower stems in yellow and green on a pale green ground impressed and incised marks 25cm. high £100-200 224. A Mintons Secessionist vase, designed by Leon Solon and John Wadsworth, waisted cylindrical form, printed and painted with stylised honesty stems on a blue ground, and a Mintons fern pot printed factory marks, hairline to top rims, 25cm. high £150-200

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225. Four Minton Secessionist plates, designed by Leon Solon and John Wadsworth, each tubeline decorated, in colours various impressed marks, chips 23cm. diam. £150-250 226. A Persian pottery vase, designed by John Mifflin, shouldered form printed and painted with panels of iris and carnation flowers in blue and green on a white ground printed marks to base, dated 1913, glaze loss 32cm. high £100-200 227. A Mintons Secessionist vase, designed by John Wadsworth and Leon Solon, modelled in low relief with blue flowerhead design on a green ground, and a small Mintons Secessionist vase wit four looped handles impressed and printed marks smaller vase restored, 30cm. high £150-200 228. A Minton Pottery Secessionist watering can, designed by John Wadsworth and Leon Solon, slip decorated with flower stems and a verse ‘Ye Flowers are Thirstie’, in green on a turquoise ground impressed and printed marks, professionally restored spout 29cm. wide £150-200 229. A Mintons Isis shape three piece tea service designed by John W. Wadsworth, comprising; tea pot and cover, milk-jug, sugar basin and cover, enamelled with flowers in blue, white and green on a duck egg blue ground printed marks 14.5cm. high £300-500 Literature Joan Jones Minton, Swan Hill Press, page 270 for comparable shaped tea and coffee ware illustrated 230. A Mintons Secessionist jardiniere and a stand, designed by John Wadsworth and Leon Solon, the cylindrical stand tubeline decorated with blue poppy stems on green, the jardiniere with tubelined carnation flowers in blue and green impressed marks, glaze loss to jardiniere, 105cm. high £1,000-1,500 230

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231. A C H Brannam Pottery vase, retailed by Liberty & Co, cylindrical form applied with scroll handles to rim, glazed green impressed mark and Liberty mark, minor glaze loss, hairline to top rim, 25cm. high £100-200 232. A pair of C H Brannam Pottery book ends, each modelled as a horse’s head with scrolling mane, glazed turquoise and sand impressed marks, minor glaze frits 14cm. high £50-150 233. An Ault Pottery vase, floriform glazed green and ochre, a pair of Ault vases similar and another Ault Pottery vase impressed marks, minor damages tallest 11.5cm. high £80-120 234. A pair of Wardle Pottery candlesticks, slip decorated with tall trees, in shades of yellow, green and blue impressed Wardle England 47cm. high £150-250 239

240 235. A C H Brannam Pottery spill vase, modelled as a crane, the vase modelled as a giant bamboo stem, glazed blue, green and ochre, a Brannam vase incised with scaly fish and four other items incised marks, restoration and damages 21cm. high £200-300 236. A C H Brannam, Barum Art Nouveau jug, dated 1903, possibly retailed at Liberty & Co, slip decorated with heart-shaped foliage on sinuous stems, glazed brown and blue, another similar, and six other pots incised marks, minor damages 9cm. high £200-300 237. A Lauder Pottery model of a bird, modelled with beak opened wide, glazed in shades of green, ochre and brown incised marks, restored 22cm. high £180-220 238. A C H Brannam Pottery vesta, modelled as a bald head of a man, with gaping mouth, incised ‘Keep Your Hair On’, glazed blue incised marks to base 8cm. high £120-180

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239. A C.H Brannam Pottery figure of a monkey, modelled seated holding a nut, glazed matt blue impressed marks, 26cm. high £300-400 240. A Continental Pottery model of a grotesque creature with gaping mouth, glazed pale blue, with applied glass eyes unmarked, repaired beak 31cm. high £60-100 241. A tall pair of Burmantoft’s Faience candlesticks, Corinthian pillar form, glazed red impressed marks, restored 45cm. high £100-200 242. An Aesthetic Movement Ault Pottery jardiniere stand, slender tapering hexagonal stem, cast in low relief with stylised flower stems, glazed pale blue unsigned glaze chips, 103cm. high £100-150 243. A Burmantoft’s Faience conservatory heater, pierced square section, cast in relief with foliate panels, with metal burner unit and coloured glass window, glazed brown impressed marks, to base 49cm. high £350-450

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Literature Burmantofts Pottery, Bradford Art Galleries & Museums page 51 catalogue number 58 for an identical example illustrated

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244. A rare Lauder, Barum Pottery dressing table set, the shaped tray incised and painted with flying swallows,, with en suite ring tree, and three graduated powder pots and covers, in shades of blue, green and brown incised Lauder Barum, tree restored, tray 27cm. wide £200-300

245. A large C H Brannam Pottery Dolphin vase, dated 1890, compressed ovoid form, the shoulder with three carved Dolphin supporting knopped neck, the body incised with scaly fish, glazed in shades of blue, ochre and green on a cream ground incised incised marks dated 1890 incised WB monogram, restored dolphins, 21cm. high £300-400

246. A C H Brannam Pottery Dolphin vase, dated 1891, compressed ovoid body with pierced flower holes, three modelled dolphins supporting knopped neck, incised with a band of swags, glazed green, blue and ochre incised marks, dated 1891, WB monogram, professional restoration to the top rim 11cm. high £150-200 247

247. A large C H Brannam Pottery vase, shouldered form with twin lug handles, painted and incised with geometric flowers and foliage on a blue ground impressed marks 42cm. high £300-500

248. A rare C H Brannam Pottery wall pocket, by Frank Thomas, modelled as a bat, glazed green and blue incised marks, dated 1899, professionally restored wing tips and legs 21cm. high £650-750 Literature Audrey Edgeler Art Potters of Barnstaple, page 151 for a comparable illustration 248

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249. A Ewenny Pottery Pig jug, the design attributed to Horace Elliott, modelled with face spout, glazed green unsigned, chips, 18cm. high £500-600 250. A pottery grotesque jug, probably Aller Vale, the neck and handle modelled as a grotesque winged dragon creature, glazed green, the body glazed brown unsigned 25cm. high £150-200 Literature Keith Poole The Art of The Torquay and South Devon Potters TPCS, page 184 for a line drawing numbered 382 of a similar jug 251. A Marle Sherwin & Cotton vase, ovoid with four lug handles, a vase possibly by Linthorpe with semi-abstract face decoration to the neck glazed blue and a collection of various pots various impressed marks 12cm. high £80-120

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258 252. A Sunflower Pottery vase by Sir Edmund Elton, shouldered form with everted rim, glazed crackled gold, and three other Elton Sunflower Pottery vases painted Elton mark, minor glaze frits, 11cm. high £150-250 253. A C H Brannam Pottery owl bowl, possibly retailed by Liberty & Co, trilobed section, incised with three owls, glazed brown and green, another similar possibly Farnham Pottery and a jug incised marks to bowl, restoration and glaze frits bowl 16cm. wide £100-200 254. A Bernard Moore Pottery vase, ovoid with cylindrical neck, glazed mottled blue and sand over flambe impressed and printed marks 15.5cm. high £120-180 255. A Maw Pottery vase, ovoid body with waisted cylindrical neck, with applied grotesque lizards, glazed streaked brown and ochre impressed Maw & Co, restored, No.7 33cm. high £100-150 259

256. A Maw & Co pottery solifleur vase, modelled in relief with two dragon grotesques, glazed blue impressed marks to base, drilled 31cm. high £100-200 257. A Howson’s pottery flambe vase, with electroplated brass mounts, dated 1912 etched Howsons 1912 mark to base, minor glaze nicks, 24cm. high £700-900 258. A large Carter, Stabler & Adams, Poole Pottery vase, by Marian Heath, pattern ME, shouldered form, painted with geometric bands, and a bluebird pattern jug impressed and painted marks, hairline to vase, jug restored handle 38cm. high £100-200 259. A Carter, Stabler & Adams, Poole Pottery plate, by Marian Heath, pattern GU, painted to the well with a bunch of flowers impressed mark, painted cypher 27.5cm. diam. £100-150 260. A Carter, Stabler and Adams, Poole Pottery Persian Deer charger, by Anne Hatchard, painted in colours on an off white ground, impressed and painted marks, 38cm. diam. £300-500

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Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 50, an identical charger was exhibited at the Leipzig International Exhibition of Industrial Art, 1927

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261. A large Ruskin Pottery stoneware Crystalline glaze lamp base, glazed pale green with a white band, on square section stand impressed Ruskin England 32cm. high £200-300

262. A Ruskin Pottery stoneware stand, square section, covered in a matt blue glaze impressed marks 22cm. square £100-150

263. A Ruskin Pottery stoneware vase, cylindrical form, with three handles, modelled in low relief with Tudor rose motif, glazed matt blue with yellow to shoulder impressed marks 25cm. high £100-200

264. A Ruskin Pottery high-fired stoneware vase ovoid with long cylindrical neck and everted rim, covered in a sang de boeuf and lavender glaze with mint speckles impressed marks, dated 1909 23.5cm. high £500-1,000

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265. A Ruskin Pottery stoneware jar, dated 1920, covered in a pink lustre glaze over mint green speckles impressed marks 14.5cm. high £80-120

266. A Ruskin Pottery high-fired stoneware vase, dated 1933, single handled form, covered in a sang de boeuf running glaze with mint and turquoise speckles impressed marks, 21.5cm. high £800-900

267. A Ruskin Pottery high-fired vase, cylindrical form with everted rim, incised foliate decoration, covered in a speckled green and sang de boeuf glaze impressed marks, date 1905, firing crack and hairline to top rim 29cm. high £150-250

268. A Ruskin Pottery high-fired stoneware ginger jar and cover, dated 1920, ivory leopard skin glaze with purple splashes impressed marks 14cm. high £700-900 268

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269. A Carlo Manzoni pottery vase, dated 1897, mallet shape with flaring cylindrical neck, incised and painted with a frieze of peacock feather and foliage borders, in shades of blue, yellow and green on terracotta incised CM monogram 24cm. high £100-200 270. A Carlo Manzoni terracotta vase, carafe form with knopped neck, incised with peacock feather eyes, in shades of blue, ochre and green incised marks to base 22cm. high £150-200 271. A Della Robbia Pottery inkwell, by Lizzie Wilkins, heart shaped with incised and painted foliage design, dated 12-1901, incised marks, glaze chips, 12cm. long £300-400 277

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272. A Carlo Manzoni vase, dated 1895, waisted form incised with geometric panel design incised date and CM monogram, professionally restored base rim 26cm. high £200-300 273. A continental pottery vase, in the manner of Della Robbia incised and painted with tulip flower stems indistinct impressed factory mark 30cm. high £200-300 274. A Farnham Pottery Black Heath terracotta vase, resist decorated with pan figures between intertwining foliage columns an owl perched at the summit, squirrels foraging to the base, glazed green incised Black Heath 38cm. high £150-200

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275. An Upchurch Pottery vase, ribbed, shouldered form with collar rim, glaze blue, another with lug handles and shouldered vase with loop handles, impressed and incised marks, hairline to one 16cm. high £80-120 276. A Soon Pottery vase, by Reginald Wells, ovoid with everted rim, covered in a streaked blue glaze, and a Burmantoft’s Faience vase incised Soon, chips 23cm,. high £50-100 277. A Joyce Bidder pottery group of two working horses pulling a tree trunk, glazed matt brown impressed Joyce Bidder, dated 1929 27cm. wide £200-300

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278. A pottery model of a monkey by Donald Gilbert (19001961), modelled seated on rectangular plinth, covered in a matt blue and crystalline glaze impressed mark, paper label to base 24cm. high £150-250 Donald Gilbert, the son of the sculptor Walter Gilbert, studied at the Birmingham Central School of Art, the Royal College of Art and the Royal Academy. He also produced ceramic designs for Ashtead Pottery.

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279. A Fulham Pottery plate by Quentin Bell, the well with incised figure holding a bowl, in shades of blue, the rim inscribed ‘GVLA’ incised Fulham Pottery Quentin Bell 25cm. diam. £100-200 280. Henry Hammond a stoneware bowl, painted with a large fish, in shades of brown and blue on an oatmeal ground, with simple painted linear design to well impressed seal mark 23cm. diam. £250-300 280A. A Della Robbia pottery twin-handled vase, by EMW, incised and painted with geometric designs in yellow, green and blue on a turquoise ground incised marks, and monogram, minor glaze loss 26cm. high £300-500 281. Bernard Leach a Leach Pottery stoneware and leather necklace, comprising twenty stones incised BL and dated 1950 £500-1,000 Provenance Made by Bernard Leach for his second wife Laurie Cookes whom he married in 1944 282. Two Buller’s porcelain bowls each decorated in rust over a crackled glaze and a celadon bowl incised marks 27cm. diam. £50-100 283. A Denby stoneware bowl, by Alice Teichtner, with applied looping handles, a Denby bowl and a spill vase printed marks, bowl with AT monogram 29cm. diam. £60-100 284. A Pilkington’s Royal Lancastrian vase, by William S Mycock, compressed ovoid form cast in low relief with a frieze of fish, covered in a matt silver/white glaze impressed marks, date code for 1933 16cm. high £300-350

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285. A miniature twin-handled vase probably Pilkington’s Lancastrian, covered in a lustre glaze over streaked green and yellow ground indistinct marks to base 8.5cm. high £80-120 286. A small lustre stoneware vase possibly Richard Joyce, shouldered form with waisted neck, covered in a ruby lustre glaze, incised RJ monogram to foot 15cm. high £80-120 287. An ovoid lustre vase, probably Pilkington’s Lancastrian, painted with an exotic bird amongst foliage in shades of blue and green, and a Pilkington’s Royal Lancastrian vase glazed orange unmarked 9.5cm. high £100-200 288. A Pilkington’s Royal Lancastrian vase, by Gladys Rogers and E T Radford, shouldered from, painted in shades of turquoise over silver, and a Pilkington’s Royal Lancastrian bowl by Richard Joyce impressed and painted marks 17cm. high £80-120 289. A Pilkington’s Lancastrian vase, by Charles Cundall, dated 1911, painted with Art Nouveau flower stems in shades of ruby, blue and gold impressed marks, painted date cypher and artists monogram 14cm. high £600-1,000

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290. A Pilkington’s Lancastrian vase designed by Walter Crane, by William S Mycock, painted with a band of heraldic lions above Tudor rose and heart motif, in gold on a red lustre ground, painted inscription and monograms, two small hairlines to top rim 13cm. high £600-800

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296 298 297 291. A Macintyre Pottery cup and saucer printed in colours with an Art Nouveau poppy design printed factory marks, small chip to rim of saucer 17.5cm. diam. £50-100 292. ‘Rose Garland’ a pair of James Macintyre vases designed by William Moorcroft, painted in colours, highlighted in gilt on a white ground printed mark, painted signature, restored rims 24cm. high £300-350 293. ‘Alhambra’ a James Macintyre Pottery vase, designed by William Moorcroft, printed in shades of blue and salmon pink, highlighted in gilt printed factory mark, re-gilded top rim 17cm. high £400-600

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294. ‘Bermuda Lily’ a Moorcroft Pottery bowl, designed by Walter Moorcroft, painted in shades of green, yellow and red on a white ground impressed marks, painted green monogram and date 74, applied paper label 25cm. diam. £60-100 Provenance Given to the vendor by Walter Moorcroft in 1974, The Bermuda Lily was introduced in 1978 although this piece is dated 1974 295. ‘Pole to Pole (Arctic foxes)’ a modern Moorcroft Pottery vase, painted in colours, in original box impressed and painted marks, dated 2007 14cm. high £180-220 296. ‘Pole to Pole (rabbits)’ a modern Moorcroft Pottery vase painted in colours, in original box impressed marks, dated 2007 10.5cm. high £150-200

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297. ‘Ysselmeer carp’ a modern Moorcroft Pottery vase, painted in colours, in original box, impressed and painted marks 10cm. high £150-200 298. A Moorcroft Pottery tobacco jar and cover, designed by William Moorcroft, painted with bands of ears of corn, in shades of green under a partial flambe glaze impressed marks, painted green signature 15cm. high £300-500 299. ‘Eventide’ a Moorcroft Pottery pewter mounted jug, designed by William Moorcroft, probably retailed by Liberty & Co, impressed and painted marks 14cm. high £1,000-1,500 300. ‘Brown Chrysanthemum - Revived Cornflower’ a rare Moorcroft tea caddy and cover, designed by William Moorcroft, painted in shades of ochre, pink and green painted green Moorcroft signature, chips to threading 13.5cm. high £1,000-1,500

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301. ‘Moonlit Blue’ a Moorcroft Pottery vase with Liberty Tudric Pewter foot, designed by William Moorcroft, shape 01310, painted in shades of blue and green on a blue ground stamped marks 23cm. high £1,500-2,000

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302. A Hancock & Sons Morrisware bowl, designed by George Cartlidge, model no. C75-10, painted to the well with purple flowers, inside foliage border on a blue ground printed and painted marks, facsimile signature, professionally restored rim, 26cm. diam. £600-800

303. A Hancock and Sons Morrisware vase, designed by George Cartlidge, model C79-1, swollen cylindrical form with everted rim, painted with flowers in colours on a mottled blue ground printed and painted marks, facsimile signature, small hairline to top rim 27.5cm. high £750-850 304

304. A Hancock and Sons Morrisware vase, designed by George Cartlidge, model no. C28-2, painted with purple bell flowers on a mottled blue ground printed and painted marks, facsimile signature, professionally restored top rim 36.5cm. high £800-1,200

305. A Hancock and Sons Morrisware drum jardiniere, designed by George Cartlidge, model no.C15.7, painted with a frieze of sweet pea flowers, in shades of purple, green and blue on a blue ground printed factory mark, painted facsimile signature 24cm. hgih £800-1,200

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306. A Hancock and Sons Morrisware drum jardiniere, designed by George Cartlidge, model no. C.15-3, painted with a frieze of sweet pea flowers in shades of purple, green and blue over a mottled green ground printed factory mark, painted facsimile signature, professionally restored 24cm. high £500-800 306

307. A Hancock and Sons Morrisware vase, designed by George Cartlidge, model no.C11.2, painted with a frieze of clover, in shades of red, purple and green on a mottled green ground, printed factory mark, painted facsimile signature, professionally restoration to the top rim and base, 27cm. high £750-850

308. A Hancock and Sons Morrisware vase, designed by George Cartlidge, model no.C63.6, shouldered mallet form, painted with carnation flowers in shades of purple and green on a blue ground printed factory marks, painted facsimile signature, professionally restored neck 15cm. high £250-350

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309. A Hancock and Sons Morrisware vase, designed by George Cartlidge, model no.C7.7, painted with Tulip stems in shades of purple and blue on a green ground printed factory mark, painted facsimile signature 20cm. high £350-450

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309 310. A pair of Hancock & Sons Morrisware vases, designed by George Cartlidge, model no.C10-13, painted with flowers and foliage in shades of purple and blue on a mottled green ground printed marks, painted signature, chip to rim of one, 22cm. high £200-300

311. A Hancock & Sons Morrisware case, designed by George Cartlidge, model no. C30-11, painted with purple rose stems, on a mottled green ground printed and painted marks, facsimile signature, professionally restored top rim 27cm. high £400-500

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312. A Hancock and Sons Morrisware vase, designed by George Cartlidge, painted with flower stems in shades of pink, blue and green on a mottled green ground, converted to a lamp with brass mount, 34cm. high £450-500 311

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313. A Thomas Forester & Sons vase by A. Dean, ovoid, dimpled body with slender neck and everted, pinched rim, painted with a frieze of daisy flowers in pink, yellow and green printed factory mark, painted facsimile signature 23cm. high £150-250

314. A tall Thomas Forester & Sons Art Nouveau vase, designed by A. Dean, slender baluster form, painted with scrolling foliage design in green, blue and yellow on a white ground printed factory mark painted facsimile signature, restored neck and rim 37cm. high £150-250

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315. A Thomas Forester & Sons vase by A. Dean, compressed vase with knopped neck and pinched flaring rim, painted with a frieze of ducks, in colours painted mark 20cm. high £150-250

316. A Thomas Forester & Sons vase by A. Dean, shouldered form, painted with a band of pelicans, below a band of stylised cypress trees, in shades of green, blue, purple and yellow printed factory mark, painted facsimile signature 22cm. high £200-300

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317. A Thomas Forester & Sons Art Nouveau solifleur vase by A. Dean, painted with a frieze f scaly fish, in shades of green, yellow, blue and pink printed factory mark, painted facsimile signature 20cm. high £150-250

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318 318. A Crown Pottery vase, the design attributed to A. Dean, shouldered form with collar rim, printed and painted with facing peacock frieze, in shades of blue, green and red, highlighted in gilt painted mark 26cm. high £80-120

319. A Bursley Ware vase, designed by Charlotte Rhead, pattern no.1432, tubeline decorated with flowers and foliage in colours printed and painted marks 21cm. high £150-200

320. A Wood & Sons Mikado charger, designed by Frederick Rhead, printed and painted with cranes flying past giant water lily stems. the rim with oriental panels printed marks, 41cm. diam. £600-700 320

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ContInentAl CerAMICs 321. An Eichwald Pottery Secessionist table centrepiece, modelled in relief with grape swags impressed marks 33cm. high £150-200

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322. A French Art Nouveau double inkstand, by J Millard, modelled with a bust of a warrior maiden, glazed in colours, highlighted in gilt impressed marks and signature, minor chips 34cm. wide £250-350 323. An Ernst Wahliss pottery wall plaque, modelled in low relief with a maiden inside a border of foliage, glazed green impressed marks, 298, 38cm. high £200-300 324. A Cantagalli Hispano-Moresque dish, modelled in low relief and painted with foliate design in shades of red and blue, an Edouard Cazaux plate painted with a bird and a Bottega Gatti red lustre figure Cantagalli unsigned, incised Cazaux signature Cantagalli 10cm. diam. £50-100 325. A Galle style pottery model of a seated cat, with applied glass eyes, printed with a blue and white Dutch landscape scene unsigned, professionally restored paws 34cm. high £200-300 326. A terracotta model of a maiden, modelled lying, looking skywards signed to the base 47cm. wide. £80-120

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327. A Vallauris mosaic vase, by Jean Gerbino, shouldered form with collar neck, with bands of marquetry clay decoration impressed Gerbino Vallauris 21cm. high £50-150 328. 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 £100-200 329. An Ernst Wahliss, Turn Art Nouveau porcelain dish, modelled with a maiden smelling the sweet scent of a rose, leaning on a lily pad impressed marks, minor glaze chips 27cm. wide £100-200 330. An Alexander Forster & Co Pottery Art Nouveau figure, modelled standing one arm outstretched, the other raised to her mouth, glazed ivory impressed marks, signed Marschall, restored 52cm. high £300-400 331. A pair of large Royal Dux Art Nouveau vases, twin-handled form, modelled in relief with berried foliage, glazed in matt ochre highlighted in gilt impressed marks, raised pink triangle mark, minor overpainting, 47cm. high £200-300

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332. A Theodore Deck inkwell, square section cast with twin mask motif, glazed turquoise, with bronze hinged cover impressed mark 9cm. high £100-150

333. A Theodore Deck Pottery vase, compressed form with cylindrical neck, decorated in low relief with foliate panels, glazed bleu Deck impressed marks, repaired chip to top rim, chips 25cm. high £300-500

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334. A Clement Massier Aesthetic Movement pottery vase , dated 1887, shouldered form with flaring conical neck and applied handles, painted in yellow with all over floral design painted marks, professionally restored 29cm. high £250-350

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335. An Aesthetic Movement gilt metal mounted vase, probably by Theodore Deck, decorated with oriental lion dogs before flaming pearls, glazed turquoise unmarked, hairline to body 31cm. high £200-300

336. A Theodore Deck solifleur vase, painted with a blue tit perched on prunus bough, in colours on a turquoise ground printed mark, restored neck 32cm. high £250-350

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337. A Clement Massier Golfe Juan pottery, by Lucien Levy, tapering cylindrical form, painted with feather motif in golden iridescent glazes impressed marks, professionally restored top rim 23cm. high £100-200

338. A Clement Massier Golfe Juan pottery vase, shouldered form with hexagonal neck, painted with flowerheads in golden and red lustre glazes impressed marks, AM, professional restoration and small chip to top rim 17cm. high £100-200 337

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344 mark 339. A Van Briggle Pottery vase, modelled as a single flower stem with flaring foot, glazed matt blue to green incised marks to base 16cm. high £60-100 340. A Fulper Pottery vase, cylindrical form, modelled in low relief with mushroom, glazed flambe and ochre lustre printed Fulper, hairline 24cm. high £80-120 341. A Van Briggle pottery vase modelled in relief with three native indian heads, glazed deep red and blue etched marks to base 31cm. high £400-500

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342. A Royal Copenhagen charger by Jenny Meyer, painted with lily stems painted in colours on a grey ground printed and painted marks, painted signature to the front 30cm. diam. £300-500 343. A German Secessionist soup tureen and cover, model no. 1645, modelled in low relief with stylised grape vine columns, glazed ochre stamped GL, KB 1645 30cm. high £80-120 344. A Merkelbach stoneware jug, compressed form, applied with panels of heron inside scroll borders, in brown, the rim with cog motif impressed marks, chip to spout, 19cm. high £200-400 345. A Cantagalli twin-handled vase, painted with stylised berried foliage repeat in shades of yellow and blue, painted marks, glaze chips 19cm. high £300-500 346. A Cantagalli Pottery jug, ovoid form with collar rim, painted with a frieze of geese in brown on a yellow/green ground painted mark to base, small chips to base rim 11cm. high £100-200 347. A Cantagalli Pottery Persian vase, shouldered form applied with four loop handles, the textured surface painted with geometric panels, in ruby and blue lustre painted marks, minor chips to the glaze, hairline to base rim, 25cm. high £600-900

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Works on pAper & textIles

348. ‘Sa Tres Gracieuse Majeste La Reine Wilhemine’ a lithographic print by Paul Berthon, in original painted oak frame, incised with flower stems signed in the print, dated 1901 image 39.5 x 36cm. £250-350

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349. A watercolour on paper by Eric Forbes Robertson, Paris, dated 1897 framed signed and dated with three leaf clover cypher 25.5 x 18.5cm. £800-1,200 Eric Forbes-Robertson (1865-1935) was the brother of two actors Sir Johnston Forbes-Robertson and Norman Forbes-Robertson, he trained at the Academie Julian, Paris in the late 1880s with artists including Pierre Bonnard, Maurice Denis and Edouard Vuillard. In August 1890 he travelled to Pont-Aven in Brittany with Robert Polhill Bevan where he met Paul Gauguin. Literature Tate Gallery Collections, In The Forest, Pont-Aven, (TO1825) circa 1895 for a comparable work

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350. Archibald Wells (1874-) ‘The Cymbals Player’ an oil on canvas, in original oak frame, with painted monogram and potted orange trees painted monogram to frame image 65 x 55cm. £800-1,200 Archibald Wells was born in Glasgow moving to Australia as a child where he studied art in Sydney. He returned to Britain, settling in Rye, Sussex and his work was exhibited at the New English Art Club in 1918

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351. A painted wood panel, in the manner of William Neatby, painted with a medieval queen seated on her throne, flanked by knaves, in colours, framed unsigned £200-300

352. An embossed leather panel of a musician holding a lyre, painted in colours, framed in oak unsigned panel 45 x 23cm. £500-700

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353. A pencil on paper sketch of a young classical Greek soldier, facing right, framed unsigned image 27.5 x 26cm. £80-120

354. ‘Meadow Sweet’ a print from The Flower Book by Edward Coley Burne-Jones, framed, image 16cm. diam. £300-500

355. ‘Study for a Mural at St Michael’s Church, Torquay’ a red and black chalk design by Sir Edward Burne-Jones Bt. P.R.A, framed unsigned, with various gallery labels and letter from Bill Waters, Norman House Gallery to reverse, image 32 x 18cm. £1,500-2,000 Provenance Norman House Gallery, Cockermouth June 1973 This design is for the Nativity scene designed by Burne-Jones for St Michael’s church, Torquay in 1887.

356. A Pre-Raphaelite gilded oak Rossetti frame, square, with carved ivy border, inside carved wave decoration, with Japanese mon decoration to the corners to the corner, unsigned 60 x 60cm., aperture 33cm. diam. £600-1,000 Literature Julian Treuherz Pre-Raphaelite Paintings, Manchester City Art Galleries, page 89 figure xii for a detail of similar mon, from the frame of Astarte Syriaca by Dante Gabriel Rossetti 356

357. ‘La Castagnetta’ an oil on canvas by Dante Gabriel Rossetti (1828-1882), framed image 41 x 38cm. £10,000-15,000 Provenance Bought from the artist by J Hamilton Trist in 1866 for £52. 10s His sale, Christie’s, London 9th April 1892, lot 106 Bought by his son H.H. Trist thence by descent to Mrs H.H. Trist Her sale, Christie’s London 23rd April 1937, lot 91 G F Simms by 1955 Jerrold N. Moore by 1971 Newcastle, The Stone Gallery Sotheby’s 11th June 1993 lot 103a Literature H C Marillier Dante Gabriel Rossetti, An Illustrated Memorial of his Art and Life, 1899 page 143 catalogue number 180 Virginia Surtees The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882), A Catalogue Raisonne, 1971, page 93 catalogue number 166.

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358. ‘Atalanta’ a lithograph by Charles H. Shannon, framed, remains of the Senefelder Club label to reverse image 20 x 16cm. £150-200 The Senefelder Club was an organisation set up in 1909 to promote the craft of lithography and was named after Johnann Alois Senefelder, who in 1771 invented the lithographic process 359. ‘Diana The Huntress’ a painted wax plaque, oval, in later ebonised fame unsigned image 20.5cm. high £50-100 360. A watercolour on paper of a woman holding an ermine muff, possibly Emile Lessore, framed painted EL monogram image 19.5 x 14.5cm. £80-120

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361. ‘Sketches of Examples of Historic National Ornament’ two original designs for Greek and Arabian ornament for the National Exhibition, framed 82 x 57cm. £100-200 362. A lithograph in colours of a rural farming scene by Hans Richard Von Volkmann (1860-1927), framed signed in the print image 100 x 40cm. £50-100 363. A pen and white wash design for a silver presentation vase and cover, framed impressed mark ESK to the paper for South Kensington museum 49 c 25cm. £60-100 364. ‘Blossoms’ a photogravure print by Albert Moore, 1904, framed unsigned image 67 x 22cm. £80-120

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365. ‘Ellen Terry’ a print by Henry Batley, published by E E Leggatt, 1889, framed signed in ink by Batley and Ellen Terry image, 39.5 x 19cm. £120-180

366 monogram

366. A James Templeton & Sons Plants Chenille Axminster carpet designed by Frank Brangwyn, pattern no.1276, dense repeat of radiating flowers on a mushroom ground artists monogram to two corners 315 x 255cm. £1,500-2,000 This and the partner design no 1275 were designed by Brangwyn initially for the Pollard exhibition in 1930

367. A Morris & Co silk embroidery, worked with a spray of slitting pomegranates on a cream embroidered ground, framed unsigned 85 x 34cm. £2,000-3,000

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368. A Morris & Co silk embroidered panel, by Helen, Lady Lucas Tooth, the design attributed to John Henry Dearle the printed ‘Oak’ silk ground embroidered with peony stems and acanthus leaves in rich colours, framed unsigned 111 x 65cm. £2,000-2,500 Provenance Private Collection, originally this panel was sold with two others, one panel had a slip of paper stating embroidered by Lady Lucas Tooth Literature Linda Parry William Morris Victoria & Albert Museum exhibition catalogue page 248 number M.32 for four comparable pencil designs by Dearle. Linda Parry William Morris Textiles, Crescent page 30 for a similar portiere designed by Dearle circa 1890 embroidered by Mrs Battye also on an Oak pattern silk Helen, Lady Lucas Tooth embroidered a set of six Dearle designs between 1919 and 1923 which are now held in the William Morris Gallery collection, Walthamstow

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369. A pair of embroidered silk wall hangings/runners, each with geometric and floral design with fish and creatures, inside geometric borders unsigned 214 x 72cm. £200-400

370. A printed linen, decorated with a flower stem repeat in pink and green on a beige ground, 322 x 130cm. £80-120 373

371. A woven textile, decorated with flaring heart-shaped foliate sprays inside scrolling leaf borders in red and blue and green on a blue ground unsigned 251 x 48cm. £80-120

372. A roll of printed wallpaper, in the manner of Dr Christopher Dresser, printed with a geometric foliate repeat in brown on a mushroom ground unsigned £100-200

373. A large stencilled canvas panel, decorated with butterflies hovering above Art Nouveau flower stems repeat in green, pink and blue, in oak frame unsigned image 94 x 79cm. £150-250

374

374. ‘Saint George and the Dragon’ an oil on canvas hanging after the original by Andrea Mantegna, dated 1929, unmounted signed ailie de georgi, 1929, 240 x 125cm. £100-150

375. ‘Wotan and Logi in Search of the Reingold’ a photogravure after a pen drawing by Reginald Savage, published in The Dial no.IV 1896, framed RS monogram and 94 in the print image 14.5cm. square £150-200 375

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376. ‘C R Ashbee Architect, designer and Romantic Socialist’ a book by Alan Crawford, published by Yale, 1985 £50-100 377. ‘Friendship’ and ‘Rabbi Ben Ezra’ two books with covers designed by Jessie M King, three others similar and ‘Tales from Shakspeare’ a book with cover designed by Charles Rennie Mackintosh £100-200 378. ‘Portraits d’Hier William Morris’ by Georges Vidalenc, a book, paper bookplate £120-180 Provenance from the Library of Janet Ashbee and C R Ashbee

383

379. ‘The Modern Carpenter and Joiner and Cabinet Maker’ volumes 1-9, with covers designed by Talwin Morris, published by The Gresham Publishing Company 34.5cm. high £80-120 380. Nine black and white photographs relating to Charles Rennie Mackintosh, some annotated in pencil to reverse £150-200 384

385

381. A collection of books on Design, including; ‘The Elements of Style’ by Stephen Calloway, ‘Ornament’ by Stuart Durant, and ‘Christopher Dresser’ by Widar Halen £50-100 382. Seven books and catalogues on 20th Century Design, including; ‘Liberty Style’ by Mervyn Levy, ‘Whitefriars Glass The Art of James Powell & Sons’ and ‘Wiener Werkstatte’ by Waltraud Neuwirth £50-100 383. ‘The Studio Yearbook’ 1908, 1909 and 1910, three volumes

£100-200

384. ‘General Index To The First Twenty One Volumes of the Studio’ (1893-1901) an index published by The Studio £100-200 385. ‘The Studio’ a modern General Index volumes 1 to 42, published by Sims & Reed £80-120 386. ‘The Studio’ Volumes 1- 81, bound in green and a small collection of loose copies of The Studio £1,000-1,500 386

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387. ‘Girls on the Moor’ and ‘Near Nottingham’ two prints by Alfred Lowe, framed signed and titled in pencil, Near Nottingham image 29.5 x 24cm. £60-100

388. ‘The Safeguard’ a print by Philip R Suffolk, dated 1929, framed signed and dated in pencil image 28 x 18.5cm. £60-120

389. ‘Collecting the Harvest’ an allegorical pen and ink sketch, by MP, dated 1928, framed initialled and dated in pen 15 x 9cm. £60-100

390. A School Print of canal boats in a lock by Lynton Lamb, dated 1936, printed by Contemporary Lithographs Ltd, framed signed and dated in the print and also annotated to the right border and signed in pencil image 61 x 45cm. £80-120

391. ‘The Country House’ a School Print by Lynton Lamb, S.P.34, printed by school prints Ltd 72 x 48cm. £50-80

392. ‘Bell of Nelson - Hand Made Sour Mash Whiskey’ a poster, framed unsigned image 72 x 52cm. £50-100

393. ‘Harper’s November’ (1897) a woodblock by Edward Penfield, for Harper’s New Monthly Magazine, framed signed in the print 49 x 36cm. £50-100

dr ChrIstopher dresser

394. An Ault Pottery vase designed by Dr Christopher Dresser, model no.248, shouldered form with cylindrical neck and everted rim, the shoulder modelled in relief with four masks each with protruding elongated tongues, glazed running blue and aubergine impressed number, 32cm. high ÂŁ1,500-2,000 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 213 this model illustrated in a yellow glaze

395

396

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398

395. A large Ault Pottery jardiniere, with pulled handles, glazed vivid yellow, green and red impressed mark, some restoration 34cm. high £150-250

396. A Linthorpe Pottery vase, model no.1677, shouldered form with everted flaring rim, dimpled body with applied loop handles, glazed mustard yellow impressed marks 26.5cm. high £150-200

399

400

397. A Linthorpe Pottery vase, model no.376, shouldered form, printed in black with berried foliage, on an ochre ground impressed marks, small nicks to top rim, 32cm. high £200-300

398. A Linthorpe Pottery ewer, designed by Dr Christopher Dresser, model no.342, ovoid with vertical lip and looped handle, glazed streaked brown impressed marks, facsimile signature 16cm. high £350-450

399. A Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.106, ovoid with cylindrical, knopped neck and everted rim, glazed streaked green and ochre impressed marks, facsimile signature, repaired neck, 32cm. high £100-200 401

400. A Linthorpe Pottery vase, designed by Dr Christopher Dresser, model no.159, covered in a green and brown glaze impressed factory marks, facsimile signature 17cm. high £250-350

401. A Linthorpe Pottery tray, designed by Dr Christopher Dresser, model no.441, modelled in low relief with flowering water lily, in shades of green and ochre impressed marks, facsimile signature 32.5cm. wide £200-300 Literature Widar Halen Christopher Dresser A Pioneer of Modern Design, Phaidon, page 165 plate 187 for a comparable tray illustrated

402

402. A pair of Linthorpe Pottery vases, designed by Dr Christopher Dresser, model no. 334, compressed, footed form, incised with geometric patterns glazed green and brown impressed numbers, facsimile signature visible to one, damages 18cm. high £100-200 403. A rare pair of Linthorpe Pottery vases designed by Dr Christopher Dresser, model no. 266, urn shaped with pulled twin-handles to shoulder, decorated with a simple band of rope-twist decoration glazed brown to green impressed marks, facsimile signature, restored top rims, 46cm. high £1,000-1,500 Literature Michael Whiteway Christopher Dresser a Design Revolution, V&A, page 91 this shape illustrated in the original Linthorpe Art Pottery advert (Furniture Gazette 1880) reproduced 403

404. A large James Couper & Sons Clutha glass vase, designed by Dr Christopher Dresser, dimpled square green glass body with tall cylindrical neck and everted disk rim unsigned 54cm. high ÂŁ1,000-1,500 Literature Widar Halen Christopher Dresser, Phaidon, page 174 plate 196 for this shape illustrated

404 405. A tall and impressive James Couper & Sons Clutha green glass solifleur vase, designed by Dr Christopher Dresser, compressed body with tall, twisted cylindrical neck and everted, flat disk rim acid etched Clutha Christopher Dresser mark to base 48.5cm. high ÂŁ3,000-4,000 Literature Widar Halen Christopher Dresser A Pioneer of Modern Design Phaidon, page 194 plate 227 for a Clutha vase similar, but smaller, with a similar twisted decoration.

405 mark

405 detail

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406. A Webb Bronze glass jug, the design attributed to Dr Christopher Dresser, ovoid with cylindrical neck and loop handle unsigned 25cm. high £80-120

407. An electroplated metal tureen ladle, designed by Dr Christopher Dresser, unsigned 27cm. long £500-1,000

409

408. A Kenrick cast iron door knocker, designed by Dr Christopher Dresser, cast with geometric foliate designs cast marks to reverse Kenrick 405 21cm. high £80-100

409. An Elkington & Co electroplated coffee pot with hinged cover, designed by Dr Christopher Dresser, model no. 16587, the rod and ball handle cast in low relief with geometric design, stamped marks 21cm. high £80-120

410

410. A Roberts and Belk electroplate and glass claret jug, designed by Dr Christopher Dresser, with ebonised rod handle stamped marks, 22cm. high £150-200

411. A cast iron chair, the design attributed to Dr Christopher Dresser and John Moyr Smith, the back cast with open panels of geometric flowers and foliage, the seat a faux cushion, painted black unsigned, back legs repaired, 134cm. high £500-600 Literature The Fine Art Society Spring 2002, page 28 no.33 for a pair of these chairs attributed to Dr Christopher Dresser. 411

412. An Elkington & Co electroplated teapot designed by Dr Christopher Dresser, model no.2272, on tripod foot with overslung handle, and another Elkington & Co electroplated teapot and cover designed by Dr Christopher Dresser stamped marks, designed by Dr Christopher Dresser, dents 23cm. high £150-250 Literature Judy Rudoe Decorative Arts 1850-1950 British Museum Collection, page 177 plate 32 for a comparable tea pot 412

413. A rare Benham & Froud copper and brass ewer, designed by Dr Christopher Dresser, copper body and foot with hinged cover, with brass over-slung handle and spout, with chained stopper stamped B&F mark to base 33cm. high £1000-1500 Literature Michael Whiteway Christopher Dresser 1834-1904, Skira Publishing, page 147 plate 169 for a full page illustration of a comparable ewer.

413

414. A Hukin & Heath electroplated metal toast/letter rack, designed by Dr Christopher Dresser, model no.2556, rod and ball construction on arched base and bun feet stamped marks, 12.5cm. high £600-900

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415. A James Dixon & Sons electroplated toast rack designed by Dr Christopher Dresser, model no.66, alternating triangular rod dividers, on rectangular base, with central T bar handle stamped marks, facsimile signature 13cm. wide £1,000-2,000 Literature Michael Whiteway Christopher Dresser 1834-1904, SKIRA, page 105 for a comparable example 415

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416. ‘Great War Memorial Medallion’ a bronze medallion by Alfred Briscoe Drury, Minerva tending to a fallen warrior, the reverse with a soldier and a sailor with arms reversed, standing heads bowed by an un-named plaque signed A Drury RA 8cm. diam. £80-120 These medals were commissioned for the department store Derry & Toms, of High Street Kensington

421

417. ‘Queen Mary’ a bronze medallion by Gilbert Bayes, for the maiden voyage 1936, struck by the Royal Mint, starboard view of the ship with leaping dolphins in the sea, the reverse with New York skyline inside the old Bargate arch at Southampton, in green leather case, 7cm. diam. £140-180 Literature L Brown British Historical Medals Volume III, London 1995 no.4282 418. ‘Pottery and Porcelain’ the silver first prize medal of the London City and Guilds, awarded in 1907 to John Vivian Goddard by John Pinches, in original fitted case, 5cm. diam. £120-180 John Vivian Goddard was the son of John Shaw Goddard, who had purchased Ashworth’s, the makers of Mason’s Ironstone, in 1884. In 1910 he produced the artistic Lustrosa and Estrella glazes but the First World War ended production. He continued to work with the company and died in 1962 419. A small bronze plaque by Frederick William MacMonnies, domed rectangular form cast in low relief with an infant girl on the knees of an angel, inscribed ‘Graciously Hear Our Prayers For Our Peace and Our Salvation’ signed in the cast 9cm. high £70-100 420. ‘Centenary of the Republic of Chile 1810-1910’ a small double sided plaquette by Rene Lalique, cast with a standing female figure, possibly Flora, the reverse the flag of the Republic, and two brass crosses ‘Orphelinat des Armees’ by the same artist, with ribbons signed R Lalique 5.6cm. high £150-250

422

421. A Bromsgrove Guild bronze medallic roundel, by Walter Henry Gilbert (1871-1946), a diaphanous maiden, perhaps Peace, enthroned and holding a palm branch, her headdress and robe supported by Putti, set in alabaster plinth, and a uniface bronze medallic roundel of the Nativity inscribed Bromsgrove Guild 7.6cm. diam. £150-200 Walter Gilbert was a cousin of Sir Alfred Gilbert. He founded the Bromsgrove Guild in November 1898 on the principles of the Arts and Crafts movement. Literature Annette Carruthers & Mary Greensted Simplicity or Splendour, Cheltenham Museum, page 126 catalogue number 103 for an identical roundel. 422. Albert Sonneville a gilt bronze uniface portrait plaque of the artist, by Lucien Bazor, signed L Bazor 12.3cm. diam. £80-120 Lucien Bazor (1889-1973) from 1930 engraver at the Paris Mint

423

423. ‘George Frederick Watts (1871-1959)’ a uniface cast bronze portrait medallion, by Theodore Spicer Simpson, dated 1904, facing right with head slightly turned, the rim inscribed and dated, cast artists signature 12cm. diam. £300-400 This medal is extremely rare, Spicer Simpson also made an undated and slightly less rare medal which is illustrated in his posthumously published A Collection of Characters - Reminiscences of Theodore Spicer-Simpson. Literature International Exhibition of Contemporary Medals, 1910 American Numismatic Society, New York, catalogue page 319-322 for an example illustrated

424. Sir Alfred Gilbert RA, MVO, DCL (1854-1934) A bronze bust of George Frederick Watts, signed in the bronze A Gilbert ARA Sc 17cm. high ÂŁ4,000-6,000 Literature Richard Dorment Alfred Gilbert, Yale page 93 plate 50 for the full size bronze, 1888 in the Tate collection Richard Dorment Alfred Gilbert Royal Academy of Arts 1986 catalogue, catalogue number 25 for the original cast The bust of George Frederick Watts was commissioned by Mary Watts in a letter dated 1888. Watts, held in high professional esteem by Gilbert, sat some 18 times for the two foot high bust held in the Tate Gallery collection. The bust was also produced in this smaller version. Watts described the beauty of the realistic draped clothing which rebuffed the bathing-towel folds of modern sculpture. It is recorded that Sir Alfred Gilbert refused payment for the bust, and in return received a portrait of himself painted by Watts

425. Sir Alfred Gilbert RA, MVO, DCL (1854-1934) a rare dark bronze patinated circular portrait medallion of Matthew Ridley Corbet ARA, his bearded head to left wearing an open shirt, in octagonal wood frame, indistinct signature and date 1881 bronze 10.5cm. diam. £3,000-5,000 Literature Richard Dorment Alfred Gilbert, Yale page 37 plate 15 Richard Dorment Alfred Gilbert Royal Academy of Arts 1986 catalogue, catalogue number 38 page 132. this medallion was exhibited at the Royal Academy in 1886 Philip Attwood Artistic Circles, The Medal in Britain 1880-1918, page 8 for a reference to this medallion Mark Jones The Art of the Medal, London 1977, page 138 illustration no.373

425

This medalic portrait is one of the first sculptural pieces by Alfred Gilbert. The landscape painter Matthew Ridley Corbet (1850-1902), had moved to Rome in 1880 to be a pupil of Giovanni Costa and by January 1881 had a studio ‘just above Gilbert’s studio’. The plaster for this medal is now in the British Museum. Two examples of this bronze are known, this and a second in the collection of the Musee d’Orsay, Paris

426. Sir Alfred Gilbert RA, MVO, DCL (1854-1934) The Lawrence Memorial 22ct gold medal, cast and chased for St Bartholomew’s Hospital in memory of Sir William Lawrence, cast with a portrait of Sir William Lawrence almost full-face, within scrolled border, the reverse with a naked youth pressing through a shield, flanked by Wisdom and Science pointing to the Greek inscription ‘Ever to Excel’, awarded in 1898 to Thomas Jeeves Horder, in fitted case 5.5cm. diam. approx 100 grams £4,000-6,000 The Lawrence Memorial scholarship was awarded from 1873 with a medal being given from 1876. The medal was re-designed in 1897 by Gilbert and he oversaw in his studio the casting of the first four medals. Of these four two are known one of 18ct gold in the possession of St Bartholemew’s Hospital and this 22ct example which suggests it might be the first example exhibited at the Royal Academy in 1897. Sir Thomas Jeeves Horder, later Baron Horder of Ashford (1871-1955), the recipient of the medal, had a long and distinguished career in medicine, mostly at St Bartholomew’s Hospital and held Royal Appointments to three monarchs including Extra Physician to Elizabeth II. Literature Richard Dorment Alfred Gilbert, Yale page 252 plate 153 Richard Dorment Alfred Gilbert Royal Academy of Arts 1986 catalogue, catalogue number 41 colour plate page 95 for another example illustrated Leonard Forrer Biographical Dictionary of Medallists, Coin, Gem and Seal Engravers, London 1902-30, Volume II 263; Volume VII 371 Isabel Macallister Alfred Gilbert London 1929 plate 153 for the bronze larger and later example illustrated

426

427. Sir Alfred Gilbert RA, MVO, DCL (1854-1934) ‘Victory’ a bronze sculpture on a black veined spherical onyx base, with waisted bronze socle base unsigned 20cm.high £3,000-5,000 Literature Modern British Sculpture Royal Academy catalogue, page 108 for an illustration of the Jubilee Memorial of Queen Victoria, the original version of this figure is situated on the orb in her left hand Richard Dorment, Alfred Gilbert Royal Academy of Arts, 1986 page 129 catalogue number 34 for an example of this figure. Dorment explains that this figure was produced in several sizes in both bronze and silver and was a favourite present Gilbert gave to friends.

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428. ‘Frederick Leighton’ a plaster plaque, by Frederick James Halnon F.R.B.S, dated 1906, bust to left, in ebonised wood frame signed, dated and named in truncation in the cast 19 x 14cm. £50-100 Frederick Halnon, sculptor and modelling master, a pupil of Sir Alfred Drury, he exhibited at the Royal Academy from 1904. Halnon in 1906, showed a very fine Portrait plaque of Sir Frederick Leighton at the Royal Academy.

429. A bronze plaquette of Giosue Carducci (1835-1907) the poet and Nobel Laureate by Stefano Johnson, the poet modelled, in old age seated and holding walking stick, on ebonised wood mount, signed in monogram plaque 23 x 24cm. £80-120 Literature L Forrer Biographical Dictionary of Medallists, 1904-1930, volume VII, page 485

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430. ‘George Frampton’ a conte crayon drawing by Seymour Lucas RA, dated 1903, framed signed, and dated to my good friend.. in conte crayon image 28 x 25.5cm. £400-600 Provenance The Fine Art Society

431. An Elkington & co gilt bronze plaque, cast from a design by Leonard Morel Ladeuil, dated 1876, the well decorated with Cleopatra and her attendants, the border with a frieze of stiff leaf foliage and classical mask signed and dated in the cast and to the reverse, regd diamond 51cm. diam. £500-800

432. ‘Shakespeare’s Sonnet CLIV’ an electroplated metal charger cast from a model by Reginald E Arnold, dated 1934 signed and titled in the cast 43cm. diam. £200-400

432

433. A fine jade and bronze hand mirror by The Countess Feodora Gleichen, modelled with a female offering up two green enamelled snakes, before scrolling supports, the mirror frame set with moonstones and inscribed ‘Dico Sempre Verita Vecchia Ia E Belta’ ‘Of Age and Beauty I Speak Ever Truth’ unsigned 47cm. long £2,000-3,000 Literature The Studio Volume 13, 1898 page 264 an identical example with turned ivory handle illustrated. This example was illustrated at the Dutch Gallery exhibition of the Society of Medallists alongside work by Alfred Drury and Charles Ricketts The Countess Gleichen won a bronze medal at the Paris Exposition Universelles, 1900 for a bronze and jade hand mirror

434

435 434. A patinated bronze bust of a woman, looking to her right, her hair tied in a bun unsigned 42cm. high £600-800

435. ‘Dejanire’ a gilt bronze bust, cast from a model by Haudry, dated 1900, with Louchet foundry stamp on rectangular plinth cast signature, foundry mark and date 30.5cm. wide £600-1,000 436

436. A patinated bronze bust of a woman, cast from a model by Raoul Larche, signed in the bronze 37cm. high £600-900

437. ‘Charity’ an Art Union of London patinated bronze sculpture, by Phoebe Stabler, dated 1907 signed and dated in the cast 25cm. high £2,200-2,500 437

438. A rare Barnard, Bishop and Barnard cast iron Chrysanthemum pattern chair, designed by Thomas Jeckyll, the back cast with radiating chrysanthemum stem panels above Barnard, Bishop and Barnard Bee rebus, with flaring reeded legs with scroll feet, painted in shades of black, green and gilt with traces of white, with mahogany seat signed in the casting, repaired back 84cm. high ÂŁ8,000-12,000 Literature Susan Weber Soros and Catherine Arbuthnott Thomas Jeckyll Architect and Designer 1827-1881 BGC Yale page 232 figure 6-86 for a comparable example of the Chrysanthemum back chair painted green. Stephen Calloway The Cult of Beauty V&A, page 36 plate 27 for a comparable example of the Hydrangea back illustrated and exhibited at the V&A exhibition. The chair back was available in five variations according to Barnard, Bishop and Barnardâ&#x20AC;&#x2122;s catalogue of 1878 - Chrysanthemum, Rose, Hydrangea, Honeysuckle and Shell. the designs were also used for the cresting for their Philadelphia Centennial Exhibition, 1876.

439 detail

439. An Aesthetic Movement three fold screen, each panel with printed silk golden pheasants amid pine cone boughs, the frame with central carved and pierced sunflower panel, each corner with carved flowerhead and inlaid and painted borders unsigned 160cm. high £300-500

440. An Aesthetic Movement ebonised wood wall bracket shelf with carved roundel designs unsigned 32cm. high £80-120

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441. A large ebonised wood wall bracket, with rectangular marble tablet unsigned 40cm. high £80-120 440

441

442

442. An Aesthetic Movement patinated iron fender and fire dogs, in the style of Dr Christopher Dresser, with scrolling foliate design indistinct regd diamond to fire dogs fender 105cm. wide £200-300

443. An oak rush seated sofa and two armchairs, in the manner of Richard Norman Shaw, turned legs and carved decoration unsigned 138cm. wide £150-200 443

444. A William Watt Anglo Persian oak sideboard with pierced and mirrored back over twin drawers applied enamel label 122cm wide, 175cm. high £500-600

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445. An Aesthetic Movement ebonised wood occasional table, rectangular section, with cupboard with hinged door decorated with painted bird and blossom panel unsigned 71cm. high £200-300

445

446

446. An Aesthetic Movement ebonised wood fire screen, in the manner of Dr Christopher Dresser, unsigned 106.5 cm. high £50-80

447. An Aesthetic Movement ebonised mahogany bureau bookcase designed by Henry William Batley, turned wood legs and supports with painted floral panel decoration, with galleried pediment, shelved and eight drawers, above fall front writing surface, over a pair of cupboard doors, with brass furniture unsigned 191cm. high, 103cm, wide, 48cm. deep £1,000-2,000 Provenance Richard Dennis A drawing of a similar bureau bookcase is in the collection of the Westminster City Archive, London 447

448

449 448. A mahogany drop leaf table, in the manner of E W Godwin, oval top, with turned slender legs and hinged supports, single concealed drawer unsigned 67cm. high, 90cm. wide £200-250

449. A Pair of Morris & Co ebonised wood chairs, turned legs with turned bobbin back, cane seat unsigned 92cm. high £600-800 450

451

450. An Aesthetic Movement mahogany occasional table, probably retailed by Liberty & Co, rectangular top, with flaring turned legs, and spindle supports for rectangular shelf unmarked 67 x 40 £100-200

451. An ebonsied wood wash stand, the design attributed to E W Godwin, turned tripod legs, with triangular top unsigned 66.5cm. high £150-250

452. An Aesthetic Movement ebonised wood side board, with inset mahogany shelves, with pierced and painted gilt rails, painted panels paper labels to reverse 177cm. high £500-700 452

453

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453. A walnut club chair, probably designed by E W Godwin, the curved back with turned bobbin spindles, upholstered in green velvet unsigned 71cm. high £600-800

454. A mahogany armchair, the design attributed to E W Godwin, curved fret back, turned legs unsigned 87cm. high £200-300

455. A Gillows mahogany chair, with turned urn shaped back under arched and foliate cut out, reeded columns, white linen seat stamped Gillows 96cm. high £200-300

456. An Aesthetic Movement ebonised wood occasional table, after a design by E W Godwin, square top and shelf with turned bobbin rail, on four tapering slender legs applied enamel label for Trevor Page & Co 64cm. high £250-350 457

457. An oak Anglo Japanese occasional table, probably designed by E W Godwin, square section with geometric stretchers to shelf, on four shaped legs unsigned 68cm. high £700-900

458. An ebonised wood wall cabinet, the design attributed to E W Godwin, with brass furniture and glazed, hinged doors unsigned 84cm. wide, 60cm.high £250-350 Literature Susan Soros The Secular Furniture of E.W.Godwin, Yale, page 211 plate 336.1 for an original drawing for a corner cabinet, with identical leaded light design. 458

459

460

461 459. An ebonised wood chair, designed by E W Godwin, with turned front legs and back splats unsigned 82cm. high £400-600

460. An ebonised wood rush seated Rossetti chair, possibly retailed by Morris & Co, unsigned 88cm. high £150-200

462

463

461. An Aesthetic Movement mahogany wall shelf, with turned bobbin base rail, the back inset with four painted honeysuckle and mistletoe panels unsigned 71cm. wide £100-150

462. A walnut armchair, designed by E W Godwin, turned front legs and ladder back unsigned 85cm. high £250-350

463. An Aesthetic Movement ebonised wood low chair, with turned wood back splats and applied leather band, unsigned 82cm. high £150-200

464. An ebonised ash Rossetti settle, probably Morris & Co, the design attributed to Dante Gabriel Rossetti with rush seat unsigned 137cm. wide £1,000-1,500

464

465. An Aesthetic Movement mahogany occasional table, square section top with flaring turned legs, supporting square shelf unsigned 70cm. high, 43cm. square top £80-120

466. A Liberty & Co mahogany occasional table, circular tray top with turned legs, supporting shaped shelf stamped Liberty & Co 69cm. high £150-250 465

466

467. A Lamb of Manchester carved and inlaid walnut and ebony Art sideboard, central glazed cabinet flanked by twin shelf compartments, surmounted by double drawer and shelf on carved bracket, with shelf and broken pediment above, carved with symbols of Art and Architecture, the panels attributed to Albert Moore stamped Lamb Manchester 40403, small circular plaque inscribed J.A.S. Lamb John Dalton Street, Manchester, 151cm. high, 157.5cm wide ÂŁ10,000-15,000 This cabinet was possibly exhibited at the Paris 1878 exhibition where Petit & Cie were able to photograph the panels, reproduced in the Art Journal 1887. Literature The Cabinet Maker and Art Furnisher, London 1st July 1887 page 12 The Art Journal - The Jubilee Edition, 1887 page 210-214 for an article by Lewis F Day

468 468. A Gothic Revival oak secretaire, the design attributed to Charles Bevan, with incised foliate design and inlaid ebony detailing unsigned 110cm. high, 122cm. wide £400-600

469. A Gothic Revival oak towel rail, simple Gothic arch terminals unsigned 76cm. high £80-120 469

470

470. A set of six Gothic Revival oak dining chairs the design attributed to G E Street, with carved geometric foliage panels, on casters unsigned 90cm. high £150-200

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471. A Gothic Revival stained pine desk, in the manner of Augustes Welby Northmore Pugin, on casters unsigned 91cm. high £100-200

472. A Gothic Revival oak hall gong, with carved trefoil decoration, unsigned 95cm. high £100-200

473. An Arts and Crafts three fold screen set with Morris & Co Lily and Rose textile panels unsigned 153cm. high, 126cm. wide £300-500 473

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474. A set of four Arts and Crafts oak chairs, probably William Birch, turned wood legs with bun feet, the back with wood elliptical medallion decoration, replaced seat unsigned 98cm. high £50-100

475. A William Birch oak carver chair, with turned legs and rush seat unsigned 105cm. high £150-250

477

476. An Arts and Crafts mahogany table, in the manner of William Birch, turned legs and circular top unsigned 71cm. high, 60cm. diam. £50-100

478 477. A William Birch oak desk, rectangular top, with desk slide and bank of two drawers, on turned legs unsigned 72cm. high, 96cm. wide £100-200

478. A Morris & Co mahogany settle with padded seat, with woven cane back stamped JM 135cm wide, 86cm. high £800-1,200

479. A large Anglo Persian sideboard with pierced gallery, mirrored back above three drawers, on turned feet unsigned 199cm. wide, 234cm. high £600-1,000 479

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481

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483

480. An oak hall chair, probably by Shapland & Petter, rush seated with heart shaped cut out to back, unsigned 101cm. high £80-120 Literature Daryll Bennett Shapland & Petter of Barnstaple page 63 plate 4.4 for a comparable chair

481. A pair of walnut chairs, designed by Bruce Talbert, with turned pierced back, hair padded seats unsigned 81cm. high £150-250

484

485

482. A Waring & Gillow oak dresser, with open plate rack, brass and painted metal handles, applied metal label 166cm. high, 116cm. wide £160-180

483. An oak mantle mirror, in the manner of Shapland & Petter, rectangular pierced frame, with marquetry Art Nouveau flower stem motif unmarked 112 x 72cm. £300-400

484. An oak tile topped table, possibly Wylie & Lochhead, rectangular with flaring plank legs unsigned 71cm. high £200-300

486

487

485. An Arts and Crafts oak occasional table, probably retailed by Liberty & Co, hexagonal top with twisted legs and circular lower shelf unsigned 73cm. high £150-200

486. A mahogany display cabinet, with leaded glazed doors, inset with marquetry flower sprays unsigned 170cm. high, 82cm. wide £600-800

487. An oak glazed book shelf, the glazed door flanked by reeded columns, with inlaid marquetry and steel flower stem decoration unsigned 182cm high, 97cm. wide £400-600

488. An oak buffet sideboard, in the style of Shapland & Petter, with marquetry and metal inlaid foliate panels, with copper furniture unsigned 152cm. wide, 128cm. high £400-600 488

489

490

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492

489. An oak wall mirror, rectangular section, inlaid with marquetry bird, spade and flower stem motif, unsigned 78cm. wide £200-400

490. A marquetry panel, rectangular form with a lady reading in an Italian landscape unsigned 65 x 39cm. £80-120

491. A Shapland and Petter oak hall chair, the splats in the back with cut-out heart motif, below copper panel unsigned 96cm. high £200-300

492. A Shapland & Petter marquetry mahogany two fold screen, decorated with stylised peacock panels inset with abalone shell eyes unsigned 94cm. high £700-900

493

Literature Daryll Bennett Shapland & Petter of Barnstaple page 99 plate 6.4 for a comparable screen

493. An oak sideboard, with mirror back, patinated metal furniture unsigned 170cm. high, 122cm. wide £300-400

494. A large Shapland & Petter oak buffet sideboard, with large copper panel to the back, stamped in relief with foliate design, patinated copper furniture stamped S & P B to locks 180cm. high, 152cm. wide £1,000-1,500 494

496 495. A Glasgow School fireplace, possibly Wylie & Lochhead, with small green glass glazed cabinet, copper and steel fireplace with scroll decoration, together with green glazed ceramic tile border unsigned 150cm. high, 147cm. wide, the copper fireplace 115cm. high £400-600 495

496. A mahogany wall shelf the design attributed to Gustav Siegel, pierced secessionist back panel unsigned 78cm. wide £100-200

497. 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

498. A Glasgow School ebonised wood plant stand, tapering square form with cut out circle decoration unsigned 100cm. high £80-120

497

499. A J & J Kohn bentwood armchair the faux leather seat with Art Nouveau flower stems, impressed marks, paper labels to underside of seat 92cm. high £80-120

498

499

499 mark

500. A Marsh & Jones reclining armchair designed by Charles Bevan, mahogany with ebony inlay, the upholstery designed possibly by Lewis F Day, adjustable back and seat pierced and chamfered X form sides, the feet with castors unsigned 90cm. high £2,000-3,000 Provenance Richard Dennis Esq. Literature The Best of British - The Auction Sotheby’s/Paul Reeves 20th March 2008 lot 15 for a comparable example Jeremy Cooper Victorian and Edwardian Furniture and Interiors, London 1987 figure 267 for a similar design

501. A carved oak arm chair, the design attributed to Walter Cave, carved fruiting bough to the back splat, with padded seat unsigned 137cm. high £200-300

500

502. An oak hall table by Peter Waals, rectangular top with flaring sleigh feet and plank stretcher unsigned 152 x 74cm.. £2,000-3,000 Literature J C Rogers Modern English Furniture, Country Life page 179 this design illustrated

503. ‘Modern English Furniture’ a book by J C Rogers A.R.I.B.A, published by Country Life 1930 £100-150 501

503

502

504

505

505A

506

507

504. A Keswick School of Industrial Arts copper and wood three fold screen, possibly designed by Harold Stabler, the panels repousse hammered with St George and the Dragon, a central foliate panel and a figure with a Lion, below inscription ‘Kindness is the Noblest Weapon’, stamped KSIA marks £1,000-1,500 Literature Ian Bruce The Loving Eye and Skilful Hand, Bookcase page 55 plate 38 for a comparable, simpler version of the screen - attributed to Harold Stabler and exhibited at the Home Arts and Industries Exhibition, 1902

505. A Keswick School of Industrial Arts two fold screen, possibly designed by Harold Stabler, each set with copper panels decorated with pomegranate sprays stamped KSIA mark 124cm. high £500-800 Literature Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts Bookcase, page 55 plate 38 for a comparable three fold screen

508

505A. An oak umbrella stand, with dowelled joints and lead drip tray unsigned 63cm. wide £150-200

506. An Alan Acornman Grainger oak, glazed corner cupboard, with carved signature 91cm. high £300-500

507. An oak lamp base, in the manner of Charles Francis Annesley Voysey, tapering cylindrical form on square foot unsigned 114cm. high £200-300

509

508. A Bowman Brothers walnut cabinet, with inlaid amboyna and abalone shell flower panels, single drawer above twin, hinged doors, with bakelite handles applied ivorine label to drawer 105cm. high, 83cm. wide £300-400

509. A pair of Gordon Russell teak armchairs, designed by W H Russell, with three vertical splats to the back, unsigned £80-120

510

510. A pair of oak curved benches, in the manner of Heal’s, unsigned 130cm. wide £400-500

511. A Heal’s oak bedside cupboard, single drawer above cabinet door, inset ivorine label to drawer 82cm. high £250-300

512. A limed oak lamp base, probably retailed by Heal’s, spherical form on octagonal stepped base unsigned base 15cm. high £100-200 511

512

513. A Heal’s black painted student desk, with bank of four drawers, the top inset with white writing leather, applied Heal’s button label to drawer 100cm. wide £300-500

513

514. A large Heal’s oak wardrobe, central mirrored door flanked by cupboards, above drawers on turned legs, below flaring cornice, applied metal label 202cm. wide, 197cm. high. £1,000-2,000

514

515. A Gordon Russell oak dining table, rectangular plank top unmarked 152 x 85cm. £1,000-1,500

515

516

517 516. A blue print design for a wall sconce by Ernest Gimson signed in the print Ernest W Gimson 44.5 x 26cm. £1,000-1,500 Provenance Alfred Grey Gimson Literature Ernest Gimson His Life & Work, plate 44 this design illustrated

517. A blue print design for a wall sconce by Ernest Gimson, faint signature 37 x 25cm. £500-800 Provenance Alfred Grey Gimson Literature Ernest Gimson His Life & Work, plate 43 this design illustrated

518. A rush seated ash ladderback chair, designed by Ernest Gimson, 111cm. high £600-800 518

519. An oak chest of drawers designed by Ernest Gimson, on sleigh feet, two short drawers above three full length drawers, with brass loop handles probably by Alfred Bucknell, with wide dovetailed joints unsigned, 90cm high, 99cm wide ÂŁ5,000-7,000 Literature Cheltenham Museum & Art Gallery Gimson & Barnsley catalogue number 1941-222-491 for the original design for this chest

520

521

522 520. A Bath Cabinet Makers weathered oak cabinet, 2 hinged doors above twin drawers, the doors with carved flower motif, on six legs unsigned 119cm. high £300-500

521. A set of Peter Hensman oak graduated tables, rectangular tops, stamped P Hensman 51cm. high £200-400 Provenance Alfred Grey Gimson

522. A Stanley Webb Davis oak side table, by Brian L Rickett, rectangular top with chamfered square legs, dowelled joints incised monogram, dated 1942, 51 x 38cm. £400-600

523 523. A mahogany chair originally designed by Charles Rennie Mackintosh for Hous’hill, the shaped back with vertical splats, with circular medallions, drop in seat unsigned 120cm. high £800-1,200 Literature Wendy Kaplan Charles Rennie Mackintosh, Abbeville Press, page 331 full page illustration of the original chair This chair was originally designed in 1904 for the drawing room at Hous’hill

524. An Edward Barnsley Workshops pedestal desk, the rectangular top on two pedestals of three and four drawers, and open trays, inset green leather, with Beardmore locks, unsigned 137 x 69cm. £800-1,200 524

MetAlWAre

525

526

527

528 part

525. An Aesthetic Movement electroplated pedestal dish, attributed to Gilbert & Spurrier Ltd foliate form, decorated with hanging Chinese lanterns, and an electroplated tray decorated with chysanthemum stamped marks to second dish 28cm. wide £100-150

526. A pair of copper and brass candlesticks, the turned brass column supporting copper floriform drip pan, and another pair of copper candlesticks unsigned 20cm. high £100-150

527. A brass hall lantern, tapering square section, with glass panels unsigned 23cm. high £80-120

528. Seven scrolling iron wall lights, with wooden wall plates, the hanging light with various clear glass shades, six pea moulded and one cut glass unsigned 25cm. deep £200-400

529. A pair of wrought iron wall lights, the scrollwork supports cylindrical strap lights with vaseline glass shades, on chains unsigned 59cm. high £600-1,000 529

530

531 530. A patinated brass hall lantern, tapering hexagonal form, with glass panels unsigned 23cm. high £80-120

531. A brass three branch ceiling light with frosted glass shades unsigned 31cm. wide £100-200

532

532. A wrought iron and copper hanging light, circular section, the iron framework set with copper leaf motif and border, with hanging rod and ball fringe unsigned 57cm. high £200-300

533. A Benham & Froud Aesthetic Movement brass table, the tray top stamped with a star design, on central column flanked with tripod scrolling supports and further scrolled feet concealed stamp mark to underside 73cm. high £150-250 533

534

535

536

537

534. An American Aesthetic Movement Reed & Barton electroplated three piece tea set, cast in low relief with flower spray panels, comprising teapot and hinged cover, hot water pot and hinged cover and a sugar basin and cover stamped marks, 20cm. high £50-100

535. A copper and brass shield wall panel, circular, the central panel with an image of Psyche, inside a border of foliate panels unsigned 47cm. diam. £150-200

536. A copper and vaseline glass hall lantern, possibly retailed by Liberty & Co, the cylindrical vaseline glass shade inside strapwork bands set with heart panels, below flaring top unsigned 47cm. high £400-600 538 537. A large copper hall lantern, octagonal, tapering frame with rivet decoration, with clear glass panelled shade unsigned 33cm. diam. £150-200

538. A Margaret Gilmour brass charger, the well inset with a Ruskin Pottery medallion, the rim hammered in relief with entrelac and roundel motif stamped MG monogram 37cm. diam. £400-600

539. A Glasgow School brass frame by Marion Henderson Wilson, shaped rectangular form, cast in low relief with stylised trees, on easel back stamped M H Wilson signature, 31cm. high £1,200-1,500 Literature Jude Burkhauser Glasgow Girls, page 106 figure 135 for a comparable tin triptych entitled Rose Trees, in the Glasgow Museums collection

539

540. A Fivemiletown, Ireland, brass tray probably by John Williams, hammered in low relief with two facing peacock perched amidst a fruiting pomegranate tree, a large Celtic revival tray and a copper chamberstick, chamberstick stamped Youghal A.M.W, tray 53 x 35cm. £300-500 Literature Paul Larmour The Arts and Crafts Movement in Ireland, FBP, page 42 an original photograph of the Fivemiletown stall at the Home Arts exhibition, 1897 displaying a comparable peacock panel 540

541

542

543

544

541. A wrought iron fire grate, with pierced flower stem terminals unsigned 47cm. high £200-300 542. An Aesthetic Movement cast iron fireplace, in the style of Barnard, Bishop and Barnard, cast in low relief with geometric panels of flower mon unsigned 97cm. high, 92cm wide £200-300 543. An Aesthetic Movement brass pricket candlestick, cast in low relief with geometric borders on four cast bun feet unsigned 25cm. high £80-120 545

544. A pair of Aesthetic Movement stamped brass door plates, rectangular, with stems of fruiting pomegranate unsigned 30 x 7.5cm. £100-200

546

Provenance Grims Dyke House, the home of W S Gilbert (from Gilbert & Sullivan) which was designed by Richard Norman Shaw in 1872. 545. A set of Aesthetic Movement Benham & Froud brass fire tools, with ebonsied wood handles, comprising shovel, poker, tongs and brush on a tripod stand stamped mark to base 48cm. high £250-350 547

548

546. A pair of brass fire dogs, in the manner of Thomas Jeckyll, cast with flowerhead decoration before cast lattice design unsigned 20cm. deep £80-120 547. An Aesthetic Movement electroplated basin and cover, modelled with hinged flowerhead cover, the body stamped in relief with daffodil flowers, on tripod foot stamped marks 25cm. high £80-120

549

550

548. A pair of bronze Aesthetic Movement bronze candlesticks, each cast as a dragon , with foliate sconce stamped BBB to feet and tail 19cm. high £100-200 549. An Aesthetic Movement electroplated three piece tea set, comprising; tea pot and cover, milk-jug, sugar basin and cover, angled shape, cast in low relief with chrysanthemum and butterfly panels unsigned teapot 10cm. high £100-200 550. An Aesthetic Movement electroplated tea kettle, cast in low relief with Japoniste flower panels, with wicker handle unmarked 11cm. high £80-120 551. A pair of patinated brass Gothic Revival wall lights rope twist scrolling stem with hinged wall bracket and scrolling wirework decoration unsigned 52cm. wide £50-100

551 part

552

552A

553

552. A W.A.S Benson copper tray, slender elliptical form with scrolled back handles unsigned 48cm. wide £150-200

552A. A W.A.S Benson electroplated metal twin-handled pan and cover, the cover with bakelite finial, and a Hukin & Heath electroplated metal basket stamped marks to both 24cm. wide £50-100

553. A W.A.S Benson copper and brass candlestick, ovoid counterweight, scroll stem with bronze sconce stamped WAS Benson to sconce 34cm. wide £300-400 554

554. A W.A.S Benson copper and brass oil lamp, on four arched feet, foliate copper pan below ball and reeded column, with Hinks & Son’s fitting unsigned 50cm. high £500-800 Literature Ian Hamerton, W.A.S Benson, Arts and Crafts Luminary and Pioneer of Modern Design, ACC publishing, page 248-249 plate 1 model 96 for a comparable copper stem, plate 7 model 383 for a comparable cruciform foot.

555. A W.A.S Benson copper and brass jardiniere, the copper bowl of foliate form on tripod stem and flaring angular quadruped foot unsigned 87cm. high £800-1,200 Literature Ian Hamerton W A S Benson Arts and Crafts Luminary and Pioneer of Modern Design ACC Publishing page 90 plate 63 for a silvered example illustrated 555

556. A W.A.S Benson copper and brass chamberstick, the copper, curved backplate stamped in low relief with a flower panel designed by Heywood Sumner, unsigned 22.5cm. high £300-400 Literature Ian Hamerton W A S Benson Arts and Crafts Luminary and Pioneer of Modern Design ACC Publishing page 125 plates 101 and 101A for an example illustrated 556

557

558

561

562

559

563

560

564

557. An Art Tree marquetry panel, in gesso gilt frame applied Art Tree label 75 x 50cm. £60-100 558. ‘Maple Durham Watermill on the Thames’ a marquetry panel, possibly retailed by Rowley & Sons, framed unsigned 79 x 64.5cm. £100-200 559. A Rowley Gallery, Kensington marquetry panel, decorated with a horse drawn carriage before thatched cottage landscape, framed stamped mark bottom right corner 50 x 35cm. £100-150 560. A pair of panels each printed with a classical figure inside ivy leaf borders unsigned 101 x 36cm. £50-100 561. A patinated bronze model of a lion, unsigned 43cm. wide 565

£80-120

566 562. An incised and stained wooden bowl, decorated with Nordic grotesque and foliate designs, below inscription to top rim unsigned 22.5cm. diam. £80-120 563. A Robert ‘Mouseman’ Thompson oak cheese board, oval with carved mouse motif, and another similar, 37cm. wide £50-150

567

564. A Robert ‘Mouseman’ Thompson oak ashtray, with carved mouse signature 10cm. wide £50-80 565. A brass wall/desk lamp, in the style of W.A.S Benson, tapering tripod base, with one hooked foot for wall hanging, central adjustable stem unsigned 38cm.high £60-100 566. 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 £150-200 567. A marquetry inlaid oak wall mirror, possibly retailed by Liberty & Co, rectangular inlaid with single tulip flower stems, unsigned 83 x 52cm. high £100-200 568. A Japanese marquetry table top cabinet, five various drawers and open display shelf, unsigned 37cm. high, 36cm wide £100-200

568

569

570

571

572

573

569. A John Pearson patinated copper book cover, repousse hammered with a reflective figure resting beside a fire, before the setting sun, above perched on a branch a large owl unsigned 17 x 10.5cm. £200-300

570. A copper box by John Pearson, rectangular form, the hinged cover hammered in relief with a flower head roundel, the front with two stylised flower stems stamped JP 1899 21cm. wide £300-500

571. A patinated copper and oak firescreen, the copper panel stamped in relief with a galleon at full sail unsigned 77cm. high £300-500

574

572. A John Pearson copper charger, repousse decorated with grotesque creatures to the rim, the well with intertwined dolphin roundel incised J Pearson 1899, 37cm. diam. £300-500

573. A John Pearson copper and cedar book shelf, repousse hammered with a lizard creature, each end decorated with a fox-like creature unsigned £300-500

574. A pierced, patinated copper panel, probably retailed by Liberty & Co, hammered in low relief with facing birds before cypress trees, stylised foliage and a pomegranate fruit unsigned 60cm. wide £600-800 575 575. A patinated copper firescreen panel by John Pearson, repousse hammered with a large and small fish around central elliptical form, inside wrought iron frame stamped JP mark 65 c 56cm. £200-400 576. A good John Pearson patinated copper casket, rectangular with hinged cover repousse hammered with flowers amongst scrolling foliage stamped J Pearson 1891 21cm. wide £600-1,000 576

577

578

579

577. A large copper wall mirror, oval, cast in relief with a frieze of berried foliage, and two smaller unsigned 83cm. wide £250-350

578. A brass charger, decorated to the well with a stylised flowerhead motif, the rim a border of scrolling foliage unsigned 48cm. diam. £80-120

580 579. A brass brush set, comprising large wall plate stamped in low relief with a parrot perched amidst foliage, and two hanging brushes, each with foliate panels unsigned panel 40cm. high £50-150

580. A pair of easel back picture frames, each, carved square form applied with aluminium foliate frieze unsigned 24cm. square £200-300

581

581. A pair of black patinated wrought iron candlesticks, in the manner of the Artificers Guild, unsigned 26cm. high £700-900

582. A patinated copper planter, possibly retailed by Liberty & Co, ovoid with everted rim, set with Ruskin ceramic roundels to the side and top rim, hammered finish unmarked 16cm. high £500-700

583. ‘Hasten Slowly’ a stained cedar wood and pewter mantle clock, rectangular with over-hanging mantle and arched supports, with applied pewter front cast in low relief with Arabic numerals and inscribed ‘Hasten Slowly’, unsigned 29.5cm. high £700-900

582

Provenance Classic Arts and Crafts, Christie’s South Kensington 2nd November 2000 lot 186

584. A copper wall clock, the shaped rectangular panel decorated with berried foliage sprays, with stamped Arabic numerals unsigned 37cm. high £500-800 583

584

585

589

586

587

590

591

588

592

585. A Glasgow School patinated copper tray, rectangular, stamped with a frieze of stylised rose stems unsigned 58 x 42cm. £100-150 586. A Newlyn copper twin-handled vase, tapering cylindrical form, with applied strap handles, repousse hammered with a shark amongst seaweed to either side, with rivet decorative borders stamped Newlyn to base 24cm. high £450-550 587. A Newlyn copper rose bowl and cover, repousse hammered with a frieze of apples, stamped to the side Newlyn 21cm. diam. £300-400 588. A Newlyn copper spill vase, cylindrical form repousse hammered with two fish between scalloped borders, with rivet seam, stamped Newlyn to side 14.5cm. high £150-200 589. A Newlyn patinated copper box and cover, rectangular with hinged cover, the cover and front hammered in relief with tulip stems, cedar-lined, stamped Newlyn 15cm. wide. £350-400 590. A pair of Newlyn copper candlesticks, cylindrical on domed feet with flaring sconce and drip pans, the stems repousse hammered with a diving fish amongst waterweed, with riveted seam column stamped Newlyn to bases 25.5cm. high £800-1,000 591. A copper panel in the manner of the Guild of Handicrafts, mounted as a book cover, low relief decorated with two peacocks before fruiting pomegranate unsigned panel 25 x 20.5cm. £150-250 592. A copper charger by J Kenyon, repousse hammered with a frieze of wild cats amongst foliage, the well with two stylised birds applied roundel stamped J Kenyon 1898 44cm. diam. £300-500 593. A large Gordon Russell Lygon brass Zodiac bowl, probably made by George Hart, with inverted rim on three domed feet, hammered and chased with signs of the Zodiac frieze stamped Lygon 36cm. diam. £3,000-5,000

593

594

595

596 594. A silver footed bowl, shaped rim, on four modelled, floriform feet stamped marks, London 1930, makers mark rubbed £80-120

595. A James Weir silver pedestal bowl, domed foot with tripod stem supporting hammered bowl, stamped marks 1907 16cm. high £250-350

597

598

596. An Austro-Hungarian silver tray, twin-handled ovoid form the rim stamped with geometric panels stamped marks, 30ozs, 57cm. wide £600-700

597. A Continental copper twin-handled vase, baluster form, stamped in relief with panels of flowers and foliage, and another single-handled copper vase decorated with Art Nouveau repeat stamped mark and inscription to neck of main 27cm. high £100-200

598. A Hamburg American Clock Company Secessionist clock, rectangular oak body with applied silvered brass and glass panels impressed 13 and crossed arrows mark, 36.5cm. high £300-500

599

600

599. A Dryad, Lester copper footed bowl, hammered form with rope-twist rim, and a Gebruder Bing Secessionist kettle on a stand stamped marks 20cm. diam. £100-150

600. A Rathbone copper vase, by Harold Rathbone, flaring hammered form, stamped Rathbone 103 to brass weight on base 16cm. high £80-120

601. ‘Outside the Tavern’ and ‘In a Persian Garden’ two enamel plaques by Lucy E Pierce, dated 1954, signed, titled and dated to the reverse in pen largest panel 19 x 10.5cm. £400-600 Literature The Studio Volume 50, 1910 Lucy Pierce had two designs illustrated on page 303 in an article on the National Competition of Schools of Art, 1910 where she won a gold medal 601

602 602. A pair of Architectural water hoppers, in the style of C F A Voysey, dated 1902 with simple heart motif decoration, painted red unsigned 74cm. wide £600-800 Literature The Best of British Design from the 19th and 20th Centuries Sotheby's 20 March 2008 page 42 lot 24 for a rain hopper made by Thomas Elsley & Co designed by C F A Voysey for comparison.

603. A copper, brass and vaseline glass shade, in the manner of W.A.S Benson, cylindrical vaseline glass shade, flanked with scrolling brass supports,, with copper floral top unsigned 46cm. high £350-450

603

604

604. A Benham & Froud brass oil lamp, stamped mark to one foot and base of reservoir 43cm. high £300-500

605. A Birmingham Guild of Handicrafts copper and brass tray, oval section, applied with turned brass handles, stamped BGH, 53cm. wide £200-300 605

606

609

607

610

611

608

612

606. A Keswick School of Industrial Arts Staybrite caddy spoon, hammered finish, stamped marks 6.5cm. long £60-100 607. A silver mounted ceramic brooch, probably Ruskin, and a silver mounted blister pearl brooch indistinct marks 3cm. wide £80-120 608. An A E Jones silver jam spoon hammered heart-shaped bowl, the terminal two leaf motif, stamped marks Birmingham 1925 14cm. long £50-100 609. A continental white metal cigarette case and vesta case, stamped in relief with geometric foliate panel, in fitted case, stamped marks, the case for Orfevrerie d’Art Miele & Co case 9cm. high £80-120 610. A pair of Aesthetic Movement white metal earrings, in the style of Thomas Jeckyll, scrolling wirework decoration, unsigned 7cm. high £50-150 611. An Aesthetic Movement silver card case, rectangular, hinged form, decorated with an owl perched before a crescent moon roundel, before bamboo stems, and a card case similar stamped marks, D & N 1893 for the cigarette case 9.5cm. high £200-300 612. A Sibyl Dunlop silver tea strainer, with rope twist border, set with rope twist border and amber glass stone stamped mark London 1926 16.5cm. long £200-300 613. A William Hutton & Sons silver hand mirror, designed by Kate Harris, cast in low relief with radiating flowers and foliage stamped marks, London 1902, 31cm. long £600-900 614. A rare Bernard Cuzner silver four piece tea and coffee service on an oval tray, comprising; tea pot and hinged cover with ebonised wood handle and finial, coffee pot and hinged cover with ebonised wood handle and finial, milk-jug and sugar bowl, each decorated with a stamped band of square geometric decoration, with chased berried foliage stems, and applied rope twist borders and decoration to handles with engraved initials TPC the tray with dedication to Thomas Philip Chatwin November 4th 1920 stamped marks, Birmingham 1920 tray 45cm. wide £5,000-6,000

613

Literature The Studio 1921, reproduced 20s Decorative Art a source book by Charlotte & Peter Fiell, Taschen page 411 this actual coffee and milk-jug illustrated

614

615 mark

615

616

615. An embossed leather stick stand, the design attributed to the Guild of Handicrafts, decorated in low relief with medieval figures in a garden setting stamped with GH and galleon roundel 36cm. high £50-150

616. A Guild of Handicrafts silver jug, probably designed by Charles Robert Ashbee, footed form with applied wirework handle, hammered finish, the foot with alternate stud and chrysoprase design stamped G of H Ltd London 1906, 9.5cm. high £200-300

617. A silver necklace the design attributed to Charles Robert Ashbee and executed by the Guild of Handicraft, cast with a rose and foliage sprays, set with garnet stone and drop unsigned 6cm. high £1,000-1,500

617

Literature Elyse Zorn Karlin Jewelry & Metalwork in the Arts and Crafts Tradition, page 40 for a comparable necklace

618. An electroplated metal muffin dish and cover, after a design by Charles Robert Ashbee, hammered finish, the wirework finial with red stone terminal unmarked 24cm. diam. £800-1,200 618

619

620

623

621

624

625

622

626

619. An Aesthetic Movement French triptych mirror, the faux bamboo frame with twin doors decorated with Japanese figures in a garden landscape watching two wading cranes stamped patented 1878 to clasp lock, 27.5cm. high £100-200 620. A Camile Faure, Limoges enamelled metal flower vase, slender baluster form enamelled with mistletoe sprays and spiders web, painted C Faure, Limoges 18.5cm. high £100-200 621. A Continental Secessionist white metal cutlery set, comprising knife, fork, spoon, butterknife and a cake fork, each handle with whiplash berried sprays cast in low relief in silk-lined presentation case stamped marks to spoon 18.5cm. wide £100-200 627

628

622. ‘Chrysanthemums’ an Art Nouveau patinated spelter figure of a maiden, holding a large single flower bloom in one hand, the other arm raised up applied title plaque 48cm. high £50-100 623. A Gramm silver knife, fork, spoon and knife rest, designed by Josef Maria Olbrich, stamped marks £250-350 624. An Austrian patinated bronze model of a owl perched on a book, the book cover hinged to form a compartment, with applied glass eyes stamped Geschutzt, 27cm. high £200-300 625. An Art Nouveau pewter candlestick, cast from a model by Ch Perron, signed in the cast 21cm. high £80-120 626. A William Gilbert mantle clock, tapering architectural form, applied with three gilt metal bats, applied paper label 27.5cm. high £50-80 627. A Russian silver and enamel hand mirror, the back cast in low relief with cyclamen stems, enamelled purple, stamped marks 900 22cm. long £300-500

629

630

628. A Thune, silver and enamel vase, hammered finish, cast in low relief and enamelled in shades of red, green and yellow with Secessionist geometric panels, inscribed stamped Thune 830 S 14cm. high £100-200 629. A pair of patinated copper candlesticks, tapering square section, with panel and rivet decoration, circular sconce unsigned 26.5cm.high £80-120 630. An electroplate bud vase, made for Miss Cranston’s Ingram Street Tearooms, floriform on reeded base stamped Miss Cranston’s Tearooms, Ingram Street, Glasgow 17cm. high £300-350 631. Four Art Nouveau painted iron numbers indistinct regd diamond 23cm. high £120-180

631

100

632. A Kayserzinn pewter vase, tapering form with everted rim, cast in low relief with Art Nouveau Iris flowers impressed mark 30.5cm. high £80-120

632

633

633. An Art Nouveau W.M.F tray and six shot glasses model no.168, the figural tray cast in low relief with Secessionist decoration, stamped marks 31cm. wide £200-300

634

634. An Art Nouveau pewter card tray, modelled in relief with a maiden reading a letter, the rim pierced and modelled with flowers on sinuous stems stamped 95% mark 33cm. wide £150-250

635. A large and early Kayzerzinn pewter vase, model no.2430, slender baluster form, cast in low relief with anthropomorphic birds, resting by waterlily pads and grasses, with large flag iris, the leaves forming twin handles stamped marks 60cm. high £1,500-2,000 635

101

636

637

638

639

636. An Art Nouveau pewter vase probably W.M.F twisted triangular section, cast in relief with a maiden picking an apple from a tree apparently unsigned 24.5cm. high £50-80

637. A tall Continental brass vase, shouldered cylindrical form with three applied handles,the handles with knot motif, decorated with a frieze of oak leaf and acorn in low relief unsigned 50cm. high £80-120 640

638. A gilt bronze figural table lamp, modelled as a cobra, on rectangular base with hieroglyphics unsigned 33cm. high £300-400

641

639. An Orivit pewter and green glass decanter, with pewter strapwork frame, stamped marks 19cm. high £150-200

640. A Kayserzinn pewter coffee pot and tea pot, designed by Hugo Leven and Hermann Fauser, organic form cast in low relief with an Art Nouveau maiden stamped factory marks coffee pot 24cm. high £150-200

642 641. A Kayserzinn pewter tray designed by Hugo Leven, elliptical, twin handled form, cast in low relief berries and convolvulus buds stamped marks 47cm. diam. £150-250

642. A W.M.F electroplated metal cigarette box and hinged cover, rectangular, cast in low relief with pine cones boughs inside scrolling secessionist borders stamped marks 22cm. wide £300-400

643. A tall Kayserzinn vase, model no.4800, footed, flaring cylindrical form with three cast reindeer skull and antler handles stamped marks, 36cm. high £200-300 643

102

lIberty & Co.

644. ‘The Magnus’ a rare silver and enamel Cymric mantle clock designed by Archibald Knox, in fitted leather Liberty & Co travelling case, model no. 5024, rectangular form with overhanging mantle, with hinged pierced cast handle, the body cast in low relief with pendulous flower stems, enamelled in green, blue and purple, above circular green enamel dial inscribed ‘Festina Lente’, the fitted case with hinged doors with Liberty gilt stamps stamped marks and etched 9339 Birmingham 1902 12.5cm. high £15,000-20,000 Provenance Woolley and Wallis Silver & Jewellery 31st March 1999 lot 378. Private collection Literature Stephen A Martin Archibald Knox ARTMEDIA, page 177 for a full page illustration of a comparable clock Michael Jeffery Arts and Crafts Style, a comparable example illustrated on the front cover It is believed this is the only example of a Magnus clock with its original fitted case

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645

646

647

648

645. A large pewter footed bowl, shallow with inverted rim, the four handles joined to form feet, inset with enamelled copper stones, cast with a band of ivy leaf decoration unsigned 44cm. diam. £200-400

646. A Liberty & Co Tudric Pewter twin-branch candelabra, probably designed by Oliver Baker, model no. 0463, the swollen cylindrical stem with cast decoration, stamped marks, 28cm. high £200-300

649

647. An unusual Liberty & Co English Pewter and green glass jar and cover, model no.0861, the cover cast in low relief with a flowerhead, the pierced body with berried foliate frieze stamped marks, 13cm. high £250-300

648. An Art Nouveau William Hutton & Sons silver and enamel spoon, cast in low relief with sinuous stem, the finial enamelled green and blue, and another silver spoon stamped marks, London 1903 11cm. long £100-150

650

649. A Liberty Cymric silver and enamel bowl, model no.2199, the design attributed to Oliver Baker, cast in low relief with three heart shaped foliate motif enamelled in blue and green stamped marks, L & CO Cymric Birmingham 1904 6.5cm. high £400-500

650. A Liberty & Co silver buckle, the design attributed to Oliver Baker, cast in low relief and pierced, with pendulous trees stamped marks, Birmingham 1902 10cm. wide £400-600 Literature Cymric Catalogue, Liberty & Co (circa 1900) this silver waist clasp design illustrated page 99 no.2 priced £2 7s 6d

651. A Liberty & Co silver mounted wood photograph frame, designed by Bernard Cuzner, circular, decorated with a band of punched decoration, easel back stamped marks, Birmingham 1914 13cm. diam. £400-500 651

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652. A Liberty & Co pewter mantle clock, model no.0371, cast in low relief with tree motif, the face enamelled green and blue stamped number 23cm. high ÂŁ2,000-3,000 Literature Mervyn Levy Liberty Style Weidenfeld & Nicholson, page 40 for a comparable clock illustrated

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653

654

655

654 detail

656

657 653. A large Glasgow School copper and enamel wall mirror, rectangular with hammered finish, stamped with three Glasgow Rose flowerheads, flanked with stylised flower stem columns with blue enamel stones unsigned 115 x 75cm. £2,500-3,500 654. A pewter and enamel picture frame, possibly retailed by Liberty & Co, on wooden easel back, the shaped rectangular frame cast in low relief with trees, inset with shaped rectangular enamel landscape panel unmarked 23cm. high £800-1,200 655. A George Anton Scheid silver and enamel buckle, cast in relief with sinuous foliage stems, enamelled in shades of purple and green stamped marks, 6.5cm. wide £200-300 656. 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 £400-500 657. A William Hutton & Sons Ltd silver and enamel buckle, possibly retailed by Liberty & Co, cast in low relief and pierced with stylised honesty seedheads, with blue enamel panels stamped marks, Birmingham 1902, 7cm. wide £300-500

658

658. A Liberty & Co eight piece Cymric silver dressing table set, each piece simply set with a turquoise, comprising; hand mirror, three brushes, comb, boot hook, shoe horn and tray various Birmingham stamped marks hand mirror 28cm. high £700-800 659. A pewter oval wall mirror, probably retailed by Liberty & Co, oval form with four raised roundel, hammered finish unsigned 63cm. wide £150-250

659 660

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660. A Liberty & Co patinated copper hall mirror, the design attributed to William Hair Haseler, hammered rectangular form each corner set with turquoise ceramic stones applied ivorine label to reverse, stamped monogram to one corner 65 x 45cm. £400-600

661

662

662 detail

661. A Liberty & Co Tudric Pewter rose bowl, model no.011, pedestal, twin-handled form cast in low relief with rose stems, inscribed The Musk of the Roses is blown and the Woodbine Spices are Wafted, stamped marks 31cm. diam. £80-120 663 detail 663 662. A Liberty Tudric Pewter and enamel box and cover model no.0886, hammered rectangular form, the rectangular mountainscape enamel attributed to Charles Fleetwood Varley, cedar lining stamped marks 11.5cm. wide £350-450

664

664 detail

663. A Liberty & Co Tudric Pewter and enamel box and cover, made for the Worshipful Company of Saddlers, rectangular, the hinged cover inset with enamelled heraldic shield ‘inscribed Our Trust Is In God’ impressed marks 22cm. wide £300-500

664. A Liberty & Co Tudric Pewter and enamel box and cover, model no.0123, rectangular form with hinged cover, set with enamel riverscape panel, the design attributed to Charles Fleetwood Varley, hammered finish and cedar lining stamped marks 19.5cm. wide £1,000-1,500

665. A Liberty & Co silver presentation cup and cover, designed by Katherine Coggin, the domed foot supporting flaring cylindrical cup hammered with panels of foliage, the cover with raditaing foliate stems, stamped marks, Birmingham 1899 30cm. high £2,000-3,000 Literature The Modern Style the original design illustrated page 2 Cymric Silver, Liberty & Co catalogue circa 1900 this cup illustrated page 18 price £32 665

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666

667

668

666. An Anglo Moorish inlaid table, possibly retailed by Liberty & Co, inlaid with abalone shell unsigned 47cm. high £50-100

667. An Anglo Moorish inlaid mother of pearl and marquetry table, possibly retailed by Liberty & Co, octagonal section, unsigned 52cm. high £100-200

669

670

668. A Liberty & Co brass mounted oak coal bin, the design attributed to Leonard Wyburd, rectangular with hinged front, the back splat with cut out heart handle, with brass foliate design applied to the door unsigned 70cm. high £300-500

671

669. An oak chair, probably retailed by Liberty & Co, slender plank back carved with two owls perched in the boughs of a fruiting tree, the shaped and carved seat supported on turned legs unsigned 108cm. high £250-350

670. An Anglo Moorish inlaid stool, possibly retailed by Liberty & Co, rectangular form, the arms inset with bone and mother of pearl panels, with Musharabeyeh panels to arms and sub-structure unsigned 71cm. wide £600-800

671. A Liberty & Co stained mahogany Thebes stool, square section on four turned legs unsigned 42.5cm. high £300-400

672. A stained ash compactum, probably retailed by Liberty & Co, comprising full width drawer below mirrored wardrobe, two drawers below a cupboard with carved geometric foliate panel door, the remains of a green stain, with polished copper hinges and dowel wood handles unsigned 200cm. high £500-800 672

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673. A Liberty & Co English Pewter and enamel clock, model no.0761, architectural form with overhanging domed mantle, hammered finish, the green and blue enamelled copper dial with Roman numerals stamped marks, 22cm. high ÂŁ4,000-5,000 Literature Stephen A. Martin Archibald Knox ARTMEDIA, page 232 for a comparable example illustrated.

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674

675 674. A Liberty & Co English Pewter and enamel dish, designed by Archibald Knox, model no.0287, the rim cast and pierced with clover leaf border, the well enamelled blue stamped marks 28cm. wide £250-300

675. A watercolour on paper landscape by Archibald Knox, depicting a seascape design probably Isle of Man, framed unsigned image 45 x 35cm. £1,500-2,000

676

676. A Liberty & Co Tudric Pewter jar and cover, designed by Archibald Knox, cylindrical form, cast in low relief with foliage stems stamped marks, 12cm. high £1,000-1,500

677. A pair of Liberty & Co English Pewter vases, designed by Archibald Knox, model no.0226, on tripod foot, cast in low relief with stylised foliage stamped marks, 19cm. high £600-900 677

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678

679

678. An unusual Liberty & Co Tudric Pewter tray, designed by Archibald Knox, model no.0161, cast in low relief with whiplash tendrils stamped marks, 24cm. high. £350-400

679. A Liberty & Co English Pewter crumb tray, designed by Archibald Knox, model no. 0532, cast in low relief with ivy foliage stamped marks 24.5cm. wide £80-120 Literature Stephen A. Martin Archibald Knox ARTMEDIA, page 272 for a comparable example illustrated.

680

680. A Liberty English Pewter Biscuit Box and cover, designed by Archibald Knox, model no.0193, drum form cast in low relief with stylised foliage stamped marks 13cm. high £500-800 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 254 for an example with blue enamel decoration.

681

681. A Liberty & Co English Pewter twin-handled rose bowl, designed by Archibald Knox, model no.0229, cast in low relief with stylised honesty stamped marks, 28cm. high £200-300

682. A Liberty & Co Tudric Pewter 6 piece tea and coffee set, designed by Archibald Knox, model no. 0231, cast in low relief with whiplash Art Nouveau foliage, on a hammered ground, comprising; teapot and hinged cover, milk-jug and sugar basin, hotwater jug and hinged cover and a coffee pot and hinged cover on a twin-handled tray stamped marks tray 49cm. wide £800-1,200 682

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683. A Liberty & Co Tudric Pewter and green glass mug, designed by Archibald Knox, model no. 0534, cast and pierced with berried foliage, the cylindrical green glass liner probably James Powell & Sons stamped 14cm. high £200-300

683

684. A Liberty & Co Tudric pewter and glass decanter designed by Archibald Knox, model no.0308, cast in low relief with berried, whiplash stems stamped marks 31cm. high £1,200-1,800 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 188 for a comparable example

684

685. A Liberty Tudric Pewter and glass claret jug, model no. 0310, designed by Archibald Knox, the clear glass body with pewter neck, handle and hinged cover cast in low relief with berried foliage unsigned 20cm. high £800-1,200 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 189 for an example with a James Powell & Sons, Whitefriars green glass body

685

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686. A Liberty & Co English Pewter and enamel clock, designed by Archibald Knox, model no. 0629, tapering rectangular section the front set with red and green enamel panel, the green and blue enamelled copper dial with Roman numerals stamped marks, 19cm. high ÂŁ5,000-7,000 Literature Stephen A. Martin Archibald Knox ARTMEDIA, page 233 for a comparable example illustrated

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687. A Liberty & Co Tudric Pewter and abalone clock, designed by Archibald Knox, model no 097, stamped marks, 38cm. high ÂŁ10,000-15,000 Literature Stephen Martin Archibald Knox, ARTMEDIA, page 235 for a comparable example

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688. A rare Liberty & Co Tudric Pewter clock, designed by Archibald Knox, model no.0255, cast in low relief with stylised honesty stems stamped marks, 24cm. high ÂŁ8,000-12,000 Literature Stephen Martin Archibald Knox, ARTMEDIA, page 241 for a comparable clock illustrated.

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Oil Paintings, Watercolours, Prints, Miniatures & Books Wednesday 15th June 2011

ENQUIRIES Victor Fauvelle Tel: 01722 424503 victorfauvelle@woolleyandwallis.co.uk

Jan Van Os (Dutch 1744-1808) Still life of fruit and flowers with a bird’s nest and goldfish Signed, oil on panel 89 x 69cm Estimate: £100,000 - £150,000

Furniture & Works of Art Tuesday 5th July 2011

A French mahogany and ormolu mounted etagere table, c.1900. Estimate: ÂŁ3,000 - ÂŁ4,000

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

Silver Tuesday 19th & Wednesday 20th July 2011

ENQUIRIES Rupert Slingsby Tel: 01722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Grazier Tel: 01722 424530 lucygrazier@woolleyandwallis.co.uk

By Omar Ramsden, a fine Art and Crafts silver sugar caster, London 1937. Estimate £1,500 - £2,000

Jewellery Thursday 21st July 2011

ENQUIRIES Jonathan Edwards FGAA Tel: 01722 424504 jonathanedwards@woolleyandwallis.co.uk Marielle Whiting FGA Tel: 01722 424595 mariellewhiting@woolleyandwallis.co.uk

An Art Deco pair of clips set with gem stones. Estimate £2,000 - £3,000

English and European Ceramics and Glass Tuesday 13th September We are currently accepting entries for this sale

A Meissen rococo clock and stand, 19th century, 48cm. Estimate: ÂŁ600 - ÂŁ800 From the collection of the late John Norie.

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

20th Century Design Wednesday 21st September 2011 Closing date for entries1st 21st July

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

A Lenci pottery figure. Estimate £400 - £600 An original fashion design artwork by Dodo Burgner. Estimate: £300 - £500

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

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 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 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 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 for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders 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 Photographic positive or negative or any assemblage of such photographs Textiles (excluding carpets and tapestries) Paintings in oil or tempera Watercolours, gouaches and pastels Prints, Engravings, Drawings and Mosaics

Zero

Zero £10,200 £10,200 £34,300 £103,000 £20,600 £10,200

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.

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 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.

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 lI s

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 22nd June 2011 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 FURNITURE & WORKS OF ART 5th July 2011 Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards 01722 411854 • markrichards@woolleyandwallis.co.uk SILVER 20th July 2011 Rupert Slingsby 01722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Grazier 01722 424530 • lucygrazier@woolleyandwallis.co.uk JEWELLERY 21st July 2011 Jonathan Edwards 01722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting 01722 424595 • mariellewhiting@woolleyandwallis.co.uk PAINTINGS 14th September 2011 Victor Fauvelle 01722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler 01722 424592 • jobutler@woolleyandwallis.co.uk 20TH CENTURY DESIGN 21st September 2011 – 20th Century Design 30th November – British Art Pottery, including Studio Pottery Michael Jeffery 01722 424505 • michaeljeffery@woolleyandwallis.co.uk CLOCKS, POCKET WATCHES & BAROMETERS 25th October 2011 Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Richard Price 01722 339752 • richardprice@woolleyandwallis.co.uk ASIAN ART 15th November 2011 – Yixing 16th November 2011 – Asian Art John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister 01722 424 591 • sophielister@woolleyandwallis.co.uk BOOKS & MANUSCRIPTS 7th December 2011 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 • Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk