Woolley & Wallis Auctioneers

FINE ARTS & CRAFTS INCLUDING MARTIN WARE

WEDNESDAY 21ST JUNE 2023

SPECIALIST DEPARTMENTS

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

FINE ARTS & CRAFTS INCLUDING MARTIN WARE

THE VIEWING OF THIS SALE WILL TAKE PLACE AT OUR OLD SARUM GALLERIES

Unit 1B, Castle Gate Business Park

Old Sarum, Salisbury, SP4 6QX

Client Parking Available

Saturday 17th June 10.00am – 1.00pm

Monday 19th June 10.00am – 4.00pm

Tuesday 20th June 10.00am – 4.00pm

Wednesday 21st June 9.00am –12noon

THE AUCTION ON 21ST JUNE WILL TAKE PLACE AT OUR CITY CENTRE SALEROOM

51­61 Castle Street, Salisbury, SP1 3SU

BUYER’S PREMIUM

Each lot is subject to a Buyer’s Premium of 25% plus VAT

TELEPHONE BIDDING

Requests for telephone bids cannot be accepted after 5pm on Tuesday 20th June

CONDITION OF LOTS

Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults.

COLLECTIONOF LOTS BY APPOINTMENT

Collection is from our warehouse, Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please instruct carriers accordingly and note, the warehouse is closed over weekends. Please call 01722 446950 or 01722 424500 prior to collection to ensure the items are ready

All accounts to be settled prior to collection

EXPORT AND CITES LICENCES

Some lots will require export or CITES licences in order to leave the UK or Europe, please refer to the department for guidance.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a Φ symbol which sell for more than €1000 are subject to the levy, payable by the bidder. Please refer to page 145 for full details.

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ILLUSTRATIONS

Front cover: Lots 396­399

Back cover: Lot 388

Inside cover: Lots 13 & 14

Catalogue £10.00 (£15.00 by post)

1

The Martin Brothers potters a photograph on wood, framed, 28.5 x 21cm

Provenance

The Redstone collection.

£150­200

2

Martin Bros Potters a stoneware exhibition invite by Ian Godfrey, made for the Richard Dennis exhibition, 1978, modelled as the Brownlow Street shop, annotated to Isabelle Anscombe, 25.5cm. high

Provenance

Isabelle Anscombe Arts and Crafts, Woolley and Wallis Auctioneers, 23rd July 2008, lot 236 (part).

The Redstone collection.

£100­200

3

An early Martin Brothers stoneware vase by Robert Wallace Martin, ovoid with short, pierced neck, incised with basketwork design, glazed blue, brown and green on a buff ground, incised R W Martin Fulham, 300, 8cm. high

Provenance

Audrey Atterbury, by repute The Redstone collection.

£120­180

4

An early Martin Brothers stoneware egg cup by Robert Wallace Martin, incised with geometric bands in green and blue, incised Martin London, 7.5cm. high

Provenance

The Redstone collection.

£150­200

5

A Martin Brothers stoneware

jardiniere by Robert Wallace Martin, dated 1880, swollen, shouldered form, incised with scrolling foliage band in black and brown on a buff ground, incised Martin, London 28.12.80, crack to top rim, 24cm. high

Provenance

The Redstone collection.

£300­500

6

An early Martin Brothers stoneware beaker vase by Robert Wallace Martin, dated 1873, slightly flaring conical form, incised with a broad band of ivy in brown and blue on a buff ground, the neck with tarnished metal band, incised R W Martin, Fulham, 1873, losses to metal band

Provenance

Bonham’s lot 137

The Redstone collection.

£120­180

7

A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, dated 1888, shouldered, swollen baluster form with applied handles, incised with grotesque fish and eels swimming amongst waterweed, in shades of green, blue and ochre on a buff ground, incised Martin Bros, London & Southall 6-1888, 22.5cm. high

Provenance

The Redstone collection.

£1,000­1,500

8

A small Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1913, swollen, square section, incised and painted with a shoal of grotesque fish, jellyfish and sea creatures in green and blue, incised 6-1913 Martin Bros London & Southall, 13cm. high

Provenance

The Redstone collection.

£800­1,200

7

two views

8 two views

9

An early Martin Brothers stoneware vase on ball feet by Robert Wallace Martin, dated 1880, ovoid with flaring rim, incised with a broad band of geometric foliage in blue and green on a buff ground, incised 3-80 R W Martin London & Southall, firing cracks and cracks, 33.5cm. high

Provenance

British Art Pottery, Woolley and Wallis, 26th November 2008, lot 73

The Redstone collection.

£300­500

10

A Martin Brothers salt­glaze stoneware garden seat by Robert Wallace Martin, the foot and body cast in relief with foliate bands, pierced cylindrical body and circular top, glazed blue and green on a buff ground, incised to the side of the foot R W Martin Southall 2-1876, minor damages, 40cm. high

Provenance

The Redstone collection.

£500­800

11

A Martin Brothers salt­glaze stoneware garden seat by Robert Wallace Martin, the foot and body cast in relief with foliate bands, pierced cylindrical body and circular top, glazed blue, brown and green on a buff ground, impressed RWMartin Southall to side of base, minor damage to base, 41cm. high

Provenance

Arts and Crafts Woolley and Wallis Auctioneers, 18th June 2008, lot 22. The Redstone collection.

£500­800

Provenance

£10,000­20,000

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1905, modelled standing on claw feet, slender body with long wings tucked in, short beak and staring eyes, plumage glazed green, blue and brown on a buff ground, with white and black highlights, on ebonised wood base, Incised R W Martin & Bros, London & Southall 15.6.1905, minor chips to inside of body rim, 29cm. high

The Redstone collection.

13

Provenance

Private collection.

£20,000­30,000

A rare Martin Brothers stoneware Owl double bird jars and covers by Robert Wallace Martin, dated 1902, the larger bird modelled with its wing around the other owl, glazed pale blue, aubergine and green on a buff ground, on ebonised wood base, incised R W Martin & Bros, London & Southall, 3.5.1902 to base and both heads, 23.5cm. high

A large and impressive Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, the tall slender bird with long legs and claw feet, wings tucked in and long tail feathers, broad beak and deep carved, staring eyes, with thick plumage eyebrows, glazed in shades of green, brown, tan and ochre with flashes of blue and white highlights, on ebonised wooden base, incised R W Martin & Bros, London & Southall to neck and Martin Bros London & Southall to base, minor professional restoration, 41cm. high (2)

Provenance

Harriman­Judd, Sotheby’s New York.

Literature

Garth Clark, The Potter’s Art, Phaidon, page 125 this bird jar illustrated.

£40,000­50,000

15

A Martin Brothers Pottery stoneware candlestick by Robert Wallace Martin, dated 1893, circular with three arched supports and central circular sconce, incised with scrolling foliage in blue and green on a mottled buff grey ground, incised 3-1893 Martin Bros London & Southall, professional restoration to one arch support, 12.5cm diam.

£300­500

16

An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1876, tri­lobed body on foliate tripod base, supporting three cylindrical spout necks and a central tall neck with flaring rim, modelled and incised with scrolling foliage on a textured ground, with beadwork bands, incised 84 R W Martin 1876, London, minor old restoration, 35cm. high

£500­700

17

A Martin Brothers stoneware vase, tapering cylindrical form with flaring rim, painted with a simple flower stem in brown, white and blue on a buff ground, incised Martin London, 15cm. high

Provenance

Woolley and Wallis 24th October 2006 lot 69.

£100­150

18

A Martin Brothers stoneware vase, dated 1888, shouldered, square section, with cylindrical neck and pinched rim, incised with birds flying amongst foliage, in grey and brown on a buff ground, incised marks, date indistinct probably 1888, Martin Bros London & Southall, professional restoration to top rim, 20.5cm. high

Provenance

Private collection.

£800­1,200

19

An early Martin Brothers stoneware clock face by Robert Wallace Martin, dated 1878, circular form, incised to the centre with foliate panel, Roman numerals, in blue and brown on a buff ground, incised R W Martin Southall, 12- 1878, small chips to rim, 14cm. diam.

£400­600

20

A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1897, shouldered ovoid form, with cylindrical neck, painted with fish swimming, in brown with a blue splash, on a cream ground, incised 12-1897 Martin Bros, London & Southall, 15cm. high

Provenance

Private collection.

£800­1,200

21

A Martin Brothers Pottery stoneware jug by Robert Wallace Martin, shouldered form, incised with a parrot perched on a fruiting bough, two other finches flying past, below a band of stiff leaf foliage, in green, brown and white on a buff ground, incised R W Martin London & Southall, professional restoration, 21.5cm. high

£600­1,000

22

A Martin Brothers Pottery stoneware jug by Edwin and Walter Martin, dated 1896, tapering cylindrical form, incised with dragonflies flying above blue flag iris and wildflowers, in blue, green and brown on a grey ground, 11-1896 Martin Bros London & London,professional restoration to top rim, 27.5cm. high

£500­800

23

A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1896, baluster form incised and grotesque goat masks inside scroll border, in shades of buff and brown, incised 10-1896, Martin Brothers London & Southall, professionally restored base, 28cm. high

Provenance

Private collection.

£1,800­2,200

24

A Martin Brothers stoneware Dragon vase by Edwin & Walter Martin, dated 1896, baluster form, incised and painted in black with grotesque dragons flanking classical urns, on a buff ground, unglazed, incised 11896 Martin Brothers London & Southall, 34.5cm. high

Provenance

Private collection.

£1,800­2,200

A Martin Brothers Pottery stoneware Imp Musician by Robert Wallace Martin, modelled seated playing the harp, covered in a white glaze with buff mottling, incised Martin London & Southall to harp, professional restoration to harp, 11.5cm. high

£500­1,000

A Martin Brothers salt­glaze stoneware face jug by Robert Wallace Martin, dated 1899, modelled in relief to one side with a smiling, smirky grin, the reverse with a simple smile, glazed tan and ochre, highlighted with white and black, incised 5-1899 Martin Bros, London & Southall, professional restoration to top rim, 19.5cm. high

£1,500­2,500

26 both sides

27

A large Martin Brothers stoneware gourd jardiniere, ribbed form with six apertures to the top, covered in a black glaze, incised regd mark and Southall Pottery, 20cm. high

£300­500

28

A Martin Brothers stoneware bowl on four feet by Edwin and Walter Martin, dated 1911, on four spike feet, glazed metallic bronze, incised 5-1911, Martin Bros, London & Southall, 17cm. diam.

£150­200

29

A Martin Brothers stoneware vase, ovoid vase with twisted neck, glazed to the exterior matt black, incised Martin Bros London, 20.5cm. high

£100­150

30

A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, twisted form, covered in a green glaze, incised Martin London, 12cm. high

Provenance

The Martin Brothers Potters, Woolley and Wallis Auctioneers 31st October 2005, lot 29.

£150­200

31

A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1902, shouldered square section, incised and painted with thin veins in green on a buff ground, incised 1-1902 Martin Bros London & Southall, 8.3cm. high

Provenance Private collection.

£400­600

32

A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1911, shouldered, flat form with solifleur neck, painted with white spots on a green ground, incised 6-1911 Martin Bros London & Southall, minor burst air bubbles, 12.5cm. high

Provenance Private collection.

£400­600

33

A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1900, shouldered, square section, painted with white spots on a green ground, incised 1900 Martin Bros, London & Southall, 9.2cm. high

Provenance Private collection.

£400­600

THE APPLETON & HOWELL COLLECTION

34

A Martin Brothers stoneware bird jar by Robert Wallace Martin, modelled standing with webbed claw feet, plump stomach and short tucked in wings, glazed in shades of brown, green and blue, on ebonised wood base, with a modern bird head by Clive Swoord, incised Martin Bros, London & Southall, 24cm. high

£1,000­2,000

35

A Martin Brothers stoneware kerb corner stone, incised with a shield mask with scrolling foliage, glazed brown and grey, unsigned, 13.5cm. high

£120­180

36

An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1873, slender, shouldered form, incised with a crane trapping a tortoise under its foot, amongst foliage, the reverse with a fruiting apple tree and two cranes flying, incised 10 R W Martin Southall, 3-1873, restored, 44.5cm. high £400­600

34 reverse

37

A bird jar and cover by Ben Sharp, Rye, modelled standing on claw feet, leaning forward with slender wings tucked in, short, broad beak and staring gaze, glazed green brown and blue, on wooden base, and another smaller bird jar and cover by Ben Sharp, incised marks, 33cm. high (4)

£150­250

38

A bird jar and cover by Ben Sharp, Rye, modelled standing with slender claw feet, portly bird with hooked beak and knowing look, glazed tan and blue with green highlights, on wooden base, and another smaller bird jar and cover by Ben Sharp, incised marks, 29.5cm. high (4)

£150­250

39

A tall and impressive bird jar and cover by Ben Sharp, Rye, modelled standing on webbed claw feet, with long, thin beak and staring eyes, glazed green, blue and tan, on wooden base, incised marks, 53cm. high (2)

£150­200

40

A bird jar and cover by Ben Sharp, Rye, modelled standing on webbed claw feet, the portly bird with wings tucked in, and broad hooked beak, glazed green, blue and tan with red tail feathers, on wooden base, incised marks, 32.5cm. high (2)

£120­180

41 Clive Soord

a stoneware grotesque jar and cover in the manner of the Martin Brothers, modelled as a rodent creature with anthropomorphic features, glazed green and ochre, incised dedication to base, 26.5cm. high, (2)

£120­180

42

A Doulton & Watt salt glaze stoneware Lord Nelson mug, modelled with rope handle, another two larger Nelson mugs, a Steven Green salt­glaze stoneware Duke of Wellington jug and two other salt­glaze stoneware commemorative mugs, impressed marks, minor damages, 12.5cm. high (6)

£150­200

43

Four graduated salt glaze stoneware Duke of Wellington jugs, unsigned, damages, 21cm. high (tallest), (4)

£150­250

44

A Steven Green Lambeth salt glaze stoneware Mr & Mrs Caudle flask, modelled in relief, a Woods, Borough salt glaze flask, ‘The Second Magna Charta’ Reforms Cordial flask, a Queen Victoria flask, an Old Tom flask, and six other salt glaze flasks, impressed marks, damages, 26cm. high (11)

£150­250

45

Three graduated salt­glaze stoneware Brampton Ware toby jugs, each modelled seated, holding a foaming jug of ale, unsigned, chips, 26cm. high (tallest), (3)

£150­200

46

A salt glaze stoneware Pecksniff jug, modelled standing, a salt glaze stoneware model of a lion by John Sanders, 1839, a pair of salt glaze stoneware flat back poodles, a salt glaze harvest bowl with three lion handles and three other salt glaze items, unmarked, damages, 23cm. high (8)

£150­250

47

Two graduated salt glaze stoneware Bacchus jugs, modelled as satyr heads, two salt glaze Bacchus mugs, a salt glaze cottage pot and cover, a flask, a bear jug and three other salt glaze jugs, unsigned, 17cm. high (tallest), (11)

£150­200

48

A Joseph Green Lambeth salt­glaze stoneware Victoria flask, 1837, a salt­glaze stoneware marriage cup, a stoneware figure of a man in tricorn hat seated and drinking, a Gardeners ink work salt glaze stoneware Mr Punch ink pot, and three other salt­glaze stoneware figural pieces, incised mark to base, 21cm. high (7)

£150­250

49

A salt­glaze stoneware money box dated 1867, ovoid with portrait panel, the cover with a bust of a woman wearing a broad rimmed hat, inscribed to the shoulder, 1867 Lizzie Pearce St Helens Street Chesterfield, chips to brim of hat, 18cm. high

Provenance

The Wylie Collection.

£120­180

50

A slipware money bank modelled as a chest of drawers, moulded Savings Bank, the base inscribed in slip E Whitehead, with slip aperture to back, unsigned, chips, 19cm. high

£120­180

51

A pottery hen and chicks moneybox probably Buckley Pottery, dated 1891, three round tiers with slit aperture, with applied birds, incised Fenney Paddock, 1891, glazed yellow, unsigned, 30cm. high

£120­180

52

A Ewenny Pottery Wild Pig jug probably by Horace Elliott, tapering cylindrical body with conical snout spout, incised textured body inscribed Y Mochyn Gwyltt, (the wild pig), glazed green, incised Ewenny Pottery 1910 to base, 19.5cm. high

£200­300

53

A Ewenny Pottery Pig money bank probably by Horace Elliott, dated 1911, modelled seated on its haunches, incised Iris to back, glazed mottled green incised Ewenny Pottery, 1911, minor glaze loss to head, losses to ear tips and trotters, 16cm. wide

£400­600

54

An unusual Doulton Lambeth stoneware cup form, modelled as three grotesque animals with long curled horns, on trefoil base, glazed blue and green on a buff ground, and a Doulton Lambeth stoneware inkwell modelled with fish, impressed and incised marks, restoration, 10cm. high (2)

£150­200

55

A Royal Doulton stoneware paperweight designed by Mark V Marshall, modelled as a stylised duck, glazed blue and green, and a Doulton Lambeth stoneware salt by Edith Lupton, impressed marks, duck restored, 9cm. wide (2)

£150­200

56

An unusual small stoneware tazza by George Hugo Tabor, possibly made at Fulham, modelled as three fish, their tales supporting a large shell, glazed blue and brown, incised G H Tabor signature to base, restored, 11cm. high

£150­250

57

A Doulton stoneware jardiniere and stand, hexagonal tapering form, cast in low relief with panels of birds perched on bull rushes, alternating with prunus blossom panels, green, brown and blue, stand incised LD jardiniere unsigned, small chips, 16.5cm. high (2)

58

A Doulton Lambeth stoneware jardiniere, dated 1877, square section, modelled in relief with flower roundels, the corners modelled in relief with flower stems, in green, blue and brown, impressed marks to interior, minor losses, 16.5cm. high

£150­200

59

A stoneware jardiniere stand or garden seat probably Doulton, modelled with bands of foliage and vertical columns, in green, blue and ochre unsigned, 44cm. high

£120­180

£120­180

60

A large Doulton Lambeth stoneware mantel clock by Eliza Simmance, rectangular, architectural form with domed cupola, incised and applied with bead panels of flowers and foliage, in shades of brown, highlighted in white with gilt details, impressed factory marks, incised monogram, repaired finials, 42.5cm. high

£500­1,000

61

A Doulton Lambeth Silicon Ware owl jar and cover, the standing bird with applied blue and white feathers, impressed factory marks, 19cm. high (2)

£800­1,200

62

A Doulton Lambeth stoneware vase by George Tinworth, shouldered tapering form with flaring top rim, applied and incised with scrolling flowers and foliage in blue on a brown ground, and another Doulton Lambeth stoneware vase by George Tinworth, impressed factory marks incised GT monogram to both vases, 26cm. high (2)

£200­400

63

A Doulton Lambeth stoneware vase by Arthur Barlow, dated 1874, pear­shaped with flaring rim, incised with scrolling foliage in shades of blue on a blue ground, impressed marks, incised monogram, 29cm. high

£120­180

64

A Doulton Lambeth stoneware vase by George Hugo Tabor, dated 1884, compressed body with tall cylindrical neck, incised with stiffleaf foliage and spiralling scrolling foliage bands, in blue, brown and white, impressed factory mark, incised monogram, 32cm. high

£150­200

65

A large Doulton Lambeth stoneware ewer by Frank Butler, footed, cylindrical form with strap handle, modelled with scroll design, glazed streaked blue and green on a tan ground, impressed factory marks, incised FAB monogram, restored, 32cm. high

£150­200

66

A Doulton Lambeth stoneware jug by Frank Butler, modelled in relief with scrolling foliage, glazed blue, brown and green, with white slip foliage highlights, impressed factory mark, incised monogram, restored, 17cm. high

£120­180

67

A Doulton Lambeth stoneware ewer by Mark V Marshall, slender, swollen form with applied strap handle with grotesque mask to the base, the body incised, modelled and applied with large flowers on scrolling foliage, in pink, white and blue on a buff ground, between green bands, impressed marks, incised monogram, restored, 26cm. high

£150­250

68

An Art Nouveau Doulton Lambeth stoneware vase by Eliza Simmance, made of the Art Union of London, slender baluster form, incised with Art Nouveau flower and foliage, glazed in shades of green, brown and blue on a buff ground, with white slip textured decoration, and a Doulton vase by Frank Butler impressed marks, incised monograms, restored, 34cm. high (2)

£120­180

69

A Doulton Lambeth stoneware vase by Florence Barlow, shouldered form with cylindrical neck and flaring rim, pate sur pate decorated with birds perched on Art Nouveau foliage stems before a backdrop of reeds, in shades of green, white and brown on a textured slip ground, impressed factory marks, incised monogram, professionally restored neck, 23.5cm. high

£150­200

70

A rare Royal Doulton stoneware vase by Florence Barlow, waisted cylindrical form, pate sur pate decorated with magpies perched on a bough, between tubelined Art Nouveau foliate borders, in colours on a buff ground, impressed factory marks, incised monogram, 32.5cm. high

£300­400

71

A Royal Doulton stoneware vase by Florence Barlow, shouldered form, pate sur pate decorated with geese flying past reeds, in green and white, above a band of applied florets and mottled green and blue foot, impressed factory marks, incised monogram, professional restoration to rims, 36cm. high

£200­400

72

A Doulton Lambeth stoneware vase by Florence Barlow, shouldered form with waisted cylindrical neck, pate sur pate decorated with a frieze of geese amongst grasses, below a band of scrolling foliage, in colours on a buff ground, impressed factory marks, incised monogram, professional restoration to neck, 32.5cm. high

£150­200

A tall Art Nouveau Doulton Lambeth stoneware vase by Mark V Marshall, shouldered form, modelled in low relief with stylised honesty sprays, in green, blue and brown, impressed factory mark, incised monogram, professional restoration, 46cm. high

£150­250

74

A Doulton Lambeth stoneware vase by Eliza Simmance, swollen form with pierced cylindrical neck, incised and applied with scrolling foliage with applied beadwork highlights, in shades of green, blue and brown, impressed marks and incised monograms, restored top rim, 32cm. high

£150­200

75

A matched pair of Royal Doulton stoneware Dragon vases by Mark V Marshall, shouldered form, the neck applied with a salt­glaze dragon attacking a baby dragon, above blue glazed body, impressed marks, incised artist monogram, professional restoration, 40.5cm. high (2)

£300­500

76

An Art Nouveau Royal Doulton stoneware vase by Eliza Simmance, shouldered, swollen form with tapering neck and flaring rim, painted with Art Nouveau flowers and foliage, in purple and green on a pale blue ground, impressed factory mark, incised monogram, professional restoration, 38cm. high

£150­250

An unusual Royal Doulton stoneware vase by Hannah Barlow and Frank Butler, slender, cylindrical form with modelled fern frond band and scroll­handles applied with beadwork, incised with a herd of deer grazing and resting in a woodland setting, in colours on a buff ground, impressed factory mark, incised monograms, professional restoration to neck, 32cm. high

£150­250

78

A tall Art Nouveau Royal Doulton stoneware vase by Eliza Simmance, slender with flaring rim, modelled in low relief with split seedheads and foliage, impressed marks, incised monogram, restored rims, 41cm. high

£150­200

79

A tall Art Nouveau Doulton Lambeth stoneware vase by Eliza Simmance, shouldered baluster form with waisted neck and fluted top rim, incised with a phoenix bird inside scrolling foliage and applied beadwork borders, glazed buff, green and white on a blue ground, impressed factory mark, incised artist monogram, professional restoration, 41.5cm. high

£150­250

80

A Doulton Lambeth stoneware vase by Eliza Simmance, shouldered form with flaring neck, tubeline decorated with Art Nouveau tulip panels in blue, white and brown on a mottled green ground, impressed factory marks, incised monogram, 31cm. high

£200­300

77 both sides

81

A Royal Doulton stoneware Pelican garden ornament, modelled perched on a square base, unglazed, impressed mark, restored, 38cm. high

Literature

Desmond Eyles & Louise Irvine, The Doulton Lambeth Wares, Richard Dennis, page 193 for a comparable example illustrated from a 1910 catalogue.

£150­200

82

Mephistopheles and Marguerite a rare Doulton Burslem vellum figure designed by Charles Noke, reversible figure, glazed in colours, highlighted in gilt, unsigned, flat chip to base, professional restoration to her hand, 31.5cm. high

Literature

Desmond Eyles, Louise Irvine and Valerie Baynton, Royal Doulton Figures, Richard Dennis, page 61 this figure design illustrated.

£300­500

83

A Doulton Carrara Ware paperweight the design attributed to Gilbert Bayes, modelled as a hippocampus, glazed white signed to the side Doulton Carrara, professional restoration, 15cm. high

Literature

Desmond Eyles & Louise Irvine ­ The Doulton Lambeth Wares, published by Richard Dennis, Page 258 for an example attributed to Mark V Marshall.

The Peter Rose and Albert Gallichan Collection, Lyon & Turnbull, 30th November 2021, lot 176 for an identical figure attributed to Gilbert Bayes.

£150­200

84

A Doulton Lambeth stoneware model of a seated bear, modelled looking into an upturned bee skep, glazed in shades of brown, impressed factory marks, 9.5cm. high

£150­250

85

A pair of Royal Doulton stoneware cornucopia vases designed by Franics Pope, on shaped rectangular base the cornucopia with Rams head terminal, glazed black, impressed marks, incised FCP, 24cm. high, (2)

£150­200

86

A Royal Doulton Chang vase by Charles Noke and Harry Nixon, swollen, ovoid form, covered in a running white volcanic glaze with flambe, blue and yellow patches, painted Chang mark and facsimile Noke and HN monogram, professionally restored, 12cm. high

£200­400

87

A Doulton Lambeth stoneware Bird bibelot designed by Harry Simeon, modelled flying over an oval dish, glazed in colours, another similar and a Doulton bibelot with fruit and foliage design, impressed marks, fruit bibelot restored, 15cm. wide. (3)

Literature

Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 260 for a collection of bibelots illustrated.

£150­200

88

A Doulton Lambeth stoneware Owl bibelot designed by Harry Simeon, modelled seated on a circular dish, and a Doulton Lambeth stoneware Owl book end, impressed marks, owl book end repaired, 10.5cm. high (2)

£150­200

89

A Doulton Lambeth stoneware Bather bibelot designed by Harry Simeon, glazed in colours and another Doulton Butterfly bibelot, impressed marks, main restored, 11.5cm. high (2)

£120­180

90

A Doulton Lambeth stoneware Pixie bibelot designed by Harry Simeon, glazed in colours, and another similar, impressed factory marks, restored, 10.5cm. high (2)

£120­180

91

A pair of Doulton Lambeth stoneware Fish bibelot designed by Harry Simeon, glazed in colours, and two Royal Doulton stoneware Whitbread ashtrays, impressed marks, 15.5cm. wide (4)

£150­200

92

A Doulton Lambeth stoneware Moth bibelot designed by Harry Simeon, modelled as a moth on elliptical dish, glazed in colours, and another Doulton Lambeth stoneware bibelot modelled with a bird flying, impressed marks, 15cm. wide. (2)

£120­180

93

A Doulton Lambeth stoneware Pelican bibelot designed by Harry Simeon, modelled perched on an octagonal base, glazed in colours impressed marks, 13.5cm. high

£150­200

94

A Doulton Lambeth stoneware Kookaburra bibelot designed by Harry Simeon, modelled perched on a boat, glazed in colours, and another Doulton Kookaburra bibelot, impressed marks, second bibelot restored, 11cm. high (2)

£150­250

95

A Doulton Lambeth stoneware Koala Bear bibelot designed by Harry Simeon, on circular dish, glazed in colours, impressed marks, restored, 14cm. wide.

£120­180

96

A large Doulton Lambeth stoneware Polar Bear bibelot designed by Harry Simeon, glazed in colours impressed factory marks, 15.5cm. wide

£150­200

97

A Doulton Lambeth stoneware Rabbit bibelot designed by Harry Simeon designed by Harry Simeon, glazed in colours impressed marks, 9.5cm. diam.

£120­180

98

A small Doulton Lambeth stoneware Mouse bibelot designed by Harry Simeon, glazed in colours, and a Doulton Lambeth stoneware owl bibelot, impressed marks, owl restored, 7.5cm. high (mouse), (2)

£150­250

99

A large Doulton Lambeth stoneware Bird bibelot designed by Harry Simeon, glazed in colours, and another smaller, impressed marks, larger bibelot restored, 14cm. high (2)

£150­250

100

A C H Brannam Barum Toby jug, dated 1900, glazed in shades of green, yellow, blue and brown, and four others similar, incised marks, restoration, 22.5cm. high, (5)

£120­180

101

A Baron Pottery model of a comical animal the design attributed to Blanche Georgiana Vulliamy, modelled seated and wearing a bow tie, glazed purple and lavender, three others similar, and two seated bulldogs, incised marks, 14cm. high (6)

£150­250

102

A William Baron Barnstaple pottery model of a grotesque frog probably designed by Blanche Georgiana Vulliamy, modelled with gaping mouth, glazed blue and ochre, another similar, and two Brannam Pottery models of rabbits, incised marks, 7cm. high (4)

£150­250

103

A C H Brannam Barum Ware Owl jug, by TF, probably retailed by Liberty & Co, dated 1910, incised and slip decorated plumage, in blue, green and white, another similar, a very tall comical cat, two smaller bird pots, a dragon jug and two dragon candlesticks, incised marks, restored, 14.5cm. high (8)

104

Three Barum Pottery Little Mary figures designed by Blanche Georgiana Vulliamy, glazed in colours, and two other Baron Pottery figures, incised marks, 10cm. high (tallest), (5)

£150­250

105

A C H Brannam Pottery model of a cat, modelled seated, glazed green and blue, with applied glass eyes, and four other similar, incised marks, 18cm. high (5)

£150­250

106

A rare C H Brannam grotesque spoon warmer, dated 1908, modelled as a seated, winged figure, glazed green and ochre with blue wings, and a Brannam model of a dog incised marks, restored, 12cm. high (2)

£150­200

107

Two graduated C H Brannam bird jugs, each modelled as a stylised wading bird, glazed in colours, and another smaller incised marks, restored, 26.5cm. high (3)

£120­180

108

£200­300

A large C H Brannam Barum Ware Dragon chamberstick, dated 1917, glazed in colours, another similar with twin sconces, a smaller chamberstick and a small vesta modelled as pig standing by a barrel, incised marks, restored, 18cm. high (4)

£120­180

109

A large C H Brannam Barum Ware pottery boat centrepiece by Reginald Pearce, dated 1903, pierced and modelled with a mask figurehead, the stern with lion head profile, glazed blue and white on a green ground, incised marks, professional restoration, 36cm. wide, 26.5cm. high

£200­400

110

A C H Brannam Barum Ware pottery boat centrepiece by Thomas Liverton, dated 1901, modelled on rough sea with mask figurehead, the stern modelled with lion head terminal, in shades of blue, green and ochre, incised marks, restored, 29cm. wide, 21cm. high

£150­250

111

An unusual C H Brannam Barum Ware vase, dated 1900, modelled in relief with a mask with long moustache, the figures hair rising to form an open rim, glazed green, yellow and blue incised marks, restored, 22.5cm. high

£120­180

112

A C H Brannam Barum Ware Puffin jug, probably retailed by Liberty & Co, dated 1900, modelled and glazed in green and ochre, another smaller jug, a centrepiece modelled as three radiating swans, from a central candle sconce, and a swan vase, incised marks, restored, 25cm. high (4)

113

A pair of C H Brannam Dragon chambersticks, dated 1899, each modelled as a standing creature its tail wrapped around to hold the sconce, glazed green, blue and ochre, and a foliate centrepiece surmounted with a dragon to one end, incised marks, restored, 16.5cm. high (3)

£120­180

114

A C H Brannam Barum Ware grotesque frog vase, dated 1897, modelled with a flower on its back, glazed in colours, three fish wall pockets, a fish jug and two other fish vases, incised marks, restoration, 10cm. wide. (7)

£150­250

115

A tall C H Brannam Barum Ware vase by Frederick Baron, dated 1908, tapering form with flaring top rim and three stroll handles, incised and painted birds perched amongst flowers and foliage, in colours on a green ground, another Brannam Barum vase modelled in relief with a dragon, a Brannam tyg and a tall vase with twisted handles, incised marks, restored, 43.5cm. high (4)

£200­400

£120­180

116

A Howell and James Art Pottery Exhibition large tile plaque, painted with a portrait of a lady, in colours, in an ebonised wood frame, applied paper label, annotated P158, professionally restored, 27.5cm square (tile), 44cm. square (frame)

£200­400

117

A Maw & Co Good Women tile, printed and painted with a woman giving money from a purse to a begging woman, in colours on a mustard yellow ground, framed, cast marks, 20cm. square

£120­180

118

A brass planter mounted with Mintons tiles designed by John Moyr Smith, printed in sepia and blue on a white ground, comprising, Guinevere, Excalibur, Pelleas, and Lynette, from Tennyson’s Morte D’Arthur stamped Minton marks to one tile, facsimile signature to all four tiles, 19.5cm. high

£120­180

119

A Minton & Co Henri Deux ewer by Charles

Toft, stepped foot with applied scrolls supporting waisted body, the arched handle with moulded dog terminal, cast mask below angled, short spout, painted in colours printed and painted marks, professional restoration to handle, 27cm. high

Provenance

The J S M Scott Collection.

Private collection.

Literature

Simon Jervis, High Victorian Design, The Boydell Press, page 22 figure 5 for a comparable example illustrated.

£800­1,200

120

A Linthorpe Pottery plate designed by Dr Christopher Dresser, model 622, moulded in low relief with flower and foliage, glazed green, a small Linthorpe Pottery vase designed by Dr Christopher Dresser, a tall Bretby Pottery vase, an Old Hall Indiana pattern wash set designed by Dr Christopher Dresser, comprising wash basin, chamber pot, soap dish, drainer and cover, and an oblong dish and cover, an Old Hall tureen, cover and stand and a mug, and five Minton’s tiles, impressed marks, HT monogram, facsimile signature, 24cm. diam. (a lot)

£150­250

121

A pair of Linthorpe Pottery vases designed by Dr Christopher Dresser, model no.957, low compressed body with cylindrical neck, covered in a streaked red glaze over yellow, impressed factory marks, HT monogram, 13.5cm. high (2)

£300­500

A rare Linthorpe Pottery dish designed by Dr Christopher Dresser, model no.286, Japoniste design, circular form moulded in low relief with a fruiting bough, glazed in colours impressed factory marks, facsimile signature, 13cm. high

Literature

Michael Whiteway Christopher Dresser A Design Revolution V&A, page 89 for plate 106 for a comparable example illustrated and 107 for this Japanese design made from Bamboo illustrated by Dresser in Japan Its Architecture, Art and Art Manufacturers, (1882).

Provenance

Fine Art Society, London

Private collection.

£150­250

123

A Minton Cloisonne vase designed by Dr Christopher Dresser, cylindrical form with rounded base, on pierced, angular tripod foot, painted with panels of flowers, in colours, highlighted in gilt, on a turquoise ground, indistinct impressed marks to base, 12cm. high

£200­300

124

A large Ault Pottery vase designed by Dr Christopher Dresser, model no.247, ovoid with cylindrical neck and twin angular handles, covered in a streaked aubergine and white glaze, impressed marks and facsimile signature, professional restoration, 50cm. high

£200­400

125

A Mintons Cloisonne vase designed by Dr Christopher Dresser, retailed by Thomas Goode & Co., flaring fan shaped body on flaring mask feet and stepped base, with five circular aperture, printed and enamelled in colours and gilt with a butterfly below peacock feathers, the reverse with a crab below peacock feathers, in colours and gilt on a turquoise ground, printed factory mark, 16cm. high

Provenance

Woolley and Wallis Auctioneers, 25th November 2015 lot 167.

Private collection.

Literature

Michael Whiteway Christopher Dresser 1834-1904, Skira, page 58­59

catalogue number 17 and 18 for this butterfly design illustrated

£1,500­2,000

125 both sides

126

A collection of fifty­nine glass negatives depicting work by George Tinworth, the majority terracotta panels, one a portrait in his studio, (59)

£50­150

127

A Foley Intarsio vase, pattern 3169, compressed ovoid form with applied handles and flaring rim, printed and painted in colours with a frieze of scaly fish printed factory marks, 20cm. wide.

130

A Bretby Pottery life­sized model of a young girl, modelled seated, holding a tambourine, glazed cream with brown highlights, impressed marks, firing crack to base, 901B, 70cm. high

£200­300

131

A C H Brannam Barum Ware Pottery Galleon centrepiece, dated 1900, pierced and modelled design, glazed in shades of green, brown and blue, incised C H Brannam, Barum 1900, professional restoration, 29.5cm. wide.

£120­180

128

A Minton’s Secessionist solifleur vase designed by Leon Solon and John Wadsworth, model no.28, ovoid with tapering cylindrical neck, tubeline decorated with columns of circles in green and cream on a red ground, a Minton’s Secessionist cylindrical vase and a Minton’s Secessionist plate, printed factory marks, professional restoration, 18.5cm. high (3)

£300­500

129

A Mintons Pottery Secessionist floor vase designed by Leon Solon and John Wadsworth, model no.3573, shouldered cylindrical form with tapering collar neck, cast in low relief, printed and painted with Art Nouveau flowers and foliage in salmon pink, red and green on a turquoise blue ground, impressed factory marks, minor glaze loss, 48cm. high

£200­400

132

A C H Brannam Barum Ware vase by Frank Thomas, modelled as a heron standing beside a tall bamboo stem painted in cream, brown and blue on a green ground, a C H Brannam vase slip decorated with a bird in colours on a blue ground, another similar, a vase decorated with a scaly fish, a vase decorated with a heron, another vase and a jug decorated with flowers incised marks FT monogram, minor chips, 24.5cm. high (7)

£200­400

£400­600

133

A Sunflower Pottery ewer designed by Sir Edmund Elton, ovoid with triangular neck with inverted rim, applied with sprigs of flowering, berried foliage in blue and brown on a streaked green ground, a Sunflower Pottery twin­handled vase, a ewer with foliate handle, a Sunflower Pottery Kitchener mug and a small vase, painted Elton mark, minor damages, 19.5cm. high (ewer), (5)

£200­300

134

A Sunflower Pottery vase by Sir Edmund Elton, cylindrical form with flaring fluted rim, applied with a band of scrolling foliage in blue and brown on a streaked blue and green ground, and a taller vase probably Sunflower Pottery incised with large peony flowers in brown and green on a streaked red, blue and green ground, main vase painted Elton signature, second vase painted star motif, second vase chips, 24cm. high (main vase), (2)

£150­250

135

A Sunflower Pottery vase designed by Sir Edmund Elton, ovoid with tapering neck and knopped collar, applied with slip foliate bough in brown and green on a streaked blue ground, two Sunflower Pottery chambersticks, a jug and four small vases, painted Elton X mark, minor damages, 20.5cm. high (8)

£200­300

136

A small Sunflower Pottery Crackled vase designed by Sir Edmund Elton, shouldered form, with flaring, pinched neck, covered in a gold crackled glaze, painted Elton mark, 16.5cm. high

£150­200

137

138

A Granville Pottery charger by Carlo Manzoni, dated 1898, incised and painted to the well with an angel holding a bowl of flowers, inside bands of stylised flowers and foliage, in shades of green, blue, turquoise and buff incised marks, date and monogram, 45.5cm. diam.

£300­400

138

A small Della Robbia vase by Liz Wilkins, ovoid on three claw feet, with loop handles, painted with classical figures in green, turquoise, and yellow on a white ground, incised and painted marks, chip to top rim, 12.5cm. high £300­400

139

A small Della Robbia Pottery vase by Cassandra Annie Walker, dated 1897, shouldered form with flaring neck, painted with Art Nouveau flower design, in blue, yellow and green on a cream ground, painted mark, CAW and 1897, £150­250

140

A Della Robbia Pottery vase by Hannah Jones, footed, tapering form with swollen knopped neck, painted with Art Nouveau tulip flowers in yellow, green, turquoise on a chestnut brown ground, incised factory marks, painted HJ monogram, neck rim reduced, minor overpainting to base rim, 30cm. high

£200­300

141

A Della Robbia Pottery vase, ovoid with modelled loop handles, incised and painted with foliate motif in yellow, green and mushroom, and a Della Robbia bowl by Annie Smith dated 1895, incised marks, painted EF monogram, minor glaze chips to vase, chip to rim of bowl, 10.5cm. high (2)

£200­300

142

A Della Robbia plaque designed by Ellen Mary Rope, decorated by John Fogo, rectangular form, cast in low relief with children dancing around a tree, in shades of blue, green, brown and yellow, framed, incised marks, JF monogram, 21.5 x 16.5cm.

Literature

Peter Hyland, The Della Robbia Pottery Birkenhead, 1894-1906, ACC Books, page 207 figure 222 for a comparable plaque illustrated.

£400­600

143

Melody a large Della Robbia Pottery plaque designed by Ellen Mary Rope, rectangular cast in low relief with three young figures playing music gathered around a central tree, as two groups of young figures listen and rest, in colours, in pokerwork wooden frame, incised numbers to reverse, 48 x 29cm.

Provenance

Private collection.

Literature

The Studio volume 13, 1898 page 190 for an example of this plaque illustrated. this example listed as designed by Miss Rope and painted by E.M. Wood.

Peter Hyland The Della Robbia Pottery, Birkenhead 18941906, Antique Collector’s Club, page 207 figure 222 for a related, smaller tile plaque by Rope decorated with children dancing around a tree.

Exhibited

Melody (panel) was exhibited by the Della Robbia Pottery in 1905, catalogue number 1939 priced at £3.3s.

£1,500­2,000

144

A Della Robbia twin­handled Albarello vase by Aphra Peirce, painted with a classical draped figure, holding a large arrow in her hand, in her other hand a flowing scarf blowing in the wind, held by an angel to the reverse, in colours, incised marks, professional restoration, 35.5cm. high

£1,500­2,000

145

A Ruskin Pottery high­fired stoneware vase, dated 1910, swollen, shouldered cylindrical form, covered in a rich flambe glaze with turquoise and lavender spots, impressed marks and date 1910, 29.5cm. high Provenance

Private collection, Cambridge

Thence by descent to the present owner

20th Century Decorative Arts & Design, Bonhams, 7th December 2021, lot 8

Exhibited

Long­term loan to the Fitzwilliam Museum, Cambridge from 2013 to 2021

Literature

Paul Atterbury and John Henson, Ruskin Pottery The Pottery of Edward Richard Taylor and William Howson Taylor, 1898-1935, page 108 for a comparable piece illustrated.

£500­800

146

A Ruskin Pottery vase, ovoid form with three loop handles, covered in a graduated and running matt yellow glaze, impressed marks, 22.5cm. high £120­180

147

A ruby lustre solifleur vase probably William De Morgan or Maw & Co, the ovoid body painted with a frieze of moths, between scallop borders, the cylindrical neck with painted foliate stems, in ruby lustre on a white ground, unsigned, drilled to side, minor glaze chips, 25cm. high £800­1,200

A William De Morgan Pottery lustre charger by Fred Passenger, painted to the well with a vase decorated with a shoal of scaly small fish, the rim a band of foliage, in ruby lustre on a white ground, the reverse with a band of stylised leaves, painted FP, restored, 36cm. diam.

£2,500­3,500

149

A William De Morgan ruby lustre Doe tile, painted with a young deer in ruby lustre on a white ground, Sherwin Patent tile, 15.2cm. square.

Literature

Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 122 plate 912 for the original design with grass clumps.

£400­600

150

A William De Morgan Late Fulham Period tile, painted with carnations in shades of green and aubergine on a white ground, and a Minton’s two tile panel printed with flowers and foliage, framed, impressed De Morgan mark, collection label, 15 x 5.5cm. (2)

Provenance

The John Catleugh Collection, cat no.69 (De Morgan tile).

£150­250

151

A large William De Morgan Snake tile, square, painted with a coiled snake with a branch in ruby and pink, framed, unmarked 21cm. square

£500­800

152

A small William De Morgan bowl, with inverted rim, painted with simple flowers and foliage on a dotted ground, in ruby on a white ground impressed De Morgan mark, 11cm. diam.

£200­400

153

A good William De Morgan ruby lustre charger, painted to the well with a heron perched before fruiting foliage, the rim with scrolling foliage, in ruby lustre, the reverse decorated with foliage sprays in ruby lustre, unsigned, 36cm. diam.

£8,000­12,000

154

A Burmantoft’s Faience model of a monkey, model no.797, modelled seated next to a large nut, covered in a turquoise blue glaze, impressed and incised marks, small glaze nick, 14cm. wide

Literature

A Private Collection of Burmantoft’s Faience Pottery, Woolley and Wallis Auctioneer’s, 22nd June 2017, lot 774 for a comparable example.

£150­250

155

A pair of Burmantoft’s Faience three­legged toads, modelled in relief, covered in a red glaze, impressed marks, one with paper Burmantofts label, minor glaze loss, 16.5cm. high (2)

£300­500

156

A Burmantoft’s Faience pottery ewer, model no. 1737, swollen form with over­slung handle, cast in low relief with Egyptian motif, glazed red, impressed marks, professional restoration to handle, 31.5cm. high

£150­250

157

A pair of tall Burmantoft’s Faience candlesticks, model no.1850, modelled as Corinthian pillars, the square base cast in low relief with mask and shield motif, glazed green stamped marks, 44cm. high, (2)

£200­300

158

A Burmantoft’s Faience Partie-Colour twin­handled vase, ‘slip’ decorated in low relief with a raven perched amongst flowers in shades of brown and yellow on a green ground, impressed marks, 30.5cm. high

£150­250

159

An Ashby Guild solifleur vase, compressed body with tapering cylindrical neck, covered in an aventurine glaze, and a Pilkington’s Lancastrian bowl covered in an aventurine glaze impressed marks, 12.5cm. high (2)

£120­180

160

A Wedgwood Pottery vase by Alfred Powell, shouldered form, model no.4238, painted with a band of running stags in a woodland setting, between stylised Tudor rose and foliage, in shades of purple, green and orange lustre on a white ground, impressed and painted marks, 14cm. high

Provenance

Lawrences Auctioneers 12th April 2018 lot 927.

Literature

Maureen Batkin Wedgwood Ceramics, 1846-1959, Richard Dennis Publications, page 141 plate XLVI for a comparable example illustrated.

£700­900

161

A Pilkington’s Royal Lancastrian Pottery vase by Richard Joyce, shouldered form, painted with large scaly fish amongst waterweed, in golden lustre impressed factory mark, painted monogram, 23cm. high

£500­1,000

162

A Pilkington’s Royal Lancastrian Pottery jar and cover by Richard Joyce, painted with wild boar in a woodland setting, flanked with heraldic shield motif, in gold and ruby lustre, impressed and painted marks, 13.5cm. high

£500­1,000

163

A Pilkington’s Lancastrian vase by Richard Joyce, shouldered form, painted with a frieze of fruiting grape vine, in ruby and gold lustre on a blue ground, painted monogram, 17cm. high

£400­600

164

A Pilkington’s Lancastrian vase by William S Mycock, dated 1922, shouldered form, painted with foliate panels, inside scrolling foliage in gold and ruby lustre on a blue lustre ground, impressed and painted marks, painted date and monogram, 22.5cm. high

£400­600

A PRIVATE COLLECTION OF WEDGWOOD POTTERY

165

A Wedgwood preserve pot and cover by Louise Powell, model no.4266, slightly swollen cylindrical form, painted with foliate columns in green and brown on a white ground, impressed factory marks, painted artist monogram, number 4266, 13.5cm. high, (2)

Provenance

Skinner’s Auctioneers. Private collection of Cotswold Artist Wedgwood ceramics.

£300­500

166

A Wedgwood pot and cover by Alfred Powell, swollen cylindrical form, painted with flower stems in pink, green and brown on a white ground, impressed factory mark, painted artist monogram, number 2268, chip to inside rim of cover, 13.5cm. high (2)

Provenance

Fine Art Society, Private collection of Cotswold Artist Wedgwood ceramics.

£150­200

167

A Wedgwood pot and cover by Louise Powell, pattern no.1051, painted with flowers and foliage in red and green, impressed marks, painted artists monogram, small chip to cover, 8.5cm. high (2)

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£150­200

168

A Wedgwood pot and cover by Grace Barnsley, tapering form, the shallow domed cover surmounted with figural finial, painted with scrolling foliage in black on a white ground, impressed marks, painted artist monogram, number 84, small chip to top rim of pot, 11cm. high (2)

Provenance

Mr H M Gimson, Private collection of Cotswold Artist Wedgwood ceramics. Exhibited

Crafts of the Cotswolds, Cheltenham, 1951, catalogue number 286 (loaned along with seven other pieces of pottery by H M Gimson).

£150­250

169

A Wedgwood milk­jug by Grace Barnsley, ovoid, painted with berried, scrolling foliage in red and black on a white ground, impressed factory mark, painted artist monogram, numbered 117, 7.8cm. high

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£180­220

170

A Wedgwood milk­jug by Grace Barnsley, number 193, ovoid painted with simple blue columns, impressed marks, painted artist monogram, numbered 193, 7.5cm. high

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£150­200

171

A Wedgwood tea set for six painted by Alfred Powell for Geoffrey Lupton, comprising teapot and cover, four cups and saucers, the large teapot and cover painted with lake landscapes, the cups and saucers with English rural vignette, in blue on a white ground, impressed factory marks, teapot inscribed to Geoffrey Lupton painted by Alfred Powell, numbered 2462, artist monogram, cover finial repaired, the cups artist’s monogram and 2009, 23cm. wide (teapot), (10)

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£300­500

172

A Wedgwood muffin dish and cover by Grace Barnsley Davis, painted with carnations, in pink and green on a white ground, impressed marks, painted artist monogram, and number 260, 22.5cm. diam. (2)

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£200­300

173

A Wedgwood tea for two by Alfred Powell, number 922, comprising teapot and cover, milk­jug and sugar basin, slop basin, two cups, saucers and side plates, each painted with rural landscapes before mountains, including country houses, bridges, a castle and a windmill, in colours impressed mark, painted artist monogram, number 922, fine hairline to slop basin rim, minor nicks to tip of teapot spout, 10.5cm. high (teapot), (11)

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£1,000­1,500

172

171

174

A Wedgwood teapot and cover painted by Grace Barnsley, painted to the shoulder of the pot and the cover with forget me not flowers and foliage, inside red dot borders, impressed marks, painted artist monogram, number 35, 12cm. high, (2)

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£150­200

175

A pair of Wedgwood covered pots by Grace Barnsley, numbered 228, painted with bands of cornflowers, in blue, green and brown, on a white ground, impressed marks, painted artist monogram, painted number, professional restored finial, 9.5cm. high (4)

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£300­400

176

A Wedgwood mug, number 1404, painted with scrolling foliage in green and brown, between brown bands, impressed mark, painted artist monogram, number 1404, 7.5cm. high

£150­200

177

A Wedgwood bowl designed by Alfred Powell, painted to the well with flowers and foliage in blue, yellow and green on a white ground, impressed factory marks, painted number 17, 26cm. diam.

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£150­200

178

A Wedgwood bowl by Grace Barnsley Davis, painted with radiating carnation stems, inside a scrolling foliate band, in blue, highlighted in yellow, impressed marks, painted artist monogram, number 288, hairline to rim, 24.5cm. diam.

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£200­300

179

A Wedgwood plate, painted with stylised blue flowers and large silver leaves, on white ground, impressed marks, painted AMM7667, 24cm. diam.

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£150­250

180

A Wedgwood Rhodian Ware box and cover designed by Alfred Powell, rectangular, painted in colours and highlighted in copper lustre, impressed factory marks, painted NE monogram, 17cm. long (2)

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£200­300

181

A Wedgwood octagonal bowl designed by Alfred Powell, painted with panels of stylised cyclamen flowers and large foliate columns, in green, pink and brown, impressed marks, painted number, 12cm. diam.

Provenance

Private collection of Cotswold Artist Wedgwood ceramics.

£150­250

182

A pair of Wedgwood plates by Alfred Powell, painted to the rim with small stylised flowers inside a foliage wreath, in green, sky blue and red, impressed marks, painted artist monogram, no.2, exhibition paper label, wear, 24cm. diam. (2)

Provenance

Wedgwood Exhibition, Richard Dennis, 1982, catalogue number P.79

Private collection of Cotswold Artist Wedgwood ceramics.

£200­300

183

A pair of Wedgwood plates by Alfred Powell, model no.a4734, each painted with a stag running in a forest landscape, in colours, inside a silver banded rim, the back painted with four small stags in blue, impressed marks, painted artist monogram, 4734, wear to lustre, 24cm. diam. (2)

Provenance

Arts and Crafts, Christie’s South Kensington, 21st November 2001, lot 34.

Private collection of Cotswold Artist Wedgwood ceramics.

£400­600

181

MOORCROFT POTTERY

184

A James Macintyre Alhambra Ware vase designed by William Moorcroft, slender baluster vase, tubeline decorated with floral cartouche in salmon pink, blue and gilt, printed factory mark, 30.5cm. high

Literature

Paul Atterbury Moorcroft, Richard Dennis Publications, page 53 figure 3 for a comparable vase.

£300­500

185

A James Macintyre Green and Gold Florian Ware vase designed by William Moorcroft, slender baluster vase, tubeline decorated with floral cartouche in green, blue and gold, printed factory mark, painted green signature, 30.5cm. high

£300­500

186

Peacock Feather a Florian Ware vase designed by William Moorcroft, shouldered, flaring cylindrical form, tubeline decorated with Art Nouveau peacock feathers, in shades of yellow, blue and green on a pale blue ground, printed factory mark, painted green signature, 25.5cm. high

£500­800

187

Grape Vine a tall lustre vase designed by William Moorcroft, slender baluster form, tubeline decorated with bands of grape vine, in shades of purple, green and blue on a mottled lustre ground, painted Moorcroft signature, base drilled, 40cm. high Catalogue notes

The base appears is signed W Moorcroft New York suggesting the vase was made for export to Tiffany’s New York.

Literature

Paul Atterbury Moorcroft, Richard Dennis Publications, page 62 figure 1 for a comparable lustre vase and also a lustre rose vase made for Tiffany’s New York.

£500­800

188

Iris a rare twin­handled lustre vase designed by William Moorcroft for retail by Liberty & Co, flaring conical form, with applied handles, tubeline decorated glazed green and blue on a yellow lustre ground, painted green signature, printed Liberty mark, restored, 15cm. high

£400­600

189

Revived Cornflower a James Macintyre twin­handled vase designed by William Moorcroft, waisted cylindrical form, tubeline decorated with floral cartouche in shades of yellow, blue and green on a white ground, printed factory marks, painted green signature, professional restoration, 26cm. high

£300­500

190

Chrysanthemum/Revived Cornflower a tall James Macintyre footed vase designed by William Moorcroft, tubeline decorated with floral panels in pink, red blue and green, painted green signature, 35cm. high

£1,500­2,000

191

Wisteria a James Macintyre twin­handled vase designed by William Moorcroft, swollen cylindrical form, tubeline decorated with trailing wisteria flowers in purple, pink and green on a cream ground, printed factory marks, painted green signature, 25.5cm. high

£800­1,200

192

Pomegranate a Moorcroft Pottery baluster vase designed by William Moorcroft, painted in shades of pink, purple, ochre and green on a blue ground, a Moorcroft Pomegranate bowl, pin tray, three Moorcroft Anemone pieces, a Moorcroft Pottery lid and a Tudric pewter stand, impressed mark, painted green signature, 18cm. high (8)

£150­250

193

Leaf and Berry a Moorcroft Pottery vase designed by Walter Moorcroft, ovoid tubeline decorated in colours on a graduated green ground, and two Moorcroft Pottery Frilled and Slipper Orchid vases, impressed and painted marks, repaired chip to rim of one, 10cm. high (3)

£200­300

194

Pomegranate a Moorcroft Pottery dish with electroplated mount designed by William Moorcroft, painted in colours on a blue ground, a Moorcroft Pottery Clematis vase, two Moorcroft miniature orchid vases, a pair of Aquilegia candlesticks, two covered boxes and a collection of Moorcroft Pottery impressed and painted marks, 12.5cm. diam. (41)

£300­500

195

Pansy a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, tubeline decorated in shades of pink, purple, yellow and green on a blue ground, and another smaller, impressed and painted marks, 20cm. high (2)

£200­300

196

Pansy Bud a large Moorcroft Pottery ginger jar designed by William Moorcroft, tubeline decorated with a band of flower buds, in yellow, purple and green on a graduated green to blue ground, impressed marks, painted green signature, 36.5cm. high

£400­600

197

Eventide a Moorcroft Pottery tazza with Tudric Pewter stand designed by William Moorcroft, for retail by Liberty & Co, painted in shades of pink, tan and green, and a Pomegranate tazza, impressed marks, painted signature, Eventide repaired, 19cm. diam. (2)

£150­250

198

Dawn a Moorcroft Pottery bowl designed by William Moorcroft, on shallow threaded foot, tubeline decorated with trees in a landscape, inside scallop border in shades of blue, impressed marks, painted blue signature, threaded foot for pewter mount, 20.5cm. diam.

£100­200

199

Moonlit Blue a Moorcroft Pottery vase designed by William Moorcroft, painted with a frieze of trees, in shades of blue and green on a blue ground, impressed marks, painted blue signature, 16cm. high

£500­800

200

Moonlit Blue a Moorcroft Pottery vase designed by William Moorcroft, swollen cylindrical form, tubeline decorated with a frieze of trees in green and blue on a dark blue ground, impressed marks, painted blue signature, 16.5cm. high

£500­800

201

Moonlit Blue a Moorcroft Pottery vase with Tudric Pewter mount designed by William Moorcroft, for retail by Liberty & Co, flaring cylindrical form, glazed in shades of green and blue on a blue ground, stamped marks, 16.5cm. high

£300­500

202

Fish a Moorcroft Pottery vase designed by William Moorcroft, ovoid, tubeline decorated with a shoal of fish and a jelly fish, in colours under a partial flambe glaze, impressed factory marks, 7cm. high

£200­300

203

Pomegranate a Moorcroft Pottery and Tudric Pewter tea set designed by William Moorcroft, for retail by Liberty & Co, comprising, teapot and pewter cover, hotwater jug, milk­jug and sugar basin and a Pomegranate plate, impressed marks, painted blue signature, milk-jug broken handle, 13.5cm. high (teapot), (5)

£150­200

204

Pomegranate a pair of Moorcroft Pottery candlesticks with Tudric Pewter mounts designed by William Moorcroft, for retail by Liberty & Co, painted in shades of pink, purple, ochre and green on a blue ground, stamped marks to base, 20cm. high (2)

£200­400

205

Pomegranate a Moorcroft Pottery Biscuit barrel with Tudric Pewter cover designed by William Moorcroft, for retail by Liberty & Co, painted in shades of red, purple, green and ochre on a blue ground, and a Moorcroft Pottery Pomegranate tobacco jar and cover, painted blue signature, paper label, 17cm. high, (4)

£200­400

206

Pomegranate a Moorcroft Pottery vase designed by William Moorcroft, dated 1914, baluster form, tubeline decorated in shades of red, ochre, purple and blue on a streaked green ground, impressed marks, painted green signature and date, 32cm. high

£700­1,000

202 both sides

207

Michael Cardew (1901­1983)

a Winchcombe Pottery footed bowl, slip decorated in brown and buff, a Winchcombe plate titled Rhoda and a small Sidney Tustin bowl, impressed seal marks, 21cm. diam. (3)

£150­250

Φ 208

Richard Batterham (1936­2021) a salt­glaze stoneware teapot and cover, with chatter band, unsigned, incised 19, 13.5cm. high (2)

£150­250

Φ 209

Richard Batterham (1936­2021)

a stoneware teapot and cover, covered to the foot with an ash glaze, unsigned, 13.5cm. high (2)

£150­250

Φ 210

Richard Batterham (1936­2021) a stoneware sugar jar and cover, with incised chevron motif, glazed to the foot with an ash glaze, unsigned, small chip to top rim, 17cm. high

£150­250

Φ 211

Richard Batterham (1936­2021)

a stoneware jug, covered to the body with an olive green glaze, the rim celadon ash, and another jug by Richard Batterham, unsigned 26.5cm. high (2)

£200­300

Φ 212

Richard Batterham (1936­2021)

a small cut­sided stoneware vase, covered in a tenmoku glaze, and two others similar, unsigned, painted DKT, 7.5cm. high (3)

£150­250

Φ 213

Richard Batterham (1936­2021) a small salt­glaze stoneware beaten jar and cover, with incised band, another similar and a pedestal bowl by Richard Batterham, unsigned, pedestal bowl chipped 9cm. high (5)

£150­250

CONTINENTAL CERAMICS

214

A Persian footed bowl, painted to the exterior with carnation and bell flowers, the interior with a central flowerhead motif and radiating foliate sprays, in blue and turquoise on a white ground, painted 26 to base, minor glaze loss, 26.5cm. diam.

£120­180

215

A Molaroni Pottery twin­handled footed vase, Pesaro, Italy, with footed form with twin snake handles, the elliptical bowl painted with classical figures in scrolling foliage borders, in blue, yellow and green, painted M Pesaro mark, restored, 28cm. high

£120­180

216

A pair of Bombay School of Art Wonderland

Pottery vases, ovoid, with collar rim, painted with bands of scrolling flowers and foliage in blue, turquoise and white on a terracotta ground, unsigned, minor chips, 19.5cm. high (2)

£150­250

217

A Keramis Pottery charger, painted with a central Tudor Rose inside oak leaf and acorn border, the rim with German inscription, in blue and yellow on a white ground, impressed Keramis mark, painted AB artist monogram to the rim, 37.5cm. diam.

£150­200

218

A monumental Boch Freres Keramis Iznik vase, model no.69, shouldered form with twin lug handles, painted with flowers and foliage panels in turquoise, blue and red on a white ground, between foliage bands, painted BFK, TE monogram, 69, minor professional restoration to one handle, 75cm. high

£4,000­6,000

219

A tall Art Nouveau Zsolnay Pecs pottery vase, the design attributed Lajos Mack, the compressed body with tall tapering cylindrical neck, modelled with an Art Nouveau maiden with flowing long hair and dress, glazed petrol lustre, impressed and printed factory marks, 45.5cm. high

Literature

Eva Csenkey Hungarian Ceramics from the Zsolnay Manufactory, DGC/Yale, page 140 figure 126 for a comparable vase titled Allegory of The Flood, illustrated.

£5,000­6,000

220

222

A Zsolnay Pecs metal mounted oil lamp, shouldered form, printed and painted with scrolling flowers and foliage in red, pink, green and black, highlighted in gilt on a cream ground, with metal mount and foot, and another Zsolnay Pecs oil lamp, marks concealed by mounts, 34cm. high, (4)

£200­400

221

A Zsolnay Pecs pottery vase, swollen, shouldered form with collar rim, applied with raised and pierced roundels, glazed in turquoise, and tan on a buff ground, with gilt highlights, on applied gilt metal foot cast in relief with lion heads, Zsolnay Pecs marks concealed under base, 30cm. high

£250­300

222

An Art Nouveau Zsolnay Pecs miniature single­handled vase, painted with panels of flowers in red and golden lustre on a blue ground, printed Zsolnay Pecs mark, handle missing, 8cm. high

£120­180

223

A tall Art Nouveau Clement Massier vase, compressed body with tall tapering, knopped painted with peacock feathers in golden iridescent glaze over red, unsigned, small frits to top rim, 32.5cm. high

£1,500­2,000

224

An Art Nouveau Delphin Massier Vallauris vase, solifleur form, with tapering body, painted with wasps in golden iridescence over red lustre ground, signed Delphin Massier Vallauris, minor glaze frits, 12.5cm. high

£300­400

225

A Zsolnay Pecs pottery vase, flaring conical form, cast in low relief with a frieze of maidens, holding a wine glass before grape vine background, covered in a golden iridescence, printed gilt factory mark, 16cm. high

£150­200

226

A Zsolnay Pecs pottery vase, compressed, shouldered form, modelled in low relief with a frieze of classical soldiers, some on horseback, covered in a green­golden iridescence, unsigned, 8.5cm. high

£150­200

227

The Silent Lake, large Zsolnay Pecs vase, designed by Sandor Abati from an illustration by Adolf Bohm, model no 7332, slightly swollen cylindrical form, with shoulder, incised and painted with a sunrise landscape reflected in a lake, Eosin glazes, impressed factory mark and number, professionally restored, 53cm. high

Literature

Eva Csenkey Hungarian Ceramics from the Zsolnay Manufactory, DGC/Yale, page 133 figure 11 this vase illustrated.

Exhibited

Panorama : Architecture and Applied Arts in Hungary

1896-1016, May 12­June 16, 1996, Museum of Contemporary Art, Sapporo, page 120 this vase illustrated, catalogue number 189, dated to circa 1905.

£4,000­4,500

228

An Art Nouveau pottery vase probably French, twisted, tapering form covered in a red lustre glaze, with painted seeds, unsigned, 15cm. high

£200­400

229

An Art Nouveau ‘Zumbo’ solifleur vase, ovoid, with tall cylindrical neck, painted with columns of scroll design in gold on a red lustre ground, painted Zumbo to base, 18.5cm. high

£300­400

230

An Art Nouveau Zsolnay Pecs pottery vase, tapering cylindrical form with swollen neck, covered in a golden iridescent glaze, unsigned, 10.5cm. high

£300­500

231

An Art Nouveau Clement Massier vase, shouldered form with cylindrical neck, painted with flowers and foliage in golden lustre on a red lustre ground, indistinct painted marks, 31cm. high

£800­1,200

232

A Delphin Massier miniature solifleur vase, ovoid with cylindrical neck, covered in a golden iridescent glaze with foliate designs, painted DM to base, 8cm. high

£150­200

233

An Art Nouveau Clement Massier gourd vase, ribbed, shouldered form, painted with stylised flowers in a golden lustre, moulded CM to base, 9cm. high

£500­600

234

An Art Nouveau Clement Massier pottery vase, compressed body with tapering cylindrical form with small loop handles to the shoulder, painted foliate motif in rust under a golden­green lustre glaze, painted CM Golfe Juan in golden lustre to base, 10.3cm. high

£300­500

235

An Art Nouveau Zsolnay Pecs Lotus Ware garden seat, designed by Julia Zsolnay, model no.3698, modelled as a large flowerhead seat, above bamboo column with cream climbing flower, in shades of cream. brown and green impressed factory marks, minor damages, 44cm. high

Literature

Eva Csenkey Hungarian Ceramics from the Zsolnay Manufactory, DGC/Yale, page 97 figure 134 for a comparable stool, illustrated.

£1,000­1,500

236

A set of three Art Nouveau Zsolnay Pecs Lotus Ware garden seats, designed by Julia Zsolnay, model no.3698, modelled as a large flowerhead seat, above bamboo column with pink climbing flower, in shades of pink, green and brown, impressed marks, minor professional restoration, 44cm. high, (3)

Literature

Eva Csenkey Hungarian Ceramics from the Zsolnay Manufactory, DGC/Yale, page 97 figure 35 for the original design for this stool illustrated.

£4,000­5,000

235 236

237

An Art Nouveau miniature vase in the manner of Zsolnay Pecs, shouldered, dimpled cylindrical form, painted with stripes in yellow and blue on a blue ground, and two other Art Nouveau vases with green iridescent glazes, unsigned, minor chips, 6.5cm. high (3)

£150­250

238

A TL Delft pottery vase, shouldered ovoid form, with knopped neck, covered in a streaked red and gold glaze, and a TL Delft plate with scallop rim, painted marks, 18cm. high (2)

£200­300

239

An Art Nouveau Herman Kahler Danish pottery vase, ovoid with flaring rim, painted with trefoil leaves in blue on a crackled golden ground, and another covered in a flambe red glaze, incised marks (2)

£150­200

240

A Gouda Pottery Nova wall plate, painted with radiating foliate panels in blue, turquoise yellow and red, inside a black rim, and a Gouda Juliana bowl with inverted rim, painted marks, 27.5cm. diam. (2)

£120­180

241

A Gusso Reuss Pottery vase, shouldered form with collar neck, covered in a crackled purple and white lustre glaze, and another vase similar, main vase impressed Reuss, chips to second vase, 19cm. high (2)

£150­200

242

A St Lukas Utrecht pottery vase, shouldered form with flaring top rim, covered in a golden, green lustre, and two other pottery vases with red and turquoise glazes, printed factory mark, 16cm. high (3)

£120­180

243

An Art Nouveau Amphora Reissner Stellmacher and Kessel pottery vase designed by Paul Dachsel, model no.3549, swollen form with four loop handles, cast in low relief with foliate motifs, enamelled with flowers in blue and red on a green ground, impressed marks, 23cm. high

Literature

Richard L Scott Ceramics From The House of Amphora, catalogue number 209 for a comparable example, circa 1901­1902, illustrated.

£200­400

244

An Art Nouveau Pottery solifleur vase probably Massier, tapering cylindrical form with flaring rim, painted with thistle flowers and foliage in golden lustre on a green lustre ground, unsigned, minor glaze frits, 22.5cm. high

£500­800

245

An Art Nouveau Clement Massier Golfe Juan solifleur vase, ovoid with tall cylindrical neck, painted with prunus blossom in white, highlighted in gilt, on an olive green ground, impressed factory marks, flat chip to the foot rim, 25cm. high

£400­600

246

246A

‘Kriscaly’ an Art Nouveau pottery advertising figure, modelled as an art nouveau maiden holding a beaker, covered in a white glaze, the base inscribed ‘Kriscaly’, impressed number and indistinct factory mark to base, chips, 56cm. high

£800­1,200

246A

A pottery model of a seated cat designed by Emile Galle, modelled seated wearing blue striped costume painted with stylised flower stems, in colours, with applied glass eyes, painted E Galle Nancy to foot, repaired ear, 32.5cm. high

£150­250

247

An Art Nouveau porcelain vase on gilt bronze mount by Charles Korschann, the tapering body with square aperture, cast in low relief with a panel of a child amongst scrolling flowers and strapwork, the reverse with Secessionist panel, stamped with Louchet Paris seal to back, signed Pl Alp to base, 19cm. high

£1,000­2,000

248

An Art Nouveau Tiffany Studios vase, swollen cylindrical form, with pinched lugs and squared top rim, covered with a running red lustre over matt celadon green, unsigned, small chip to top rim, 11cm. high

Literature

Edgar Pelichet & Michele Duperrex, La Ceramique Art Nouveau, page 41, catalogue number 42­43 for comparable examples.

£800­1,200

249

An Art Nouveau Tiffany Studios twin­handled vase, cylindrical form, with modelled floriform handles, covered in a golden green glaze on a matt green ground, unsigned impressed mark, painted O, 18cm. high

Literature

Edgar Pelichet & Michele Duperrex, La Ceramique Art Nouveau, page 41, catalogue number 42­43 this model illustrated.

£1,500­2,500

GLASS

250

A Louis Comfort Tiffany Favrile glass bowl in presentation box, fluted form with golden iridescence, in original card presentation box, etched LCT Favrile 1925 to base, 20cm. diam.

£1,200­1,800

251

An enamelled glass vase in the manner of Dagobert Peche for the Wiener Werkstätte, footed form, clear glass enamelled with simple foliate sprays in white painted WW to base, 14.5cm. high

£200­300

252

A cut glass vase attributed to Moser to a design by Josef Hoffmann for the Wiener Werkstätte, faceted foot, supporting knop and flaring faceted stem, etched WW mark to base, 30.5cm. high

£200­300

253

A set of four lustre glass shades, bell shape with fluted rim, mottled red glass with pulled iridescent finish, unsigned, 16cm. high, (4)

£200­300

254

A John Walsh Walsh vaseline glass Fan vase, on applied foot modelled as stylised leaves, another similar with twisted stem and a tapering cylindrical vase with pulled trefoil rim, unsigned, 17cm. high (3)

£150­200

WORKS ON PAPER & LITERATURE

255

Der Moderne Stil, seven bound volumes, 1899­1905, (7)

£800­1,200

256

‘Die Pflanzeim Ornament’ by J Hempel and ‘La Flore Decorative’ by Paul Lorain, two books on design (2)

£80­120

257

Grotesques by Aubrey Beardsley privately published, 1913 by Frederick Evans, with platinotypes from his collection of original drawings, loose leaf folio, 31 x 23.3cm.t

£500­1,000

258

The Works of Geoffrey Chaucer with companion volume to the Kelmscott Chaucer, published by The Basilisk Press, London 1975, with tipped in illustrations by Duncan Robinson. Ed. Ltd to 515 copies. Bound by Lumsden of Edinburgh with ‘Larkspur’ printed cloth slip case designed by William Morris, printed by Liberty, number 53/515, 43.5 x 29.5cm. (3)

£500­800

259

Paul Berthon (1872­1909)

Her Most Gracieuse Majeste La Reine Wilhelmina, lithograph in colours on paper, framed signed in the print top left, 38.5 x 35.5cm.

£200­300

260

Paul Berthon (1872­1909)

Femme de Profil, 1898 lithograph on velin paper, published by Maitres de L’affiche, framed signed in the print bottom left, 32.5 x 24cm (image)

£150­200

261

Gustave Lorain (born 1882) Ecole du Dessin, lithograph on paper, published by G de Malherre, Paris, framed signed in the print G Lorain, 59 x 42cm.

£250­350

262

Marcel Lenoir (1972­1931)

Invocation lithograph in colours published by L’Estampe Moderne, framed signed in the print, 35 x 23.5cm. (image)

£250­350

263

Jules Cheret (1836­1932)

Theatre de L’Opera, 1894 colour lithograph on paper from the 1894 calendar, and ‘The Boston Sunday Herald’ by Ethal Reed, 1894, both framed signed in the print 54 x 35.5cm. (image of Cheret). (2)

£150­250

264

Paul Berthon (1872­1909)

Les Eglantines, 1900 lithograph in colours, framed signed in the print 53 x 39cm. (image)

£300­400

265

Alphonse Mucha (1860­1939)

L’Estampe Moderne, April 1898 lithographic print for the cover, framed and L’HabitationPratique, 1906 by Mucha signed in the print Mucha, and dated Avril 1898 60 x 39.5cm. (2)

£300­500

266

The Spell of the Open Air and St Paul two books with covers designed by Jessie M King, published by Turnbull & Spears, ‘Album From Berlin’ published and two version of ‘memories’ by Robert Louis Stevenson, all with covers designed by Jessie M King, (5)

£150­250

267

Sir Frank Brangwyn RA RWS RBA (1867­1956) Pollards Storefitters, lithographic poster published by The Avenue Press, framed signed with monogram in the print 72 x 46.5cm.

£250­350

268

Frank Conder

Figures on a Beach, design for a silk fan, painted silk, framed unsigned 38cm wide (fan)

Literature

The Studio Modern Design in Jewellery & Fans, 1901­1902, plates 5,6 & 7 for comparable fans illustrated, by Frank Conder.

£300­500

AMBROSE HEAL & THE HEAL FAMILY COLLECTION

269

An ash and elm Windsor armchair, on turned legs, crinoline stretcher, unsigned, 92cm. high

Provenance

Sir Ambrose Heal, thence by descent.

£100­200

270

A Windsor armchair, the back with carved central splat, crinoline stretcher, unsigned, 87cm. high

Provenance

Sir Ambrose Heal, thence by descent.

£200­300

271

A set of four 18th century ash and elm ladderback chairs, on turned legs, 90cm. high, (4)

Provenance

Sir Ambrose Heal, thence by descent.

Catalogue notes

Ambrose Heal was attracted by and collected ‘Regional chairs’. he wrote that one of his earliest recollections was of a visit to the workshop of Philip Clissett in Bosbury ­ possibly when he had taken an apprentice placement at James Plucknett in Warwickshire from 1890 to 1892. Clissett’s designs were know in London by then, the Art Worker’s Guild had chairs made by him in 1888.

£300­500

272

An ash and elm ladderback rocking chair, with rush seat, and an ash ladderback chair with pierced, thin curved splats, unsigned, 98cm. high, (2)

Provenance

Sir Ambrose Heal, thence by descent.

£150­250

273

A three panel oak mule chest, rectangular with hinged top, over two drawers, with internal candle drawers, brass fittings, 151 x 58cm, 93cm. high

Provenance

Sir Ambrose Heal, thence by descent.

£200­400

275

274

A 17th/18th century oak three panel coffer, with hinged top, carved with diamond shaped panel decoration, 110 x 50.5cm, 71cm high

Provenance

Sir Ambrose Heal, thence by descent.

£200­300

275

An unusual four­fold leather screen, unsigned, 46 x 152cm (each panel)

Provenance

Sir Ambrose Heal, thence by descent.

£100­200

276

A rush seated ash armchair, with turned bobbin back and arms, unsigned, 81.5cm. high

Provenance

Sir Ambrose Heal, thence by descent.

£150­200

277

A Heal & Son oak 216 Newlyn Bedroom Suite dressing table designed by Ambrose Heal, rectangular with four drawers, on turned legs, with later mirror made to the original design by Oliver Heal, and a stool, 137 x 63cm (top), 153cm. high (2)

Provenance

Sir Ambrose Heal, thence by descent.

Catalogue notes

This was one of the first three suites designed by Ambrose Heal in 1897

£1,500­2,000

277

276

Provenance

278

278 in situ

Ambrose Heal

278

A Heal & Sons oak desk designed by Ambrose Heal for his own use, the rectangular top, hinged to extend both sides, with hinged bracket supports to the front, on square section legs, unsigned, 305cm wide (open), 152cm wide (closed)

Sir Ambrose Heal, thence by descent

£1,000­1,500

279

A Heal’s mahogany cabinet designed by Ambrose

181cm. high 150cm. wide.

42cm deep

Provenance

Sir Ambrose Heal, thence by descent

Literature

Oliver S Heal, Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, page 148 this cabinet illustrated. £3,500­4,500

Heal, made to celebrate his marriage and dated 1895, central two door cabinet flanked with angled cupboards, below glazed, shelved display cupboard, with overhanging wide mantel, the cupboard doors with tooled, red leather date panel 1895 and initials for Alice Rose his wife,

279

279 in situ

279 details

280

A Heal & Son weathered oak gate­leg table, circular top on flaring turned legs, hinged sides, unsigned, 106cm. diam., 67cm. high

Provenance Sir Ambrose Heal, thence by descent, this table is photographed on the loggia at Baylins Farm.

£200­300

281

A Heal’s painted pine coffer, rectangular section, with cut out heart and diamond cluster decorations, painted green with coral red highlights, unsigned, 99 x 46cm, 62cm. high

£400­600

Provenance Sir Ambrose Heal, thence by descent.

282

A Heal’s limed oak table, rectangular top with lyre shaped legs, peg joints, applied ivorine label, 137 x 70cm (top), 72.5cm. high

Provenance

Sir Ambrose Heal, thence by descent.

£200­300

282

283

AHeal’s oak gate­leg table designed by Ambrose Heal, made as a wedding present for his son Anthony in 1941, the hinged top with chip­carved border to edge, 120cm. wide

76cm. high

Provenance

Sir Ambrose Heal, thence by descent

Literature

Oliver S Heal, Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, page 224 this table illustrated. This and the en suite dresser are the last domestic furniture designs by Ambrose Heal.

£800­1,200

284

A Heal’s oak dresser designed by Ambrose Heal, made as a wedding present for his son Anthony in 1941, carved panel doors below drawers, below panelled, shelved top with turned wooden peg hooks, carved inscriptions, paper label to drawer, 136cm, wide 47cm deep 117cm high

Provenance

Sir Ambrose Heal, thence by descent

Literature

Oliver S Heal, Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, page 234 this cabinet illustrated. This and the en suite gate­leg table are the last domestic furniture designs by Ambrose Heal.

£3,500­4,500

284 label

285

A silk embroidered panel by Christine Angus, the circular silk panel embroidered with four radiating female figures and floral panels in green, pink and white silk thread, framed unsigned, 51cm. diam.

Provenance

Purchased by Ambrose Heal about the time Angus was commissioned to produced designs for furniture inlay for Ambrose Heal, and also a silk embroidered Dalmatic, exhibited at the 1916 Arts and Crafts Exhibition Society.

Literature

Oliver Heal, Sir Ambrose Heal and the Heal Cabinet Factory, 1897-1939, page 80 for a figural inlay by Christine Angus designed for Ambrose Heal’s throne chair made for Christine’s sister Joan. Illustrated. The Studio Special - Modern Design in Jewellery and Fans, 1902, plate 43 for a design for a fan ‘Sweat Peas’ with comparable figures illustrated.

£400­600

286

A Heal’s fumed oak desk made in 1904 for Ambrose Heal’s office, rectangular top with leather, long central drawer flanked with banks of drawers, the top with deep rail to back and sides, brass furniture, 156 x 65cm (top), 92cm. high

Provenance

Sir Ambrose Heal, thence by descent

Literature

Oliver S Heal, Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, page 191 this desk illustrated.

£1,000­2,000

287

A Heal’s oak small coffer, rectangular with hinged cover, with fine dovetail joints, unsigned, 36cm. high, 56.5cm wide.

Provenance

Sir Ambrose Heal, thence by descent.

£200­300

288

A Heal’s oak John Dawson single wardrobe designed by Ambrose Heal, designed 1919, hinged panel door with ebonised wood handle, internally fitted with pegs and central hanging bar, unsigned, 173cm. high, 76cm. wide, 39cm. deep

Provenance

Sir Ambrose Heal, thence by descent.

Literature

Oliver S Heal, Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, page 240 this wardrobe and chest illustrated.

£300­500

289

A Heal’s oak John Dawson dressing chest designed byAmbrose Heal, designed 1919, rectangular with three drawers, the rectangular top with shallow back, and angled dressing mirror, ebonised wood handles, 91 x 49cm, 130cm high

Provenance

Sir Ambrose Heal, thence by descent.

Literature

Oliver S Heal, Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, page 240 this wardrobe and chest illustrated.

£700­1,000

289

288

287

290

A Heal & Son fumed oak two door wardrobe, on four square section feet, panelled, hinged doors, with ball terminals, unsigned, 188cm. high, 107cm wide.

Provenance

Sir Ambrose Heal, thence by descent.

£400­600

291

A Heal & Son limed oak sideboard, with central bank of four drawers, flanked by hinged single door cupboards, with separate low two­door cupboard to top, applied label, 136cm wide, 47cm. deep, 117cm. high (2)

Provenance

Sir Ambrose Heal, thence by descent.

£400­600

292

A pair of Heal’s limed oak chairs, 1925, open trellis back, drop in rush seats, on turned front legs, with H stretcher, unsigned, 87.5cm. high (2)

Provenance

Sir Ambrose Heal, thence by descent.

£600­1,000

293

A Heal’s oak four­poster bed, panelled headboard with turned columns, adorned with Morris & Co Bird woven jacquard bed spread, curtains and canopy, designed by William Morris, unsigned, 219cm high, 137cm wide (headboard)

Literature

Charlotte Gere & Michael Whiteway Nineteenth Century Design, Thames & Hudson, page 210 plate 261 for a comparable example of the ‘Bird’ textile.

Provenance

Sir Ambrose Heal, thence by descent

Catalogue notes

The four­poster bed that is being offered for sale is a fairly simple piece of early 20th century furniture and yet this particular bed is laden with symbolism. This was the bed in which Sir Ambrose Heal (1872­1959) slept for much of his life. It brings together comfort, design history and social history. The Heal’s business in London’s Tottenham Court Road had been founded in 1810 to manufacture beds and mattresses. Bedding was at the heart of the business throughout the 19th century and most of the 20th century, even as the firm expanded into dealing in other items of furniture and furnishing. Sir Ambrose was inspired by the work and writings of William Morris so it was fitting that he acquired some of Morris’s original “Bird” pattern wool cloth to make up a bed­spread and curtains for the Four­Poster. There was no better way of signalling his connection to the Arts & Crafts Movement that influenced his own design philosophy. An inventory of Ambrose Heal’s home taken in 1914 records “An oak frame four post bedstead with panelled back and floral linen curtains and valances lined green twill 4’ 6” wide”. It was then valued at £20.

£3,500­4,500

294

A Heal & Son woven wool wall hanging, rectangular, depicting a unicorn running through a stylised mountain landscape, in colours applied Heal’s label, woven Phi motif to corner, 261 x 139cm.

Provenance

Sir Ambrose Heal, thence by descent

£150­250

295

A Heal & Son painted wood bedroom suite, comprising a two­door wardrobe, washstand, dressing­table mirror, bedside table with side flaps, painted red and yellow, on ball feet, unsigned, 184 x 107cm (wardrobe), (4)

Provenance

Sir Ambrose Heal, thence by descent.

£400­600

294 label

294 Phi

296

A William De Morgan Persian vase, twin­handled form, painted with mythical creatures, the handles with simple foliate stem, in blue, turquoise and green on a white ground, unsigned, 22.5cm. high

Provenance

Sir Ambrose Heal, thence by descent

£800­1,200

297

A pair of William De Morgan pottery covered vases, shouldered form with shallow domed covers, painted with peacocks and mythical birds amidst stylised foliage in ruby on an off white ground, impressed Merton Abbey mark, damages, one cover repaired, 22.5cm. high (4)

Provenance

Sir Ambrose Heal, thence by descent.

£2,000­3,000

296

297

298

A James Couper Clutha glass vase the design attributed to George Walton, compressed, ovoid form with collar rim, green glass with air bubble inclusions, internally decorated with white swirls, unsigned, 19.5cm. high

Provenance

Sir Ambrose Heal, (listed in his inventory of 1918), thence by descent.

Catalogue notes

Both Christopher Dresser and George Walton produced designs for James Couper’s Clutha glass range, Whilst Dresser’s were elaborate shapes showing an influence from the far east, Walton’s are documented as more symmetrical, simple forms such as this vase.

£400­600

299

A James Powell & Sons Whitefriars amber glass M54 decanter and stopper designed by Barnaby Powell, pattern 2720, tapering square section decanter with dimpled stopper, three conical sherry glasses, another clear glass decanter and stopper and two Stuart large wine glasses designed by Jasper Conran, unsigned Whitefriars, Conran glasses etched marks,, 38cm. high (amber decanter), (9)

Provenance

Sir Ambrose Heal, thence by descent.

Literature

Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Manchester Museum & Art Gallery/Richard Dennis, page 129 for the decanter illustrated

£120­180

300

An Orrefors smoked glass Sandvik Astrid Range vase designed by Simon Gate, designed 1923, footed form with knopped stem, flaring bowl, an Orrefors smoked glass Astrid Range decanter and stopper, seven beakers and four sherry glasses, unsigned, 29cm. high (14)

Provenance

Sir Ambrose Heal, thence by descent. Ambrose Heal held an exhibition of Swedish glass at Heal’s in 1923.

£150­200

301

A Cantagalli bust of a young boy, in the style of Della Robbia, glazed green, blue, yellow and white, painted cockerel, 21cm. high

Provenance

Sir Ambrose Heal, thence by descent.

£100­150

302

A set of four Richard Ginori Le Quattro Stagioni plates designed by Gio Ponti, decorated with Italian farmers working, titled Primavera, Estate, Autumno, and Inverno, in colours, printed factory marks, 30-9, 23cm. diam. (4)

Provenance

Sir Ambrose Heal, thence by descent.

£500­1,000

302

303

An Arabia Finland pottery pedestal bowl by Greta Lisa JaderholmSnellman, dated 1936, painted with stylised fish in black and red on a pale blue ground, and an Arabia pewter mounted tray by Greta Lisa Jaderholm­Snellman painted with stylised flowers, painted factory marks and monogram to bowl dated 1936, tray broken and rivetted, 30cm. diam, 20.5cm. high (2)

Provenance

Sir Ambrose Heal, thence by descent.

Literature

Heal’s At The Sign of the Fourposter page 122 for a contemporary photograph of the artist standing by Heal’s horse van, 1936.

Catalogue notes

Greta Lisa Jaderholm­Snellman was born in Helsinki in 1894, studying at the Central School of Arts and Crafts in Helsinki in the 1920s. She held an exhibition at Heal & Son department store in London in 1937.

£120­180

304

A Gustavsberg Argenta Ware footed vase designed by Wilhelm Kage, model no.978, flaring cylindrical form, decorated with stylised flower panels in silver on a mottled green ground, and a pair of small Gustavsberg vases, impressed and painted factory marks, minor chips, 26cm. high (3)

Provenance

Sir Ambrose Heal, thence by descent.

£120­180

305

A Primavera Pottery figure of a woman holding a bowl of fruit aloft, stylised form, covered in a crackled white glaze, printed Primavera France mark, chips to base, 54.5cm. high

Provenance

Sir Ambrose Heal, thence by descent.

£300­500

306

Carl von Mering (1874­1944)

Adam und Eva (Adam and Eve) a pottery sculpture, glazed in pale blue and rust cast signature and title to drum base, damages, repaired neck with old restoration, 75cm. high

Provenance

Sir Ambrose Heal, thence by descent.

£200­400

309

307

Phoebe Stabler (1879­1955)

The Lavender Woman, 1911

a Hammersmith Bridge pottery figure, glazed in colours, incised Stabler 23 to inside, cast Stabler mark and 1911 to base 20cm. high

Provenance

Sir Ambrose Heal, thence by descent.

Literature

Leslie Hayward & Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 40 for a comparable, later example made at Poole Pottery illustrated. This figure was made at Poole from 1922.

£150­250

308

An early Carter Stabler & Adams Poole Pottery Deer plate designed and painted by Truda Adams, incised to Heal, painted to the well with a deer standing alert, its head raised, in colours on a grey ground, impressed CSA mark, painted TA monogram, incised Heal, 29cm. diam.

Provenance

Sir Ambrose Heal, thence by descent.

Literature

The Studio Yearbook, 1924, this design illustrated image I.

Leslie Hayward & Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 36 for a related original design illustrated.

£150­250

309

A Carter Stabler & Adams Poole Pottery vase, shape no.212, shouldered form with collar rim, covered in a matt brown glaze, the shoulder glazed buff, and a Poole Pottery cylindrical vase with Picotee spray glazed bands, impressed factory mark, incised 212, 28.5cm. high (2)

Provenance

Sir Ambrose Heal, thence by descent.

£120­180

310

Harold Stabler (1872­1945)

Burnham Beeches, a London Transport lithographic poster, printed by Johnson, Riddell & Co, London, unframed signed HS, printed to lower border 518/15/6/23, Johnson, Riddell & Co,London 102 x 63.7cm.

Provenance

Sir Ambrose Heal, thence by descent

£150­200

311

Harold Stabler (1872­1945)

Burnham Beeches, a London Transport lithographic poster, printed by Johnson, Riddell & Co, London, framed signed HS, reduced 74 x 62cm. (image)

Provenance

Sir Ambrose Heal, thence by descent. Catalogue notes

Harold Stabler visited Ambrose Heal at Baylins Farm on 14th October 1923.

£150­200

312

A Morris & Co inlaid Italian walnut cabinet designed by George Jack, model no.554, glazed cabinets with hinged doors flanking central bow­fronted cabinet, the doors with inlaid stylised flowers and foliage, above drawers and a central bow­fronted cabinet, patinated metal furniture stamped Morris & Co, to top of central drawer,

218cm high

183cm wide

67cm deep

Provenance

Col. J B Muir DSO, purchased from Morris & Company, 1920, thence by descent.

Literature

Specimens of Furniture and Interior Decoration, Morris & Company, page 14 this cabinet design illustrated, priced £170.

Catalogue notes

This cabinet was sent to Paris in 1914 to be exhibited at the important exhibition of decorative art organised by the British Government and was stuck in the French capital until the Great War finished.

£8,000­12,000

313

315

A pair of Morris & Co Sussex armchairs, possibly designed by Philip Webb, ebonised wood with rush seat, unsigned, 85cm. high, (2)

Literature

William Morris 1834-1986, V&A Exhibition catalogue, page 168 cat. no.J11 for a comparable example.

£400­600

314

A set of eight Morris & Co Sussex chairs the design attributed to Ford Madox Brown, circular rush seat on turned legs, with crossed spindle back design, unsigned, 84cm. high (8)

Literature

William Morris 1834-1986, V&A Exhibition catalogue, page 176 cat. no.J25 for a comparable example.

£600­1,000

315

A small Aesthetic Movement hanging wall cabinet, rectangular two door compartment, painted with panels of a flying swallow and a kingfisher, over a river landscape, in colours on a gilt ground, under two shelves, unsigned, 58cm. wide. 65cm. high

£200­400

A large Reformed Gothic oak cabinet, twin cupboard with hinged doors, with a panel of six Minton tiles by John Moyr Smith, supporting tall bookcase with pitched roof, inscribed And Good in Everything, Oct 1st 1974, in gilt, with polished brass furniture, 124cm. wide, 62cm deep, 246 cm. high £2,000­4,000

317

An oak chair with five legs the design attributed to Dr Christopher Dresser for retail at Liberty & Co, hexagonal seat above five turned legs, with turned bobbin rail, the back with turned columns, pad back and seat unsigned, 115cm. high

Provenance

Christie’s 2nd May 1996, lot 30. (pair)

The Property of the Late Lord Parmoor, Woolley and Wallis Auctioneer’s, 24th February 2009, lot 172. Private collection

Literature

Dr Christopher Dresser, Principles of Decorative Design, page 57, Dresser discusses the design of chairs stating ‘There is no reason whatever why a chair should have four legs’.

£250­350

318

An Aesthetic Movement brass fender, the rectangular front panels with pierced geometric flowerhead design, with cylindrical brass columns with ball finials, unsigned, 141cm wide, 49cm. high

Provenance

Paul Reeves An Eye for Design, Lyon & Turnbull, 14th February 2019, lot 130.

£400­600

319

An Aesthetic Movement ebonised wood table in the manner of E W Godwin, square section top on turned wood legs, unsigned, 66.5cm. high, (41x40cm top)

£150­200

320

An Anglo­Indian table, possibly retailed at Liberty & Co, octagonal section, inlaid with mother of pearl and bone, unsigned, losses, 42cm. high

£150­250

321

A Reformed Gothic oak desk in the manner of Bruce Talbert, rectangular top on hinged cupboards and central drawer, carved, pierced geometric panels, with raised back panel, with metal fittings, unsigned, 183cm wide, 56cm deep, 133cm high

£300­500

322

An oak chair designed by Augustus Welby Northmore Pugin, carved octagonal legs, with H stretcher, the tapering, angled back supports with simple shaped rectangular rest, carved with central CH roundel flanked with flowerhead roundels, 88cm. high

Provenance

Michael Whiteway

Private collection.

£300­400

323

A Liberty & Co oak occasional table, circular top with flaring tripod legs, with pierced dash and dew drop decoration, applied paper label, 44.5cm. diam, 64cm. high.

£200­300

324

A pair of Liberty & Co oak Wyclif chairs designed by Leonard Wyburd, angular form with drop in strung seat, applied Ivorine label to one, 101cm. high (2)

Literature

Daryl Bennett Liberty’s Furniture 1875-1915

The Birth of Modern Interior Design, ACC, page 176 figure 5.43 for a comparable chair

£1,500­2,000

325

A Liberty & Co oak coal cupboard, tapering, rectangular section, with cut­out heart decoration, hinged compartment with metal liner, patinated metal hinges, applied

Liberty label

84cm. high

57cm wide

33cm deep

£200­400

322

323

326

An oak coffer or shoe box the design attributed to Alexander Ritchie of Iona, tapering rectangular form, carved with panels of Celtic knot decoration, the end panels with mythical dragons and heart shaped foliage, with pierced handles, unsigned, 45.5cm. high

Literature

The Scottish Sale, Bonhams, Edinburgh, 30th August 2012, lot 560 for a comparable slipper box.

£200­300

327

An Irish oak stool, circular seat with shaped legs, carved with panel of Celtic knot panels, unsigned, 31cm. high

£120­180

328

A pair of graduated mahogany occasional tables, probably retailed by Liberty & Co, square section top, on four flaring, turned legs, with square shelf, unsigned, 70 cm high, 43 x 42cm top. (largest), (2)

Literature

Daryl Bennett Liberty Furniture, 1875­1915 The Birth of Modern Interior Design, ACC Books, page 200, figure 5.93, for a comparable table illustrated.

£300­500

329

A oak occasional table probably retailed by Liberty & Co, circular section top on three flaring plank legs each with pierced panels and cut­out heart motif, unsigned, 61cm. high, 39cm diam.

£150

200

330

A William Birch rush­seated chair, with turned front legs, curved square section back legs, the solid back plate with cut­out heart motif, cross­stretcher, unsigned, 106cm. high

£150­200

331

A Stanley Webb Davies oak corner cabinet with clock by Bob Willett, dated 1934, angled form, the hinged door with pierced panels and chip­carved borders, central clock with ebonised wood hands and numerals, with Smith’s electric movement, signed SWD, 1934, WW makers mark, 76cm. high, 27cm deep.

Provenance

Arts and Crafts & Art Deco, Sworders, 8th September 2020, lot 232 (from a private collection of Stanley Webb Davies furniture). Private collection.

£500­800

332

A rare oak side chair designed by Charles Francis Annesley Voysey, the oak frame back with extended uprights to the arched top, with carved grove , the back splat with carved heart­shaped motif, over square legs joined with stretchers, drop in rush seat, paper exhibition label C.18 Dining Chair (Vic Soc), 102cm. high

Provenance

The Victorian Society

Exhibited

Blackwell House, The Arts and Crafts House, Windermere, on loan from 2001.

Literature

Wendy Hitchmough C.F.A Voysey, page 130 no.26 for a comparable example illustrated The Best of British Design from the 19th and 20th Centuries ­ Paul Reeves The Auction, Sotheby’s London, lot 109 for a comparable chair.

Karen Livingstone C.F.A Voysey, Arts and Crafts Designer, V&A Publications, page 197 catalogue number 251 for an example of this chair design from The Crabtree Collection illustrated. The maker attributed to F C Nielsen. Page ?. Catalogue number 250 for a comparable chair illustrated in the Library at Garden Corner, 13 Chelsea Embankment. Blackwell The Arts and Crafts House, page 34 for this chair illustrated in the bedroom.

£600­800

331

332

330

333

A set of six ash ladderback chairs probably Neville Neal, with four graduated back splats, and rush seat, comprising four chairs and two carvers, apparently unsigned, 101cm. high (6)

£400­600

334

A wrought steel bell pull the design attributed to Ernest Gimson and made by Alfred Bucknell, the square section pull with spiral section and stamped chevron panels, the circular pull with similar chevron decoration, on four­leaf shaped brackets, mounted on wood, unsigned, 72.5cm. long

£200­300

335

Ernest Gimson (1864­1919) design for a wall sconce backplate, blue­print on paper, depicting an octagonal backplate with pierced flowers and foliage design signed in the print

45.5 x 23.3cm. (sheet)

Provenance

Humphrey Gimson (Ernest’s Nephew), probably, Alfred Gimson, Private collection.

£200­300

336

A modern pair of brass wall sconces made by Chris Vickers after the original design by Ernest Gimson, pierced back plates decorated with snakeshead fritillary, punched decoration, stamped mark, 26cm. high (2)

£1,500­2,000

337

A silver mounted ebony hand mirror by Nellie Gimson, circular the back set with a hammered silver roundel with NG, inside rope border, all inside a further link border, stamped real ebony, 29cm. long.

£300­500

338

A set of Cotswolds school wrought steel fire tools by Norman Bucknell, comprising; shovel, brush, poker and tongs, each with tapering octagonal section handles, the shovel with hammered Tudor Rose, unsigned, 53cm. long (shovel), (4)

£250­350

339

A fine polished iron fender designed by Ernest Gimson and made by Alfred Bucknell, bow fronted form, with alternate panel divisions, unsigned, 19cm, high, 126cm. wide

Provenance

Mentor Gimson (1851­1925) thence by descent. Mellors & Kirk Auctioneer’s 6th March 2013 lot 4. Private collection.

£3,000­5,000

340

A steel three branch candlestick designed by Ernest Gimson, octagonal, domed base with knopped tapering central stem, with punched decoration, unsigned, 33.5cm. high

£800­1,200

341

A walnut and ebony table mirror by Ernest Gimson, rectangular walnut frame with hinged easel support, inset with chip carved ebony bands, inset with bone discs, unsigned 65 x 47.5cm.

Provenance

Humphrey Gimson (Ernest’s Nephew), probably, Ann Gimson, Private collection.

£1,500­2,000

338

TEXTILES

342

A woven portiere in the manner of Dr Christopher Dresser, rectangular, stylised flower chevron bands in colours on a rust ground, with silk borders unsigned, 248 x 118cm.

Provenance

£200­300

343

A pair of printed cotton Tulip curtains originally designed by William Morris, probably Sandersons, printed in green, and some offcuts, unsigned, losses, 272 x 137cm. (2)

£300­500

344

A woven portiere, decorated with deer and stags amongst stylised flower and foliage woodland, in colours on a green ground, unsigned, 235 x 125cm.

£300­500

345

A fine Ireland Brothers silk damask tablecloth designed by Dr Christopher Dresser, rectangular, decorated with panels of geometric foliage including fleur de lys corners for retailer John Wilson, Bond Street, unsigned, 300 x 225cm.

Provenance

Fine Art Society, 2015

Private collection.

Literature

Harry Lyons, Christopher Dresser Textiles, ACC Books, page 110 this piece illustrated. This piece is believed to be unique.

£2,000­3,000

346

A large Morton Sundour woven wool gauze textile panel designed by Gavin Morton, woven with flag iris in purple, interspaced with yellow and pink wild flowers with Art Nouveau linear foliage, repeat design, in pastel colours, framed and mounted

153 x 120cm (panel)

168.5 x 136cm (frame)

Provenance

Kerry Taylor Auctions,4th December 2012 lot 54

Private collection

Catalogue notes

This semi­transparent curtain fabric was woven by the firm of Morton Sundour, an off­shoot of Alexander Morton & Co. The parent company was established in Scotland in 1867 under the direction of James Morton (1867­1943) ­ the firm that supplied Liberty’s and other leading stores with gauzes, textiles and carpets. It included amongst its designers Charles Francis Annesley Voysey, the Silver Studio and Mackay Hugh Baillie

Scott. Gavin Morton (1867­1954) was the nephew of Alexander Morton and cousin of James who became chief designer for the firm. This panel was woven for the drawing room of his own house in Carlisle

£300­500

347

A set of six silk embroidered curtains by Theodosia Middlemore, each embroidered with scrolling foliage in green and blue, lined unsigned, 229 x 103cm. (6)

Provenance

Theodosia was married to Thomas Middlemore, brother of Sir John Middlemore, 1st Bt. (1844­1924), who bought Melsetter Estate in 1898. Sir John employed William Lethaby to rebuild the house and it is believed May Morris visited the house. Theodosia was both a patron of May Morris and also embroidered work for May Morris, including the Fruit Garden portiere in the V&A collection.

£300­500

347

346

CLOCKS

348

An Aesthetic Movement polished slate mantel clock designed by Lewis F Day, rectangular section, with pitched mantel, applied with patinated metal ball finials, with circular dial by J W Benson, London enamelled birds perched on a tree bough before the rising sun, flanked with four corner panels depicting star signs, in blue and white, signed J W Benson to dial, 38.5cm. high

£250­350

349

An Aesthetic Movement ebonised wood mantel clock in the manner of Lewis F Day, rectangular form with pitched mantel, with circular dial enamelled with blossom in blue and white, the front with eight similar blossom panels, with matched ebonised wood wall bracket, unsigned, 51.5cm. high, (clock), (2)

£150­250

350

An oak mantel clock in the manner of Stanley Webb Davies, rectangular section, curved tapering form with flaring mantel and domed top, the front inlaid with brass, enamelled, circular dial with Roman numerals, on brass feet, unmarked, 35cm. high

£300­400

351

A large Reformed Gothic brass mantel clock designed by Bruce Talbert, probably by Cox & Co or Hart, Son, Peard & Co, triangular open scroll work decoration of flowers and foliage, the flowers set with red glass and moonstone cabochon, circular dial enamelled with Roman Numerals, the foliate finial set with agate stone panel, the movement attributed to Gay Vicarino & Co, London, bevelled glass door, movement signed GV 1461, 51.5cm. high

Literature

Charlotte Gere & Michael Whiteway 19th Century Design from Pugin to Mackintosh, page 118 for a comparable example illustrated. The John Scott Collection, Modern English Design From the 1860s and 1870s, Fine Art Society, 11th June­3rd July 2014, catalogue number 68 for a comparable example.

Catalogue Notes

Bruce Talbert (1838­1881) trained as an architect before becoming one of the leading exponents of the Reformed Gothic style. This clock, designed circa 1871, was illustrated in The Illustrated Catalogue of Gothic & other Artistic Domestic Furniture, Fittings, Decorations, Upholstery & Metal work, published by Cox & Sons in 1872. Gay Vicarino worked in London between 1864 and 1875,

£3,000­5,000

METAL WARE

352

A brass table lamp in the manner of Benham & Froud, tripod foot supporting ball, cylindrical stem with scroll terminal supporting vaseline glass pendant shade, unmarked, 59.5cm. high

£200­300

353

A pair of patinated bronze wall sconces, the shield shape back cast with scroll motif, twinbranch lights with foliate terminals, with engraved vaseline glass shades, 32cm. high (2)

£500­800

354

A pair of Reformed Gothic brass candlesticks, stepped domed base supporting knopped, twisted stem and flaring sconce with pierced rim, unsigned, converted for electricity, 54cm. high, (2)

£150­200

355

A pair of reformed Gothic patinated metal spill vases, hemispherical section, cast in low relief with tracery, unsigned, 17cm. high, (2)

£150­200

356

An Aesthetic Movement Hukin & Heath electroplated metal biscuit barrel, model no.738, cylindrical with hinged cover, engraved with borders of scrolling foliage, on tray with claw feet, another Hukin & Heath biscuit box, model no.2157, a Hukin & Heath tray designed by Dr Christopher Dresser, model no.1998, circular on three spike feet, a Hukin & Heath inkwell and a pair of bookends, stamped marks, 17cm. high (6)

£150­200

357

An octagonal oak tray in the manner of Dr Christopher Dresser, the raised rail painted with geometric panels of stylised foliage, in black and gilt, the tray with central panel, unsigned, 59 x 42.5cm.

Provenance

Private collection

£200­400

358

A pair of Thornton & Downer fire tongs and a toasting fork, wrought steel, square section with spiral panel and stamped geometric decoration, unsigned, 61cm. long, (2)

£200­300

359

359

An Aesthetic Movement Hukin & Heath tazza, model 18801, hammered bowl with pinched rim, on scroll tripod stem and domed hammered base, a Hukin & Heath lily pad inkwell, a Hukin & Heath oil lamp similar, a Hukin & Heath twin­handled tray, model no.11865, a Richard Hodd teapot and cover with bakelite handle, three other plated trays, and a Gero four piece tea set designed by Theo Hooft, stamped marks, 17cm. high (15)

£150­250

360

A Walker & Hall silver and glass cruet set designed by Dr Christopher Dresser, three circular well with central rod and D shaped handle, with glass pepper pot, salt and mustard pot with silver hinged cover and spoon, and another larger cruet set, and a pair of diamond shaped toastracks in the manner of Dr Christopher Dresser, stamped marks, London 1904, 11.5cm. high (13)

£150­250

361

A Benham & Froud copper and brass tea kettle and cover designed by Dr Christopher Dresser, flaring square section with pierced scroll foot, brass rivet decoration, hammered finish, with applied over­slung brass handle, and angled spout unsigned, 21cm. high (2)

Provenance

Arts and Crafts, Woolley and Wallis Auctioneers, 21st June 2017, lot 294. Private collection

Literature

Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 174 catalogue number 236 for a comparable example illustrated.

Michael Whiteway Christopher Dresser 1834-1904, Skira, page 146 for a contemporary photograph from the Chubb Archive showing this design at the Art Furnisher’s Alliance, circa 1880­1883.

£1,500­2,000

362

A Hukin & Heath electroplated metal letter­rack designed by Dr Christopher Dresser, model no. 2555, curved rectangular base on bun feet, set with six articulated rod and ball dividers and a central handle, stamped marks and regd diamond, 12.5cm. high

Literature

Michael Whiteway Christopher Dresser 1834-1904, Skira, page 84 for a comparable letter rack illustrated.

Helen Ritchie Designers & Jewellery 1850-1940, PWP, page 31 catalogue no.10 for a comparable letter rack illustrated.

£300­500

363

A large copper double wall sconce designed by J W Oddie and executed by J C Martin of the Lyzwick Hall Art School, the well hammered in low relief with a classical figure playing a lyre, two water nymph in the foreground playing music, inside a frame of musical instruments, the shaped top with cornucopia panel, stamped WO and JCM to well 59cm. high

Literature

Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts, Bookcase, page 6 and notes to the text chapter 1.4 for a discussion on Mr Oddie and Lyzwick Hall. Work by Oddie & Martin were exhibited by the Arts and Crafts Exhibition Society in 1890.

£600­800

364

A patinated copper letter rack in the manner of John Pearson, rectangular section with semi­circular back plate, stamped in low relief with splitting pomegranate motif, and a hammered copper chamberstick, unsigned, 40cm. wide. (2)

£150­200

365

A Newlyn patinated copper tea caddy and cover, cylindrical form, hammered in relief with a frieze of scaly fish and waterweed, the cover with single fish, and a patinated brass cigarette box, with cedar wood lining, tea caddy stamped Newlyn, 8.5cm. high (2)

£100­150

366

A copper and brass lamp in the manner of WAS Benson, foliate form, unsigned, 22.5cm. high

£150­200

367

A Keswick School of Industrial Arts

copper bowl, the shallow hammered bowl with three angular handles terminating with heart­shaped feet, a copper plate hammered in relief with scaly fish probably Newlyn and a copper single­handled stein in the manner of Yattendon, stamped KSIA mark to bowl, 22cm. diam. (bowl), (3)

£150­250

368

A Keswick School of Industrial Arts copper tray, rectangular with raised rim, scrolling foliage, design, and a copper tray probably Newlyn, hammered in low relief with a border of fruit and foliage, main tray stamped KSIA, 60.5 x 25.5cm. (2)

£150­200

369

A large and impressive John Pearson oak and repousse copper wall mirror, rectangular, oak frame with central bevelled glass mirror, flanked with two repousse copper panels each hammered in deep relief depicting a gecko climbing a stylised branch, above simple flower and foliage motif, stamped signature and date visible to left hand panel 122 x 76cm, 59 x 24cm (panels)

Provenance

A private collection of John Pearson.

£1,200­1,800

370

A repousse copper jardiniere by John Pearson, dated 1900, shouldered form, hammered in high relief with a frieze of scale fish and waterweed, stamped marks, 21cm. high

£800­1,200

371

A repousse copper plate by John Pearson, dated 1902, hammered to the rim with a frieze of masks and stylised fruit and swags, hammered JP 1902, 24.5cm. high

£200­300

372

A large repousse copper charger probably by John Pearson, hammered to the well with a galleon at full sail, a large scaly fish amongst the waves, the rim with a frieze of flowers and foliage unsigned, 61.5cm. diam.

£800­1,200

369

370

371

373

A pair of Faraday and Sons metal hall lanterns, iron frame with domed top, one with cylindrical green glass shade, stamped F & S to hanging loop, 29cm. high (2)

£150­200

374

A patinated copper and leaded glass hall lantern, flaring conical frame with three leaded glass panels, each with central green and red geometric square glass panels, unsigned, 34cm. high

£300­500

375

A WAS Benson copper Lily Pad tray, stamped in low relief, stamped Benson and regd mark, 38.5cm. diam.

£200­300

376

A Fivemiletown copper tray, rectangular with raised rim, engraved with rectangular panels of scrolling foliage to middle and raised rim, unsigned, 56 x 36cm.

£120­180

377

Tak A Cup o’ Kindness Yet a Glasgow School white metal tray, rectangular section with raised rim, hammered in relief and engraved with inscription, hammered finish, unsigned, 36.2 x 27cm.

Provenance

From the collection of Edith Croll and thence by descent.

£300­500

378

A Liberty & Co Tudric pewter tray designed by Archibald Knox, model no.043, rounded rectangular form, cast with strap handles, a Liberty Tudric pewter salt and mustard pot, with blue glass liners, a pewter spoon, two smaller pewter salts and two matched spoons, stamped marks to Tray and both pots, 47cm wide (tray), (8)

£200­300

379

A pair of Liberty & Co Otley oak fire bellows designed by Archibald Knox, carved with Celtic knot panels to one side, unsigned, 75.5cm. long

Literature

Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, ACC books, page 224 plate 6.26 this design illustrated in a Yuletides catalogue, 1907.

£150­250

380

An unusual Liberty & Co Tudric Pewter clock the design attributed to Archibald Knox, model no. 0312, rectangular form with flaring base and mantel, the circular dial with Arabic numerals, enamelled blue, stamped Tudric 0312, later modern movement, 16.5cm. high

£800­1,200

381

Sir William Goscombe­John RA (1860­1952)

The Youthful John The Baptist, copper panel, cast in low relief signed WGJ in the cast, etched Goscombe John to reverse 13.5 x 5.7cm.

Provenance

The Andrew Keith Collection, Law Fine Art, 5th April 2005, lot 92.

Private Collection.

£300­500

382

Louis Weingartner, (died 1934), attributed Expulsion of Jesus from the Church, 1913 a painted plaster panel, framed annotated to reverse sculptor Louis Weingartner, 1913

Catalogue notes

Weingartner was born in Switzerland and came to Britain working both with Walter Gilbert at the Bromsgrove Guild and also with Joseph Hodel. This piece was possibly made at the Bromsgrove Guild’s plaster works where he worked from 1902­1921.

£200­300

383

William Reid Dick (1879­1961)

Venus, 1913 patinated bronze wedding bell, unsigned 22.5cm. high

Literature

British & Continental Decorative Arts from 1850 to the Present Day, Christie’s King Street, 31st October 1996 for a comparable example.

£400­600

384

Joe Descomps (1869­1950)

Woman with a Basket of Fruit, patinated bronze, on green and red veined onyx, signed in the case Joe Descomps, Susse Fres Ed, roundel, 30.5cm. high

£400­600

385 Julien

Bust of a young lady an Art Nouveau alabaster sculpture, carved with a central flower and scrolling ivy tendrils, on a serpentine base signed Julien to the reverse, 68cm high

£500­1,000

386 Roger Godchaux (1878­1958)

Eléphant courant trompe enroulée (Elephant Running Coiled Trunk), cire perdue patinated bronze model of a young elephant running, cast by Susse Fres foundry, signed in the cast Roger Godchaux, cire perdue, Susse fres, 23cm. wide

15cm. high

£10,000­15,000

387

Sir William Goscombe John (1860­1952)

A Boy at Play, patinated bronze, unsigned, 47.5cm. high

Provenance

Howard Bliss, Private collection.

Literature

M. H. Spielmann, British Sculpture and Sculptors of To-day, 1901, page 130 and131 for the plaster maquette illustrated. This figure was first exhibited at the Royal Academy in 1895. £600­1,000

SIR HUBERT VON HERKOMER

388

Sir Hubert Von Herkomer RA (1849­1914)

The Triumph of the Hour, 1898

four Limoges enamel paintings on copper from The Triumph of the Hour shield, comprising The Lowest Shall Destroy The Highest, The Raised Shall Touch the Fallen, The Mistaken Shall Fail, Faith Shall Engender Hope, three panels signed HH and dated 98, 29 x 19cm (largest panel ­ The Lowest Shall Destroy the Highest), (4) Exhibited

Royal Academy, 1899, where the shield won a gold medal. An Exhibition of 19th & 20th Century Decorative & Novelty Silver, Nicholas Harris, 23rd October­2nd November 1984. Bushey Museum, 1988.

Literature

The Magazine of Art, 1899, page 186 for the shield illustrated and an article on Herkomer’s enamel

A L Baldry Hubert von Herkomer, page 69 for an illustration of the shield. Lee, MacCormick & Edwards Herkomer a Victorian Artist, page 80, figure XXIV the enamels illustrated.

Catalogue notes

These are the only known enamel panels from the shield that have survived. £12,000­18,000

Original drawings by Herkomer. Image courtsey of Bushey Museum.

The Triumph of the Hour, silver and enamel shield, illustrated in The Magazine of Art, 1899.

389

Sir Hubert Von Herkomer RA (1849­1914)

A group of four enamelled copper vessels, comprising a compressed copper jug with leaf spout, covered in a grey­blue enamel, a vase enamelled blue, a small bowl enamelled green and a hexagonal box and cover enamelled in purple and lavender, cast HVH and laurel wreath mark to three, box and cover unmarked, minor losses, 13cm high (jug), 13.5cm wide (box), (5)

Provenance

Bonham’s, From the Herkomer family directly £1,500­2,500

390

Sir Hubert Von Herkomer RA (1849­1914)

a fine Limoges enamel copper vase of shouldered form, enamelled with a frieze of mermaids resting and swimming in a cave landscape, in green, cast HVH laurel wreath mark, incised registration mark, no.2.6 24.5cm. high

£5,000­6,000

390 both sides

389

391

Sir Hubert Von Herkomer RA (1849­1914)

a set of six Elkington & Co large silver spoons, the stems cast with classical figure terminals and scrolling foliage frieze to stem with gilt stamped marks, E&Co Ltd, London 1893, two signed HH, one dated 93 and another signed HH93 in the design, 24cm. long, 25.8ozt, (6)

Provenance Private collection

Literature

James Lomax British Silver from Temple Newsam and Lotherton Hall, The Leeds City Art Galleries, cat. no.113 for three comparable spoons, part of a larger set identified by Nicholas Harris. This set was from Herkomer’s own house Lulualand.

£6,000­10,000

392

A silver cup and cover designed by C R Ashbee, circular form, knopped stem with seven wire­work caryatid supports, raised cover with embossed foliate swags and foliate finial, spot­hammered decoration, on a raised and embossed circular foot, stamped marks, London 1898, 20cm high, approx. weight 17oz.

£2,000­3,000

393

An electroplated metal tureen and cover designed by Charles Robert Ashbee for the Guild of Handicraft, oval form, the domed cover with wirework handle, unsigned, 30.5cm. long

£200­300

394

A Guild of Handicraft Ltd silver spoon designed by Charles Robert Ashbee, with openwork terminal set with central green chrysoprase, 13.8cm. long

£800­1,200

395

A Guild of Handicraft Ltd silver butter knife designed by Charles Robert Ashbee, the wirework handle set with green chrysoprase terminal, stamped marks, London 1902, 14cm. long

£1,500­2,000

SILVER FROM PALAIS STOCLET DESIGNED BY JOSEF HOFFMANN

PALAIS STOCLET

Adolphe Stoclet, a banker from Belgium, met Josef Hoffmann at the Wiener Werkstätte and provided them both with their first major residential project in 1903. The house, constructed between 1905 and 1908, is now considered a great monument of the Vienna Secession and an example of Gesamtkunstwerk – a total work of art. Hoffmann and Stoclet commissioned Gustav Klimt to design a mosaic frieze, with panels seven metres in length. The Tree of Life was his last monumental commission before his death in 1918.

Contemporary photographs of the dining room interior show an identical silver flower bowl on a sideboard below the right mosaic panel, with other examples photographed in the main hall.

The silver designed by Josef Hoffmann was initially produced by the Wiener Werkstätte in Vienna, although it appears some pieces such as the tray (part of lot 399) were produced locally in Belgium – to the design specifications of Hoffmann – when demand outweighed supply.

The house was made a UNESCO World Heritage Site in 2009 and retains most of its original features.

Adolphe Stoclet

396

A Wiener Werkstätte silver and malachite tray designed by Josef Hoffmann for Palais Stoclet Brussels, model S1133, made by Alfred Mayer, the flat, square section tray with a band of elliptical panels, set with square malachite panels, central cylindrical stem with disk finial, set with square malachite panels, stamped Wiener Werkstätte marks, JH monogram, AM monogram, 31cm. square, 31cm. high 1168 grams (total weight)

Provenance

Palais Stoclet, for Adolphe Stoclet, Catalogue notes

The original drawing (WWF 94­79­3 MAK archive) listed as ‘Fruit Attachment’ and was designed pre 1908. There were two examples made for the Palais Stoclet in 1908.

Literature

Jane Kallir Viennese Design and the Wiener Werkstätte, Thames & Hudson, page 64 figure 66 for a contemporary photograph of a wedding table exhibited at Der Gedeckte Tisch, (The Laid Table), featuring two comparable trays designed by Josef Hoffmann, 1906.

£10,000­20,000

Photo ⓒMAK

Photo ⓒMAK

397

A pair of Wiener Werkstätte silver and malachite preserve jars designed by Josef Hoffmann for Palais Stoclet Brussels, made by Josef Hossfeld, each cylindrical form with hinged cover, with elliptical panels inter­spaced with rectangular malachite columns, the tapering, domed cover with silver and malachite finial, stamped Wiener Werkstätte marks, JH monogram, JH (Hossfeld) silver masters monogram 15.5cm. high 514grams (total weight) (2)

Provenance Palais Stoclet, for Adolphe Stoclet, £3,000­5,000

398

A pair of Viennese silver and malachite table salts designed by Josef Hoffmann for Palais Stoclet Brussels, model S.1070, with cut glass liners, with elliptical panels inter­spaced with rectangular malachite columns, stamped Austrian marks, indistinct makers marks, 8.7cm diam. 4.5cm. high, (2)

Provenance Palais Stoclet, for Adolphe Stoclet

Catalogue notes

This design is recorded in the MAK archive WWF 94­85­2 for a contemporary photograph of one salt, 1910.

£1,500­2,000

397

398

Photo ⓒMAK

399

A Wiener Werkstätte silver and malachite centrepiece designed by Josef Hoffmann for Palais Stoclet Brussels, model S.1053, made by Alfred Mayer, cylindrical form on six bun feet, with elliptical panels inter­spaced with rectangular malachite columns, and a later silver and malachite tray designed by Josef Hoffmann, made in Belgium, stamped Wiener Werkstätte marks, JH monogram, AM monogram to centrepiece, 22.5cm. diam,

9.8cm. high (centrepiece)

949 grams (total weight of centrepiece).

27.8cm. diam. (tray),

868 grams (tray total weight) (2)

Provenance

Palais Stoclet, for Adolphe Stoclet.

Literature Gabriele Fahr­Becker, Wiener Werkstätte 1903-1932. Taschen, page 52­53 for a black and white photograph of a comparable (possibly this) centrepiece, under the Stoclet Frieze by Gustav Klimt in the dining room. On the same sideboard a footed silver bowl with comparable tray.

Catalogue notes

The silver and malachite tray relates to a flower dish designed by Hoffmann and made by the Wiener Werkstätte, for Palais Stoclet, 1908, recorded in the MAK archive WWF 94­84­3.

£15,000­20,000

400

A Gorham & Co mixed metal vase, model no.Y50, ovoid copper body with fluted rim, decorated in low relief with a pumpkin and butterflies, a swallow and a cricket in white metal, stamped marks, 9cm. high £300­500

401

An Art Nouveau Cherry pattern silver­gilt canteen of cutlery by Franz Bahner, retailed by Adolf Stoba, model no.3900, silver and silver gilt, cast in low relief with a cherry design, and engraved monogram to handle, comprising; six knives and forks, six butter knives, six cake forks, two serving forks, two slices, a fish slice, a serving spoon, a meat knife, a large ladle, two salts with glass liners and salt spoons, six dessert spoons, six teaspoons, two sets of six smaller spoons, a pair of servers and two serving ladles, in a wooden canteen with hinged cover and pierced silver panels, stamped marks, 22.5cm. wide (largest serving fork), 53.5cm. wide (canteen)

402

401

An Art Deco silver caster by H G Murphy, circular baluster form, with a central girdle, pierced domed bayonet­fitting cover, ball finial, stamped marks, and Falcon Mark, London 1935 height 11cm, approx. weight 5oz.

£400­600

403

A pair of James Deakin & Sons silver mounted photograph frames, on oak easel back, stamped in low relief with an Art Nouveau maiden holding a flowering branch, with a child holding a tambourine, stamped marks, JD & WD, Birmingham 1905 and 1906, 22cm. high (2)

£800­1,200

404

Four pewter and enamel napkin rings, each elliptical, hammered form with coloured enamel panel, unsigned, 5.2cm. wide, (4)

£3,000­5,000

£120­180

405

A silver­plated bust of a Bacchanalian Fawn by Omar Ramsden, modelled leaning forward, on oak plinth, signed Omar Ramsden Me Fecit, 15cm. high (including base)

Catalogue notes

This fawn head was used by Ramsden on candlesticks and winejugs.

£1,000­2,000

406

A William H Haseler silver and enamel pendant necklace, modelled as a stylised moth, enamelled blue and green, with simple enamel drop, on chain, stamped marks, 4.5cm. long

Literature

Victor Arwas, Liberty Style, page 71 for a comparable design illustrated.

£300­400

407

A Smith & Ewen silver and enamel brooch, cast in low relief as a stylised flower and foliage, enamelled green, pink and blue stamped marks, Birmingham, 1909, 3.5cm. wide

£120­180

408

A Murrle Bennett silver and enamel pendant necklace designed by Archibald Knox, shield­shape with pierced celtic entrelac corners, enamelled in shades of red and purple, stamped makers mark, 4cm. drop

Literature

Stephen A Martin, Archibald Knox, Academy Editions, page 123 for a comparable example illustrated.

£500­600

409

A small enamel panel, oval, painted with a cherub in a landscape, in colours, unsigned, 5.5cm. long

£120­180

406

407

408

410

411

An Art Nouveau Queensway silver and enamel pendant necklace, scroll frame with panels of blue enamel, pearl drop, stamped marks, 5.3cm. drop

£120­180

411

A Charles Horner silver and enamel pendant necklace, shield shaped, textured pendant with central blue enamel panel, flanked with three smaller enamel roundels, tear­shaped enamel drop, on chain, an Art Nouveau silver floriform brooch and another silver brooch stamped marks, 4cm drop, (3)

£150­250

412

A George Hunt silver and abalone shell brooch, scrolling wirework form with large elliptical abalone shell, and small polished cabochon, and another silver brooch by George Hunt set with abalone shell, stamped marks, 8cm. wide (2) £120­150

413

An Art Nouveau Henry Matthews gold brooch, pierced entrelac frame set with turquoise cabochon, with thin pearl drop, stamped marks, London 1901, 3.5cm. wide £180­220

414

A silver and turquoise brooch by JW, hammered, pierced form set with elliptical turquoise, and two small pearls, and an Art Nouveau brooch, cast with flowers, stamped marks, JW Birmingham 1908, second brooch stamped 800 RU, 3cm. wide. (2)

£150­200

415

A Charles Horner 9ct gold hat pin, scrolling circular frame with central teardrop panel, and ten other hat pins similar, main stamped CH, Chester, date mark worn, 375, 14cm. long (11)

£120­180

416

A James Fenton silver and enamel bracelet, silver panel link form with blue enamel panels, stamped marks, Birmingham 1908, 17cm. long £150­200

£200­300

£500­600

417

A Child & Child silver pendant, wirework frame with four flower head panels, set with small turquoise and pearls, with small drop, stamped flower stem mark, 2.8cm. long

418

A gold and turquoise pendant the design in the manner of Dante Gabriel Rossetti, chased ropework border set with ten turquoise cabochon, the central raised panel with stylised central flower head motif with four turquoise stones, the reverse with intaglio panel, intaglio engraved DE, 3cm. long.

417

418

A PRIVATE COLLECTION OF ARTS & CRAFTS

SILVER & JEWELLERY

419

An A E Jones silver footed dish, model no.552A, boat­shaped twin­handled bowl with applied strap handles and pierced foliate panels, on flaring, square section base, hammered finish with rivet decoration, stamped marks, AEJ, Birmingham, 1915, 26cm. wide

Provenance

A Private collection of Arts and Crafts Jewellery and Silver.

£100­200

420

An A E Jones silver tazza, footed, shallow circular bowl, cast in low relief with six foliate panels, an AE Jones silver mustard pot with hinged cover and spoon, and a pair of silver salts by CH, with blue glass liners and spoons, stamped marks, Birmingham, 1919, 16cm. diam. 5.9oz. (7)

Provenance

Woolley and Wallis Auctioneers 22nd October 2013, lot 1019 (A E Jones tazza).

£150­200

421

A collection of jewellery by Robert Catterson­Smith, including a square enamelled brooch, a Celtic brooch, an Identity bracelet inscribed RMS Catterson­Smith RNVR and twelve other pieces, a silver paperweight by Robert Catterson­Smith stamped in low relief with a deer and inscribed Ecce Ag Nus Dei Ecce Qui Tollit Peccatum Mundi, a base metal pin and an Elo Ware bakelite necklace by Birkby Bros, 4.2cm. square (enamel), (18)

Provenance

Woolley and Wallis 22nd October 2013, lots 1042 and 1043 for Robert Catterson­Smith items.

£120­180

£600­1,000

£200­300

422

A Guild of Handicrafts Ltd silver porringer designed by Charles Robert Ashbee, round, hammered bowl with pulled wirework handle, set with elliptical chrysoprase, stamped marks GofHLtd London 1902, 22.5cm. long.

423

A Guild of Handicraft Ltd silver bowl, footed form with hammered finish, stamped marks, London 1903, 10.5cm. diam

422

423

424

An Art Nouveau silver belt by William Comyns, the two piece buckle pierced and cast with stylised flower stems, the belt with nine smaller pierced foliate panels, stamped marks, London 1901-1902, 66cm long

Provenance

Arts and Crafts, Woolley and Wallis Auctioneer’s, 17th June 2015 lot 352. Private collection.

£120­180

425

A silver and enamel cloak clasp by Bertha Lillian Goff, two silver flowerhead panels with turquoise blue enamel details, with chain link, in Tadema Gallery fitted box, unsigned 8cm. wide

Provenance

Tadema Gallery, 2004

£150­250

426

A set of six Fivemiletown Art Metal and Enamel Industry enamel buttons, circular, each enamelled green, in original presentation case, case marked Art Metal & Enamel Industry Fivemiletown Ireland, 2.3cm. diam. (6)

Provenance British Art Pottery & Design, Woolley and Wallis Auctioneer’s, 30th November 2011, lot 714.

£150­200

427

A Celtic bog oak and silver Cuibhig remembrance bracelet, seven circular bog oak panels, each set with a Celtic letter spelling Cuibhig, stamped regd diamond dating to June 1875, 19.5cm.long

Provenance Bonhams, May 2005.

£120­180

428

A cloisonne enamel roundel probably by Harold and Phoebe Stabler, enamelled with a young naked child holding a fruit and foliage swag, in colours, set in copper frame, with fine rope borders, unsigned, 6.5cm. diam. (enamel panel), 9cm. diam (copper mount).

£300­400

429

A large silver and enamel belt­buckle probably Scottish, sinuous, wirework frame with blue and green enamel panels, set with irregular opal stones, in fitted case, unsigned, 14cm. wide

Provenance

The Arwas Collection.

The Art Nouveau Buckle, Christie’s South Kensington, 27th November 2007, lot 62.

£200­400

430

An HMS silver brooch, horseshoe garland with silver ball decoration and gilt leaves, set with five polished garnet cabochon, and six red paste stones, stamped HMS and Longship marks, 7cm. wide

Provenance

Decorative Arts, Bonhams Knowle, 22nd May 2007 lot 204. Private collection.

£120­180

431

A Compton Pottery St Christopher pendant necklace designed by Mary Seton Watts, elliptical form, cast in low relief with St Christopher, decorated in colours, unsigned, 4.8cm.long

Provenance

Didier Antiques, 2006.

Literature

Hilary Calvert & Louise Boreham, Mary Seton Watts & The Compton Pottery, page 221 for comparable pendants.

£120­180

429

430

431

428

433

435

432

A Bernard Instone silver and enamel brooch, pierced, square section enamelled with small white flowers and foliage, inside a green border, and a Bernard Instone silver and Lapis ring, brooch stamped Instone silver, 2.3cm. square (brooch) (2)

Provenance

Didier Antiques, 2004 (brooch)

£250­350

433

A jade set silver stick pin probably by Bernard Instone, the pin with pierced and cast foliate frame set with six small chrysoprase, supporting jade disk, the terminal with moonstone and chrysoprase, unsigned, 8cm. long

Provenance Bonhams, November 2008.

£150­200

434

A gold and synthetic ruby ring, the openwork shoulder with foliate panels in silver and gilt, set with synthetic ruby, unsigned, size Q

Provenance

Bonhams May 2007.

£100­150

A silver and citrine necklace possibly Australian, the simple drop with foliate border and central oval citrine, with leaf links and two similar flowerhead panels each set with a citrine, on link chain, unsigned, 2.5cm. wide.

£300­400

436

A Rhoda Wager hanging pendant silver brooch, the silver frame with simple leaf and berry decoration, set with abalone stone, a pair of matched earrings and a small ring, unsigned, 5cm. drop, (4)

Provenance

Didier Antiques, 2006.

£150­250

437

A Rhoda Wager silver mounted opal brooch, the rectangular frame with leaf and berry design, with brooch clip and hanging loop, set with elliptical opal stone, signed Wager, 3.5cm. wide

Provenance

Didier Antiques.

£200­400

438

A silver brooch by Winifred Whitside, originally half a buckle, circular with chased band of scrolling foliage, the centre with enamel panel of stylised flowers in colours on a blue ground, and a half­sovereign brooch by Winifred Whitside, unsigned, 7.8cm. diam. (2)

Provenance

Bonhams, 4th November 2009, lot 168 (enamel brooch).

£200­300

437

439

A yellow metal pendant necklace, cast with a reclining putti figure, amongst flowers, set with stones, unsigned 5.5cm drop

Provenance

Halls Auctioneers, April 2008.

£200­300

440

An elaborate paste parure necklace and earrings attributed to Countess Cissy Zoltowska, set with pink, green and white stones, in japanned metal mount, unsigned, 7.5cm. drop.

£120­180

441

A silver and gold pendant necklace in the manner of A H Jones, silver foliate frame set with gold flowers, small ruby and emerald stones, around central elliptical abalone shell, with foliate drop set with circular mother of pearl, on gold link chain, unsigned, 7.5cm. long,

Literature

The Studio, volume 23 page 127 for examples of A.H.Jones’ work.

Provenance Tadema Gallery, 2008.

£500­800

442

A silver and Lapis brooch by H G Murphy, shaped, open work form with simple flowers and foliage, set with large central lapis cabochon, stamped HGM sterling, 5cm. wide

£300­400

439

442

440

443

A silver bar brooch by M & EW, simple foliate spray decoration set with central citrine, a Secessionist silver and turquoise pendant, a single turquoise drop earring, and three silver chains, stamped marks, 6.5cm. long (6)

£120­180

444

A silver and enamel pendant necklace the design attributed to Fleetwood Charles Varley for Liberty & Co, oval enamelled with trees in a highland scene, inside rope border, on chain, unsigned, 4.5cm. drop.

Provenance

Didier Antiques, £200­400

445

A rare Keswick School of Industrial Arts silver and enamel pendant necklace, the design attributed to Herbert Maryon, possibly made by Isabel McBean, heart­shaped wirework frame with simple leaf terminals and set with three mother of pearl cabochon, around central elliptical blue enamel panel, stamped KSIA, 4.5cm. drop

Provenance

Hill House Antiques, 2005.

Literature

Ian Bruce The Loving Eye and Skilful Hand The Keswick School of Industrial Arts, Bookcase, page 68 plate 50 for silver and jewellery designs by Isobel McBean.

£400­600

446

A silver necklace in the manner of Newlyn Industrial Classes, silver wirework links with Celtic knot and ball decoration, set with abalone panel links and drops, unsigned, 43.5cm. long

Provenance

Dreweatt Neate, November 2004.

Literature

Daryl Bennett & Colin Pill, Newlyn Copper Arts and Crafts Copper Work in Newlyn, Sansom & Company, page 40&41 for comparable enamelled silver jewellery illustrated.

£150­200

447

A silver and pink tourmaline bar brooch in the manner of Dorrie Nossiter, wirework tendril decoration with small fruit terminals, set with two pink tourmaline cabochon, unsigned, 7.5cm.. long.

£200­300

448

An Art Nouveau silver pendant necklace, open form, cast with laurel leaf clusters, central elliptical abalone shell, with amethyst drop, the chain with four amethyst cabochon, unsigned, 5cm. drop

£200­300

449

A silver and enamel pendant necklace, ovoid with raised foliate border, over green enamel, set with central green cabochon, on simple chain with grape vine panel, stamped makers mark, 2cm. diam.

£200­300

450

A silver pendant necklace, quatro­lobe form with rope banding, set with two square section cornelian, two small abalone shell panels and a central larger abalone shell, unsigned 3.5cm. long,

Provenance Bonham’s May 2007.

£150­200

451

A gold and opal necklace by Joseph Hodler probably made at the Bromsgrove Guild, the openwork shield shaped pendant with flower and foliage border, set with central elliptical opal, with small gold drop with mother of pearl panel, foliate bale, on chain, stamped Hodel, 6cm. drop.

Provenance Van Den Bosch, 2004.

£400­600

452

A silver and chrysoprase necklace, central ropework border set with green chrysoprase cabochon, inside radiating scroll design with six smaller chrysoprase, below smaller foliate plate set with chrysoprase and two further cabochon unsigned, 4cm.diam (pendant)

Provenance

Decorative Arts of Doune, 2005.

£300­500

453

A silver necklace by Horace Minns probably made at the Artificers Guild, the design attributed to Edward Spencer, raised heart­shaped openwork frame with flowers and foliage, set with a large central cornelian cabochon, with two smaller red cabochon and a smaller abalone shell, with a tear­shaped drop, the wirework chain with smaller silver foliate panel with red cabochon and two small abalone trefoil wirework panels, etched to reverse AK 1923, signed panel to reverse Minns, 6.5cm. drop

Catalogue notes

Although little is known about the maker Horace Minns, he is listed as making jewellery for the Artificer’s Guild (designs by Edward Spencer) until 1926.

Provenance

Van Den Bosch, 2004.

£1,000­1,500

454

A silver and moonstone bar brooch in the manner of the Artificers Guild, the shaped rectangular panel with applied flowers and foliage with gilt highlights, and fine ropework border, set with three chalcedony and moonstone cabochon, unmarked, 7.2cm. wide

£120­180

455

A gold and enamel pendant necklace probably by John Paul Cooper or H G Murphy, made at Henry Wilson’s workshop, the gold pendant pierced and chased with a rose branch, set below diamond shaped panel with green and white enamel chequerboard, the elaborate link chain with six green paste stones, unsigned, 6.5cm. drop.

Provenance

Didier Antiques.

£3,000­5,000 455

456

457

An early silver and gem set pendant necklace attributed to Arthur Gaskin, silver shield shaped pendant with fine chased heart motif, set with central fire opal, with a further opal cabochon drop, the chain set with two smaller opal cabochon and silver panels unsigned, 6.5cm. drop

Literature

The Studio - Modern Design in Jewellery and Fans, 1902, plate 44 for this design illustrated by Arthur Gaskin.

£400­600

457

A silver and green paste link necklace in the manner of Arthur & Georgie Gaskin, each rectangular link with fine wirework border and central green paste stone, with entrelac link panels set with simple flowerhead motif, unsigned, 41cm. long

458

A silver and lapis pendant by Arthur and Georgie Gaskin, the rounded rectangular silver frame set with seven scored gold squares, and central large polished lapis stone, stamped G, 2.5cm. long

Provenance Bonhams, July 2007.

Exhibited

Arthur & Georgie Gaskin, Birmingham Museum & Art Gallery, 1982, catalogue number G.45. (provenance family descent, lent by Joscelyne V Charlewood Turner).

£400­600

459

456

Provenance

Dreweatt Neate, November 2004.

£200­300

A silver and enamel bar brooch by Arthur & Georgie Gaskin, central blue enamelled flowerhead set with abalone shell, with two radiating foliate stems each with blue flowerhead terminal, set with pink stone, stamped G, 5.5cm. long,

Provenance Didier Antiques, 2006.

460

A silver pendant necklace the design attributed to Georgie Gaskin, scrolled wirework frame set with clear quart stones and drop, the chain set with similar stylised moth panel and two drops, in Van Den Bosch case, unsigned, 3.5cm. wide

Literature

The Studio, volume 26 1902 for a comparable wirework pendant by Mrs Gaskin, exhibited at the Cork Arts and Crafts Exhibition, 1902.

£700­900

461

A silver pendant necklace the design attributed to Arthur & Georgie Gaskin, wirework inverted heart­shaped pendant set with central red circular cabochon, the frame set with two small chrysoprase and two moonstone drops, with further elliptical moonstone drop, unsigned, 4cm drop.

£400­600

462

A silver pendant necklace by Arthur and Georgie Gaskin, cruciform wirework frame with small flowerhead design, set with five ruby cabochon, the chain with a further three ruby cabochon, stamped G, 4cm. drop.

Provenance

Clevedon Auctioneer’s, October 2014.

£600­800

463

A small silver and enamel pendant necklace the design attributed to Arthur & Georgie Gaskin, circular openwork pendant with small forget me not flowers enamelled sky blue and green around silver heart, set with three turquoise stones, with abalone tear­shaped drop, on chain, unsigned, 3.5cm. drop.

Provenance Bonham’s November 2008.

£700­900

464

A gold wirework pendant necklace the design attributed to Arthur & Georgie Gaskin, heart­shaped frame with simple leaf clusters, set with central green chrysoprase heart­shaped drop, and another silver pendant necklace, unsigned, 4cm. drop (2)

Literature

The Studio Modern Design in Jewellery & Fans, 1902, plate 45 for a comparable piece with heart­shaped chrysoprase drops by Arthur Gaskin illustrated.

Der Moderne Stil, 1904 plate 25 figure 2 for a comparable piece illustrated. Exhibited

Arts and Crafts Exhibition Society, 1903, a comparable example illustrated.

£800­1,200

465

A pair of silver and imitation pearl earrings by Arthur & Georgie Gaskin, the large imitation pearl drop set with wirework shoulder with three flowerheads, two with central pink tourmaline, with foliate stems enamelled green, fine silver wirework tracery and set with two pale green cabochon, the hook set with simple polished blue stone, unsigned, 4cm. long (2)

Provenance Didier Antiques, 2006.

£300­400

466

A gold, silver and aquamarine ring the design attributed to Arthur and Georgie Gaskin, double gold band with open diamond shape shoulder decorated with flowers and foliage, set with central square aquamarine and small emerald green stones, and pearl set shoulders, the back etched 8.4.17, in Tadema Gallery box, unsigned, size S

Literature

The Studio, Volume 861 page 295 for a comparable ring (comparable shape). Arthur & Georgie Gaskin, City Museum Art& Art Gallery, Birmingham, 1982 page 94, catalogue number 84 for another comparable ring.

£1,000­1,500

467

A silver and gold ring probably by Arthur & Georgie Gaskin, the shoulder pierced with foliate panels, set with four opal doublets, unsigned, size H Provenance

Dreweatt Neate, November 2004.

£200­400

468

467

A silver ring by Arthur Gaskin, the openwork shank with simple flower decoration highlighted with gold and small diamonds, with open wire scroll border and central polished red tourmaline stone, stamped G, size L, Provenance

Laurence W Hodson, thence by descent. Spring Auction, Tennants, 2nd April 2009, lot 205. Private collection.

Exhibited

Arthur & Georgie Gaskin, Birmingham Museum & Art Gallery, page 92­93, cat. no. G80.

£600­800

469

Arthur Joseph Gaskin (1862­1928)

The Legend of St Christopher Done in Rhyme printed by Cornish Brothers, Christmas 1901, and sixteen books, including, An Endeavour Towards The Teaching of John Ruskin and William Morris by CR Ashbee, The Prince Who Did Not Exist, illustrated by Gaskin, a reproduced guild of handicraft ltd catalogue and A Book of Fairy Tales, limited edition of 75 copies, illustrated by A J Gaskin, (17)

£200­300

470

Arthur Joseph Gaskin (1862­1928)

The Lovers, 1927 woodcut on paper, framed signed, titled and dated in pencil, dedicated to Georgie from Arthur, 1927 13.5 x 7cm (image)

£150­200

471

Arthur Joseph Gaskin (1862­1928) Warren Wood, 1923 etching on paper, framed signed AJG titled and dated Xmas 23 in pencil, 13.5 x 12cm. (image)

£200­300

472

Arthur Joseph Gaskin (1862­1928) Merry Go Round, 1927 woodcut on paper, framed signature and date concealed by mount, 16.5 x 13cm (image)

£150­200

473

Arthur Joseph Gaskin (1862­1928) Georgie, 1895 pencil on paper, framed in a common mount with a study of women (possibly Study for Maye) by Arthur Gaskin, dated 1896, signed in pencil, 13 x 10.5cm (image of Georgie)

£150­200

469

474

Phoebe Anne Traquair (1853­1936)

Portrait of a Young Woman,1901, watercolour on paper, framed signed with monogram and dated 12.5cm. high

Provenance

The Scottish Sale, Bonham’s 14th October 2020, lot 48.

£300­400

475

Phoebe Anne Traquair (1853­1936)

Woodland Scene, 1876, watercolour on paper, framed signed and dated bottom right, 22 x13.5cm.

£300­500

476

Phoebe Anne Traquair (1853­1936)

Saint Michael Fighting the Dragon, from The Apocalypse, After Albrecht Dürer, 1884

pen and ink on paper, framed signed with monogram, dated 1884 17.5 x 12cm.

Provenance

The Scottish Sale, Bonhams, 14th October 2020, lot 57. £600­1,000

477

Phoebe Anne Traquair (1853­1936)

Sonnet 19 by Elizabeth Barrett Browning, 1895 illuminated manuscript, watercolour on vellum, framed signed with monogram and dated 15.5 x 13cm (image)

Provenance

The Scottish Sale, Bonham’s 14th October 2020, lot 38.

£800­1,200

478

Phoebe Anne Traquair (1853­1936)

Horae Beatae Virgins, illumination in colours and gold on vellum, framed unsigned 11 x 8.5cm.

Provenance

The Artist, thence by descent.

Campbell Wilson

Mctear’s Auctioneers, November 2021, lot 11. Private collection.

£200­400

477

479

Joseph Edward Southall, RWS (1861­1944)

Portrait of Arthur Gaskin, 1896 pencil and watercolour on grey paper, signed with monogram and dated bottom right 39 x 27.5cm.

Provenance

Abbott & Holder, 2007 Private collection.

£1,500­2,000

480

Arthur Joseph Gaskin (1862­1928)

Portrait of Louis Fairfax Muckley, 1885 pencil on paper, framed signed to the reverse by Arthur J Gaskin, 10 x 8cm (image)

Provenance

Art of the Print, 2004

£150­250

481

Arthur Joseph Gaskin (1862­1928)

Portrait of Frank Richards, 1885 pencil on paper, framed signed and dated 13.5 x 11.5cm.

Provenance

Art of The Print, 2004

£150­200

482

Arthur Joseph Gaskin (1862­1928)

Portrait of the Artist’s Brother, 1885 pen on paper, framed signed with monogram, dated 1885 bottom left 10 x 8cm (image)

Provenance

Art of the Print, 2004

£150­250

483

Georgie Cave Gaskin (1866­1934)

Christmas Card for Laurence & Mary Hodson, 1894 proof woodblock on paper, and another version signed in the print GECF 94 32 x 25.5cm. (sheet)

£150­200

END OF SALE

ROBERT WALLACE MARTIN POTTER, SCULPTOR, ARTIST AN

TUESDAY 13TH JUNE – THURSDAY 22ND JUNE 2023

Two stoneware birds by Robert Wallace Martin.

The exhibition includes over 170 pieces of Martinware from private collections and is accompanied by a fully illustrated catalogue. Catalogue £15 (£20 by post).

AUCTION INFORMATION

OPENING HOURS

Castle Street Salerooms

Monday to Friday 9am – 5pm

Castle Gate Offices

Monday to Friday 9am – 5pm

VIEWING

All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US

All first time buyers need to register with us. To register, you will need to provide two forms of identification:

1. a passport or photographic driving licence

2. a utility bill or document showing your name and address

You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk

You will be asked to show your documents or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

BIDDING AT AUCTION

See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

BIDDING IN THE ROOM

To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale.

COMMISSION BIDDING

If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

TELEPHONE BIDDING

It is usually possible to bid on the telephone by prior arrangement with the office.

LIVE ONLINE BIDDING

Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24% inclusive) thereafter.

CONDITION REPORTS

The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS

These will be posted on our website shortly after the sale.

PACKING AND SHIPPING

Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Post it 4 me+44 (0)1258 920180 www.postit4me.com

Alban Shipping+44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd+44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send+44 (0)1635 887237

newbury@packsend.co.uk

www.packsend.co.uk/newbury

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

EXPORTING YOUR PROPERTY FROM THE UK

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand­carried exports. In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

PAYMENT AND CLEARANCE

Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card­holder is not present.

Wire transfers should be sent to:

Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707

Sort code 30­97­41

IBAN no. GB20LOYD30974100957707

BIC code LOYDGB21063

Credit cards: Visa, Mastercard or Amex

Debit cards: Delta, Switch, Connect

Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT

Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS

Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvlaen/imports­exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows:

4% Up to €50,000

3%€50,000.01 ­ 200,000

1%€200,000.01 ­ 350,000

0.5%€350,000.01 ­ 500,000

0.25% In excess of €500,000

Up to a maximum levy of €10,000

FIREARMS

Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but will not be allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

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 omega symbol (Ω) 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. (As at 31st December 2020. Please refer to SOFAA website for updates to the Terms and Conditions).

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 will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone.

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.

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 pre­sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

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

7. 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 reoffered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

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

(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE

Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS

In these Conditions:

(a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate;

(b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;

(c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;

(d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents;

(e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

(f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising.

(g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;

(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion.

(c) Bidders shall be deemed to act as principals.

(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5. VALUE ADDED TAX

Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. 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.

(c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

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 collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges.

(c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8. REMEDIES FOR NON­PAYMENT 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 lay­out 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.

Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY

The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY

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

13. TERMS OF SALE

The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION

(a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

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

15. FORGERIES

Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

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.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

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

Royalties for Droit de Suite are as follows:

4% Up to €50,000

3% €50,000.01 ­ 200,000

1% €200,000.01 ­ 350,000

0.5% €350,000.01 ­ 500,000

0.25% In excess of €500,000

Up to a maximum levy of €10,000

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

PRIVACY NOTICE FOR CUSTOMERS

WHAT THIS PRIVACY NOTICE DOES

This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS

Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 2018 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details:

• By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51­61 Castle Street, Salisbury, SP1 3SU.

• By email – privacyofficer@woolleyandwallis.co.uk

• By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA

We collect your personal data from the following sources:

From you when you:

• interact with us before entering into a contract with us, for example when you express your interest in our Services;

• instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions;

• communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account;

• in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as:

• other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you;

• the­saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the­saleroom.com) of individuals who register for one of our auctions (please see the­saleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the­saleroom.com’s payment provider);

• sage paywho process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided);

• shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

We may collect the following personal data about you:

• your name and contact details including address, telephone and email address;

• your image, as captured by CCTV, if you attend our premises;

• personal identification documents, including copies of government­issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details);

• account details and other information relating to your transactions/dealings with us and your use of our Services;

• payment details such as credit card and bank account details;

• credit and payment history (where you open an account with us as a buyer or bidder);

• information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and

• other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA

WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU

We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following:

• to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services);

• once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS

We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following:

• to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance;

• to deal with any concerns or feedback you may have in the performance of the Services;

• for our internal business record keeping and processes;

• to seek advice on our rights and obligations, including obtaining legal advice;

• to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes;

• to customise our website and marketing communications in line with your particular interests or preferences;

• to collect money owed to us or our consignors;

• to carry out background and credit checks in relation to bidders and buyers.

In this respect we will provide your data to the following:

• our professional advisors;

• the­saleroom.com;

• debt collection agencies;

• third parties who assist us with our marketing;

• our website and email management software provider.

LEGAL OBLIGATIONS

We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following:

• to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks;

• in order to assist with investigations (including criminal investigations) carried out by competent authorities;

In this respect we will provide your data to the following:

• external auditors;

• the police and other competent authorities, including HMRC;

CONSENT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA

We process special categories of personal data for the following reasons:

• if it is necessary to protect your or another person’s vital interests (for example, where you have a life­threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention);

• if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers);

We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA

We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING

We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

HOW LONG YOUR INFORMATION IS KEPT

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

In particular:

• in relation to CCTV images taken when you attend our premises, we will retain these for a few months;

• in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services;

• we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive;

• in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS

Under the DPA you have the following rights:

• to obtain access to, and copies of, the personal data that we hold about you;

• to require that we cease processing your personal data if the processing is causing you damage or distress;

• to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect;

• to require us to erase your personal data;

• to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal);

• to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller;

• to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

VALUATIONS

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS

Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs. 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.

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

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.

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

Contact Amanda Lawrence +44 (0)1722 424500 | valuations@woolleyandwallis.co.uk

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleyandwallis.co.uk or call +44 (0)1722 424500

PLEASE PRINT CLEARLY IN BLOCK LETTERS

ABSENTEE BID FORM ARTS & CRAFTS

WEDNESDAY 21ST JUNE 2023

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 Business 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

ID may be required even if you have bid with us before.

Lot Number Brief Decription Price Excluding in numerical buyer’s premium order & VAT

Signature

AUCTION CALENDAR

2023

JUNE

7th Modern British & 20th Century Art

21st Fine Arts & Crafts

(Including Martin Ware)

Exhibition Robert Wallace Martin Potter, Sculptor, Artist 13th to 22nd June

JULY

5th & 6th Furniture, Works of Art & Clocks

11th & 12th Silver & Objects of Vertu

13th Fine Jewellery

SEPTEMBER

6th Old Masters, British & European Paintings

19th British and Continental Ceramics & Glass

20th Arts of Africa, Oceania and the Americas

Dates may be subject to change

+44 (0) 1722 424500

enquiries@woolleyandwallis.co.uk

51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium

A rare Martin Brothers stoneware Monkey vase by Edwin and Walter Martin SOLD FOR £20,000*