Woolley & Wallis by Jamm Design Ltd

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20th Century Design

Wednesday 21st October 2015

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

20TH CENTURY DESIGN Michael Jeffery

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424505

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

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 FURNITURE, WORKS OF ART & CLOCKS Mark Richards — Jim Gale — Anna Brown —

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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PAINTINGS Victor Fauvelle Jo Butler

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Ellie Osmond

Members of The Society

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598 ACCOUNTS Janice Clift (Office Manager) — Ruth Pike

424500 424599

MARKETING Tamzin Corbett

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424500

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GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Amanda Lawrence SALEROOM MANAGER David Jordan BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

COMPANY SECRETARY Jim Macarthur CA — —

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ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift Clare Durham

of Fine Art Auctioneers

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

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20TH CENTURY DESIGN

Wednesday 21st October 2015 at 10.30am Viewing Times Saturday 17th October 2015 Monday 19th October 2015 Tuesday 20th October 2015 Wednesday 21st October 2015

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

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

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows:

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street Saleroom on Monday 26th October. Furniture will be removed to our Old Sarum warehouse for collection. All remainder lots will be cleared to our Salt Lane office. If you are collecting items on or after this date please contact the department to arrange in advance.

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

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

Front cover: Lot 508 Back cover: Lot 408 Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

LIVE BIDDING

Please register by 5pm on Tuesday 20th October. Please note there is a 3%+ VAT surcharge for using this service.

CONDITION OF LOTS Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.

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GLASS

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1. And they took the Fruit of the Land a stained glass watercolour design by John Bell, 1909, a watercolour on paper stained glass window design, framed, annotated to reverse, 25 x 23.5cm. £100-200 Exhibited Glasgow 1909 Edinburgh RSA 1910

2. The Legend of St Giles a watercolour design on paper for a stained glass window by Henry John Hunt, under the coat of arms for Camberwell, mounted on card, painted signature 30 x 19cm. £50-100

Exhibited Henry John Hunt exhibited ‘a design for stained glass - Arms of Camberwell’ at the Royal Academy in 1941.

3. An Aesthetic Movement stained glass window, rectangular, the central diamond shaped panel painted with puck seated on a toadstool, flanked with a dragonfly and snail, 40 x 34.5cm. £300-500

3 4. A pair of Whitefriars vaseline glass shades probably for W.A.S Benson, stamped regd mark 290976, 16cm. high (2) £150-200

5 4 5. An Arts and Crafts vaseline glass light with brass mount, probably Whitefriars or John Walsh Walsh, tapering form with ball finial, internally decorated with flower stem motif, with floriform metal mount 27cm. high £250-350

6. A Webb Faux Rock Crystal part service, comprising two decanters and stoppers, six wine glasses and five sherry glasses, each cut with panels of scrolling flowers acid etched marks to base 34cm. high (decanters) (13) £300-500

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7. A large Webb & Corbett cut glass vase designed by Herbert Webb, flaring elliptical section, cut with bands of two wavy lines unsigned 25cm. high £300-500 Literature Nigel Benson & Jeanette Hayhurst Art Deco to Post Modernism a legacy of British Art Deco Glass page 24 catalogue 116 for a biscuit barrel with the same design illustrated.

8. A large Whitefriars glass Cloudy tumbler vase the shape designed by Marriott Powell, mottled brown graduating to ivory cased in clear, unsigned 26cm. high £150-200 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 119 plate 95 for a comparable range including this colourway far right.

9. A Gray Stan glass vase designed by Mrs Graydon-Stannus, flaring cylindrical form with shallow shoulder and rim, mottled orange glass cased in clear, and a Venini style handkerchief vase fine opaque stripes cased in clear with pale pink top rim etched Gray Stan 30cm. high (2) £200-400

Literature Charles Hajdamach 20th Century British Glass, Antique Collectors Club, page 92 plates 176-177 for contemporary advertising sheets for Gray Stan Art Glass, circa 1925-26.

10. A James Powell & Sons flint Roman cut decanter and stopper, faceted form with cut decoration, a flaring wine glass etched with ivy, a finger bowl etched with sinuous waterlily pads and four other items, unsigned 17.5cm. high £150-200

9 11. A rare Stevens & Williams Lygon ‘Wrythen’ table glass set designed by Gordon Russell, retailed by Gordon Russell Limited, clear glass with moulded and twisted decoration, comprising waterjug, footed tazza, four various beakers, five finger bowls, five sherry bowls, five sherry flutes and nine various sized flutes, unsigned, 22.5cm. high (jug). (30). £1,500-2,000 Literature Charles R Hajdamach 20th Century British Glass, Antiques Collector’s Club, page 152 for examples illustrated. Annette Carruthers & Mary Greensted Simplicity or Splendour Cheltenham Museum & Art Gallery, page 156 catalogue number 205 for comparable examples.

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STEVENS & WILLIAMS GLASS DESIGNED BY KEITH MURRAY 12. A Stevens & Williams glass vase designed by Keith Murray, the flaring clear glass body with facet cut decoration unsigned 19.5cm. high £250-300 Literature Thirties Arts Council exhibition catalogue, 1979, page 134 catalogue number 2.116 for a footed bowl designed by Keith Murray with similar faceted decoration. Provenance Private collection of Modernist ceramics and glass

13. A Stevens & Williams glass vase designed by Keith Murray, cylindrical form on applied black glass foot, cut and etched with a cactus unsigned 20.5cm. high £200-400 Provenance Private collection of modern ceramics and glass 14. A Stevens & Williams glass vase designed by Keith Murray, the flaring clear glass body on applied black glass foot, acid etched mark and facsimile Keith Murray signature 24.5cm. high £150-200 Provenance Private collection of modern ceramics and glass 15. A Stevens & Williams glass vase designed by Keith Murray, the swollen bottle green glass body on applied foot, unsigned 39cm. high £200-300 Literature Judy Rudoe Decorative Arts 1850-1950 A Catalogue of the British Museum Collection, British Museum Press, page 259 catalogue number 217 for this shape illustrated.

14 15

Provenance Private collection of modern ceramics and glass 16. A Stevens & Williams glass vase designed by Keith Murray, the tall flaring green glass body on applied foot, acid etched mark and facsimile Keith Murray signature 30cm. high £250-300 Provenance Private collection of modern ceramics and glass 17. A Stevens & Williams glass vase designed by Keith Murray, the swollen ovoid smoked green glass body with tapering neck, acid etched mark and facsimile Keith Murray signature 21cm. high £150-200 Provenance Private collection of modern ceramics and glass

18. A Stevens & Williams glass vase designed by Keith Murray, the flaring green glass body with simple rib, on applied green glass foot, unsigned 20cm. high £100-200 Provenance Private collection of modern ceramics and glass 19. A Stevens & Williams glass vase designed by Keith Murray, the swollen green glass body with everted rim, acid etched mark and facsimile Keith Murray signature 29cm. high £250-300 Provenance Private collection of modern ceramics and glass

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20. A James Powell & Sons Whitefriars blue opal vase, flaring form with pinched rim, on flaring foot, two straw opal vases similar, a tall John Walsh Walsh coupe and a collection of glass including four Jobling opalescent glass bowls unmarked 12.5cm. high (a lot) £150-250 21. An Artificers Guild silver and glass carafe the design attributed to Edward Spencer, the clear glass body with green and blue splash inclusions probably James Powell & Sons, the silver neck with stamped decoration and hammered finish, the domed hammered cover with foliate final with central crucifix stamped London 1922 25cm. high £800-1,200

20 part

22. A pair of James Powell & Sons dark green glass champagne bowls designed by T G Jackson, unsigned 11.8cm. high £100-150 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis, page 97 plate 5 for comparable champagne bowls. The Fine Art Society The John Scott Collection - James Powell & Sons Whitefriars Glass 1860-1960, 11th June 3rd July 2014, page 10 catalogue number 11 for two comparable champagne glasses illustrated. 23. A James Powell & Sons Whitefriars Anglo Saxon Claw Beaker glass vase, the olive glass with applied thread bands unsigned 15cm. high £100-200

22 23

Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 47 fig.126 for the design drawing. 24. A James Powell & Sons Whitefriars Ribbon trail vase designed by Barnaby Powell, flaring sea green glass vase with blue trail, and a Whitefriars Ribbon Threaded footed vase unsigned 20.5cm. high (2) £150-200 25. A Whitefriars glass vase designed by James Hogan, swollen cylindrical form with amethyst bubbled ribbon trailing unsigned 24.5cm. high £300-400 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 125 plate 115 for a comparable example. £150-250

26. A large James Powell & Sons Whitefriars Flint glass Munstead vase designed by Gertrude Jekyll, shape 17, with ribbed effect body, unsigned 33cm. high £150-250 Literature Whitefriars Glass, page 265 plate 387-388 for this range of shapes illustrated. 26A. A James Powell & Sons Whitefriars Sapphire blue vase designed by Barnaby Powell, flaring cylindrical form, applied with spiral ribbon decoration, and a James Powell & Sons Sapphire footed bowl similar, unsigned 29cm. high (vase), bowl 15.5cm. high. (2) £150-250

26A

Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis, page 123 plate 110 for this shape illustrated in Ruby, plate 106 for comparable bowls.

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27. A Whitefriars amber glass Lens Cut vase by William Wilson, drum form, the cylindrical body cut with lens and column motif unsigned 20.5cm. diam. £400-500 28. A Whitefriars Gold Amber glass bowl designed by William Wilson, flaring form deep cut with spires rising from the base, unsigned 22cm. diam. £300-400 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 128 plate 124 for this design and shape in Sapphire illustrated.

29. A Whitefriars Sapphire blue glass vase designed by William Wilson, flaring cylindrical form deep cut with spires rising from the base unsigned 20.5cm. high £300-500

Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 128 plate 124 for this design on a bowl. 30. A Whitefriars Sapphire blue glass vase designed by William Wilson, flaring cylindrical form, cut with vertical columns, 20.5cm. high £300-400 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 128 plate 124 for this design in Golden Amber illustrated. 31. A James Powell & Sons Whitefriars amber glass vase, flaring cylindrical from the body with line and lens cut bands unsigned 24.5cm. high £300-350 32. A rare Whitefriars cut glass vase by Geoffrey Baxter, the flaring cylindrical vase cut witha shoal of fish, the reverse with a large stylised fish hunting the shoal unsigned 22.5cm. high £100-200

Literature Wendy Evans, Catherine Ross and Alex Werner,Whitefriars Glass Museum of London, page 331 plate 584 for this range illustrated. 33. A Whitefriars amber glass Studio vase designed by Geoffrey Baxter, ovoid with everted neck, trailed with pink and blue, and a Whitefriars streaked green glass vase, unsigned 18.5cm., high (2) £150-200 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 143 plate 170 for comparable examples. 34. A Whitefriars Studio vase by Geoffrey Baxter, flattened disc form with pulled and worked rim, rich blue glass internally decorated with white striations, and a Whitefriars Studio triangular dish similar unsigned, 15.5cm. high (2) £200-250 35. A Whitefriars Sun Spot yellow glass hanging designed by Geoffrey Baxter, modelled in low relief, unsigned 19cm. diam. £100-200 Literature Wendy Evans, Catherine Ross and Alex Werner Whitefriars Glass, James Powell & Sons Museum of London, page 340 plate 603 for a comparable example illustrated in the 1969 catalogue.

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A PRIVATE COLLECTION OF WHITEFRIARS GLASS DESIGNED BY GEOFFREY BAXTER 36. A Whitefriars Knobbly glass vase designed by William Wilson and Harry Dyer, cylindrical form with green and brown streaks, and two other Whitefriars Knobbly bowls 24.5cm. high (3) £100-200 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 138 plate 154 for comparable vases

37. A Whitefriars Kingfisher Blue glass Nuts and Bolts vase designed by Geoffrey Baxter, 27cm. high £150-200 38. A Whitefriars Willow glass Basket Weave vase designed by Geoffrey Baxter, 26.5cm. high £100-200 39. A Whitefriars Indigo glass Shoulder vase designed by Geoffrey Baxter, 23cm. high £150-200 40. A Whitefriars Willow glass Shoulder vase designed by Geoffrey Baxter, 23cm. high £150-200

Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 138 plate 1560 for a comparable vase. 41. A Whitefriars Tangerine glass Mobile Phone vase designed by Geoffrey Baxter, and a Whitefriars Cinnamon glass and Willow glass Mobile phone vases 16.5cm. high (3) £150-250 42. A Whitefriars Kingfisher Blue glass TV vase designed by Geoffrey Baxter, and another Whitefriars Tangerine glass TV vase, 17cm. high (2) £150-250 43. A Whitefriars Kingfisher Blue glass Cello vase designed by Geoffrey Baxter, and three other Whitefriars Kingfisher Blue vases 18cm. high (4) £150-200

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44. A pair of Whitefriars Aubergine glass Mallet vases designed by Geoffrey Baxter, and three other Whitefriars Mallet vases in Tangerine, Meadow Green and Kingfisher Blue 18cm. high (5) £250-350

45. A Whitefriars Ruby glass Coffin vase designed by Geoffrey Baxter, and four other Coffin vases Tangerine, Glacier, Kingfisher Blue and Indigo 13.5cm. high (5) £150-200

46. A pair of Whitefriars Tangerine glass Coffin vase designed by Geoffrey Baxter, and three other Whitefriars Coffin vases Kingfisher Blue, Cinnamon and Willow glass 13.5cm. high (5) £150-200

47. A Whitefriars Tangerine glass Banjo vase designed by Geoffrey Baxter, cast in low relief, paper number label to base 31cm. high £600-700 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 139 plate 158 for a comparable Banjo.

48. A Whitefriars Kingfisher Blue glass Banjo vase designed by Geoffrey Baxter, cast in low relief, paper number label to base 31cm. high £600-700 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 139 plate 158 for a comparable Banjo. Geoffrey Beard Modern Glass, Studio Vista, page 98 for a comparable example illustrated.

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51 49. A Whitefriars Kingfisher Blue glass Totem vase designed by Geoffrey Baxter, and a Whitefriars Willow glass Totem vase, 26.5cm. high (2) £150-200 50. A Whitefriars Meadow Green glass Totem vase designed by Geoffrey Baxter, and a Whitefriars Indigo glass Totem vase, 26.5cm. high (2) £150-200 51. A Whitefriars Tangerine glass Totem vase designed by Geoffrey Baxter, and a Whitefriars Willow glass Totem vase, 26.5cm. high (2) £150-200

Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 141 plate 163 for a comparable Tangerine Totem vase.

52. A Whitefriars Tangerine glass Bamboo vase designed by Geoffrey Baxter, two other Whitefriars Tangerine glass vases and a Whitefriars Ruby glass Bark vase 20cm. high (4) £150-200 53. A Whitefriars Tangerine glass Greek Key vase designed by Geoffrey Baxter, a Whitefriars Tangerine Shouldered vase, a Whitefriars Aubergine Chess Board vase and a Ruby Bark vase 20cm. high (4) £120-180

54. A pair of Whitefriars Kingfisher Blue candlesticks designed by Geoffrey Baxter, and four Whitefriars glass textured cylinder vases 8.5cm. diam. (6) £100-200 55. A Whitefriars Meadow Green glass Greek Key vase designed by Geoffrey Baxter, and four other Whitefriars Meadow Green vases, one with Whitefriars paper label, 20cm. high (5) £120-180

56 57

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56. A Whitefriars Meadow Green glass vase designed by Geoffrey Baxter, swollen rectangular form with textured finish, a Whitefriars Aubergine and Kingfisher Blue vase similar and three Whitefriars glass vases shape no.9815, original paper label to Meadow Green vase 11.5cm. high (6) £150-200

57. A Whitefriars Cinnamon glass Pyramid vase designed by Geoffrey Baxter, a Whitefriars Lilac glass beaker vase and a Whitefriars Willow glass Bark vase 17cm. high (3) £120-180

58. Five Whitefriars glass Cucumber vases designed by Geoffrey Baxter, comprising Tangerine, Kingfisher Blue, Cinnamon, Willow and Indigo, 29.5cm. high (5) £400-600

Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 139 plate 157 for comparable vases

59. A Whitefriars Tangerine glass Hoop vase designed by Geoffrey Baxter, 28.5cm. high £100-200

60. A Whitefriars Indigo glass Hoop vase designed by Geoffrey Baxter, 29cm. high £100-200 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 139 plate 159 for comparable Hoop vases

61. A Whitefriars Tangerine glass Drunken Bricklayer vase designed by Geoffrey Baxter, and another Whitefriars Willow glass Drunken Bricklayer vase 21cm. high (2) £150-200 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 140 plate 160 for comparable Drunken Bricklayer vases. British Design from 1948 Innovation in the Modern Age, Victoria & Albert Museum exhibition, 2012, V&A Publishing, page 135 catalogue number 1.122 for both sizes of Bricklayer illustrated.

62. A Whitefriars Tangerine glass Drunken Bricklayer vase designed by Geoffrey Baxter, and a Whitefriars Pewter glass Drunken Bricklayer vase 21cm. high (2) £150-200

63. A Whitefriars Willow glass Drunken Bricklayer vase designed by Geoffrey Baxter, applied numbered paper label, 33cm. high £350-450 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 140 plate 160 for comparable Drunken Bricklayer vases.

64. A Whitefriars Tangerine glass Drunken Bricklayer vase designed by Geoffrey Baxter, 33.5cm. high £350-450

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SAM HERMAN ‡ 65. Sam Herman (born 1936) a swollen pale purple glass vase with small aperture, surface decorated with yellow stripes, ochre and pink splashes, etched Sam Herman Studio mark 16cm. high £150-250 ‡ 66. Sam Herman (born 1936) a shouldered glass vase, dated 1977, made at the Jam Factory, South Australia, with tapering shoulder and worked irregular lip, opaque glass with yellow and aubergine inclusions and air bubble decoration, etched Samuel J Herman SA1730 1977 18.5cm. high £200-300

‡ 67. Sam Herman (born 1936) a swollen square section glass vase with slender solifleur neck, white glass cased in clear with aubergine, yellow and turquoise inclusions, cased in clear incised to edge of base Samuel J Herman indistinct date possibly 1981, base polished 28.5cm. high £150-250 ‡ 68. Sam Herman (born 1936) a Val St Lambert bottle vase, white glass cased in cleat with metallic blue stripes and applied blue rim, etched Val St Lambert SH monogram 24cm. high £300-350 ‡ 69. Sam Herman (born 1936) a Rosenthal Studio Line glass vase, tapering, elliptical form yellow glass with orange irregular stripes and air bubble inclusions, cased in clear etched Samuel Herman 20422, 21/200 acid etched Rosenthal Studio Line mark, 18cm. high £150-250 ‡ 70. Sam Herman (born 1936) a tall swollen cylindrical glass vase, dated 1971, the streaked smoky glass trailed with emerald green etched Samuel J Herman, 1971 and paper label £250-350

‡ 71. Sam Herman (born 1936) a Val St Lambert glass vase, tapering cylindrical white glass with metallic stripe, cased in clear etched Val St Lambert SJH 38cm. high £250-350 ‡ 72. Sam Herman (born 1936) a Rosenthal Studio Line glass vase, cylindrical form opaque white glass with a frieze of blue and golden yellow, cased in clear etched Samuel J Herman signature, 20428 19/200, acid etched Rosenthal studio line mark, 27.5cm. high £200-300 ‡ 73. Sam Herman (born 1936) a Rosenthal Studio Line glass vase, shouldered square section, clear glass internally decorated with yellow panels and air bubbles, etched Samuel J Herman signature, 20424, 26/200 acid etched Rosenthal Studio Line mark 27.5cm. high £200-300

69 70

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75 74 ‡ 74. Sam Herman (born 1936) a tall Val St Lambert vase, opaque white cased in clear surface decorated with metallic blue stripes, etched Val St Lambert SH monogram to base 48.5cm. high £400-500

‡ 75. Sam Herman (born 1936) a sculptural glass solifleur vessel, dated 1970, the swollen, swirling purple glass body with air bubbles, cased in clear with further trailing to the shoulder surface decorated with metallic oxides, etched Samuel J Herman 1970 to the side, polished base £200-300

77 ‡ 76. Sam Herman (born 1936) a tall shouldered vase, dated 1977, made at the Jam Factory, South Australia, pale green glass body surface decorated with metallic oxide swirls, etched SA1850 Samuel J Herman 1977 34.5cm. high £250-350

‡ 77. Sam Herman (born 1936) a Val St Lambert vase, swollen cylindrical form, pale mauve glass cased in clear and surface decorated with metallic oxide tree motif etched Val St Lambert SH monogram 35.5cm. high £400-450

‡ 78. Sam Herman (born 1936) a large and impressive Val St Lambert vase, pale lilac glass cased in clear with applied yellow rim, internally decorated with blue metallic oxide stripe etched Val St Lambert LL SJH monograms 30cm. high £600-800

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79. A George Elliott Bewdley glass dish, dated 1974, pulled aubergine and blue decoration cased in flint, two Wedgwood paperweights designed by Ronald StennettWillson and seven other items of glass etched marks,23cm. diam. (10) £100-150

79 80. A Michael Harris Isle of Wight Glass vase, compressed form with everted rim, blue streaked glass cased in clear, etched Michael Harris Isle of Wight 15cm. diam. £100-150

80 81

81. A Mdina glass Cut-Ice Lollipop vase, faceted circular body with tall solifleur neck, mottled blue and amber cased in clear, and a faceted glass Sommerso vase etched Mdina 18cm. high (2) £100-200

82. A paperweight by Karlin Rushbrooke, dated 1975, the glass body with four pierced holes forming a hollow body, with trailed yellow and red glass and white panel to top, and two other Karlin Rushbrooke paperweights etched signature and dates 9cm high (3) £100-200 Literature Museum Fur Kunsthandwerk Modernes Glas page 87 catalogue number 125 for a comparable paperweight.

83. A Karlin Rushbrooke glass jug with sculpted handle, pink glass cylindrical body with applied blue glass rim, with applied frosted glass hand handle, and a Karlin Rushbrooke plate etched marks, 15cm. high (2) £100-200

‡ 84. Rachael Woodman (born 1957) a blue and white cased glass bowl with matt finish, dated 1988 made at Dartington, etched signature, dated and NW Devon 28cm. diam. £800-1,200

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‡ 85.

A rare diamond- engraved glass goblet by Laurence Whistler, dated 1983, decorated with a view of Woodborough Hill, engraved in line and stipple with a farm track leading to a hill with a tree clump, hay bales and a telegraph line in the foreground, inscribed to the foot for Tim and Polly Carson 16th July 1983, signed LW to a tag on the barbed-wire fence 18.5cm. high £1,500-2,000 The view is from The Old Manor Alton Barnes, the Wiltshire farmhouse in which Laurence Whistler lived and the village where his son Simon spent his later years. Laurence was a close friend of the Carson family. Geoffrey Beard Modern Glass, Studio Vista, page 107 for a comparable goblet entitled Idea of a City illustrated.

‡ 86. An engraved glass goblet vase by Peter Drieser MBE, dated

1976, the large bowl wheel engraved with atomic linear design etched signature and 76 under the bowl 18cm. high £150-250 Literature Modern & Contemporary Glass, Bonhams 19th May 2009 for two fish glasses by Peter Dreiser Charles Hajdamach 20th Century British Glass, Antique Collectors Club, page 251 plate 526 for a Pluma goblet similar which was exhibited at the 1977 Jubilee Exhibition of Glass, London.

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87. A Tiffany & Co leaded glass and patinated bronze desk lamp, designed by Louis Comfort Tiffany, model no. 461, green and opaque white leaded Brick glass with verdi gris leading, stamped marks to shade rim and base 42.5cm. high ÂŁ2,000-3,000

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88. A Tiffany Studios patinated bronze floor bell lamp with Favrile glass shade, the knopped stem cast with foliate buds, the flaring foot on eight scroll feet, the blue Damascene Favrile shade decorated with blue petrol lustre finish and etched with butterfly and dragonflies, over opaque glass, shade signed LCT Favrile, cracked, the base with stamped Tiffany Studios New York 425, 141cm. high ÂŁ1,500-2,000 Literature Tiffany: Innovation in America Design, Christie's New York, 7th December 2001 page 64 lot 522 for this lamp design illustrated.

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89. A Schott & Gen Gena Glas teapot infuser and cover, two other Schott & Gen teapots, another similar and five Schott & Gen glass tea cups with wooden holders acid etched marks, 14cm. high £100-150 90. A Leerdam Unica amber glass vase designed by A D Copier, shouldered form with everted rim, acid etched monogram to base 20.5cm. high £100-200

89 90

91. A pair of Vedar enamelled glass goblet vases, each decorated with a frieze of cherub, in colours on a black ground etched signature to one 19.5cm. high (2) £100-200 92. A small silver mounted Loetz glass vase, shouldered ovoid form with splashed iridescent finish, the shoulder and neck set with silver foliate overlay, and a Rene Lalique Chouette paperweight, stencilled R Lalique France to the paperweight vase 10.5cm. high (2) £150-250

93. A Loetz glass footed bowl designed by Michael Powolny, the black glass body with applied orange rim and three ball feet remains of retailers paper label 21cm. diam. £150-200

94. A Loetz iridescent glass solifleur vase, compressed body with tall cylindrical neck, covered in a Phanomen combed golden iridescence over orange, and another glass vase in the manner of Loetz, unsigned 25.5cm. high (2) £300-500 95. A Loetz glass vase, shouldered cylindrical form with everted rim, the orange glass body with applied trail decoration and lustrous finish etched Loetz Austria to the pontil 15.5cm. high £500-1,000

94 96. A Papyrus pate de verre glass pendant by Gabriel Argy-Rousseau, oval, cast in low relief with flower and foliage signed GAR in the cast, 6.5cm. long £600-700 Literature Janine Bloch-Dermant G.Argy-Rousseau Glassware as Art Thames & Hudson, page 202 catalogue number 24.42 for this design illustrated.

97. A Ladybirds pate de verre glass pendant by Gabriel Argy-Rousseau, oval, cast in low relief with three ladybirds, with silks signed GAR in the cast, 6.5cm. long £600-1,000 Literature Janine Bloch-Dermant G.Argy-Rousseau Glassware as Art Thames & Hudson, page 195 catalogue number 23.32 for this design illustrated.

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100

98 98. A Bimini Werkstatte glass figure of a scarf dancer, the clear glass figure modelled balancing on one foot her arms raised and holding a red and white striped scarf billowing in the wind, on opaque glass globe and flaring foot unsigned 31cm. high £150-200

101 99. A Schneider Art Deco moulded glass vase, amethyst glass graduating to frosted, modelled in low relief with geometric panels, acid etched Schneider signature, paper label for L Merle & Fils 19cm. high £400-500 100. A tall Strombergshyttan Optic-ribbed amber glass vase designed by Edward Stromberg, flaring cylindrical form with slightly fluted top rim, and two Whitefriars Sapphire blue glass vases with air bubble inclusions, unsigned 29.5cm. high (3) £100-200 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 75 for a comparable Stromberg Optical glass vase 101. A Sandvik smoked amethyst Vingarna glass tazza designed by Simon Gate, the circular foot supporting three knopped stem with applied scrolls, with flaring open bowl, unsigned 23.5cm. high £200-400 102. A De Latte enamelled glass table lamp and shade, enamelled in colours with panels fo stylised flowers and foliage signed A De Latte France to base, repaired 53cm. high £100-200

LALIQUE

102

103. ‘Clairefontaine (Muguet)’ a modern Cristal Lalique tiara scent bottle and stopper, the clear and frosted glass stopper decorated with lily of the Valley flower sprays applied label 12cm. high £100-150 104. A modern Lalique clear and frosted glass tiara scent bottle and stopper, Jour et Nuit a limited edition modern Lalique scent bottle and stopper and five other modern Lalique scent bottles incised marks, 14cm. high (7) £50-100

103

104 part

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105. ‘Plumes de Paon’ no.10-375 a Lalique opalescent glass bowl designed by Rene Lalique, etched R Lalique to well 24cm. diam. £300-500

105

106

106. ‘Poisson’ no 3212 a Lalique opalescent glass bowl, moulded monogram to well, etched R Lalique signature 24cm. diam. £200-300

107. ‘Oursins’ no.10-3041 a Lalique opalescent glass bowl, stencil R Lalique France mark, 25.5cm. diam. £200-400

107

108

108. ‘Actinia’ no.10-392 a Rene Lalique opalescent glass bowl, two Lalique bird table decorations, two Lalique bird menu holders and a Sabino opalescent glass chick Stencilled R Lalique France, factory marks, chips to table decoration and menu holders 26cm. diam. (6) £100-200

109. ‘Figurines et Guirlandes’ a Lalique clear and frosted glass atomiser for Molinard designed by Rene Lalique, with gilt metal mount with push button diffuser mechanism, intaglio moulded R Lalique Made in France, small chip to shoulder, 9.5cm. high £200-250

109

110

This design was introduced in 1925.

110. A pair of Lalique clear and frosted glass bottles, each modelled with a band of frosted glass finches etched Lalique France 13.5cm. high £350-450

111. ‘Coq Nain’ no 1135 a Lalique clear and frosted glass paperweight/car mascot, moulded R Lalique signature to base, chip to tail feather 20cm.high £200-300

111

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112. ‘Voilee Mains Jointes Statuette’ No.828 a rare Lalique opalescent glass figure designed by Rene Lalique, designed 1919, engraved R Lalique France to base 28cm high £2,000-3,000

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113. An Iittala engraved glass leaf dish designed by Tapio Wirkkala, dated 1958, the thick clear glass engraved to the underside with veins, and two Kosta Boda vases by Vicki Lindstrand clear glass with aubergine internal decoration engraved Tapio Wirkkala Iittala 1958 13cm. wide (3) £100-200 Literature Iittala 125 Years of Finnish Glass Arnoldsche Publishing page 243 this design illustrated model 3268.

113

114. A Flygsfors glass flower vase, aubergine and white glass cased in clear with four pulled and rolled back petals, another Max Verboeket Maastricht glass vase and another vase similar etched marks, 23.5cm. high £100-150

115. A Flygsfors Coquille cased glass vase, dated 1956, slender, tall form with pulled rim, dark black glass with white border, cased in clear etched marks 41cm. high £100-150

114 116. A Kosta glass vase by Vicki Lindstrand, slender tapering clear glass internally decorated with blue pulls, on applied foot, a Nuutajarvi glass vase and four other glass vases acid etched and etched marks, 33cm. high (6) £100-200

115

Literature Jennifer Opie Scandinavian Ceramics & Glass in the 20th Century, Victoria & Albert Museum, page 104 catalogue number 498 (plate 46) for a comparable Kosta vase circa 1954.

116 117. A Kosta Boda glass bowl, elliptical form, blue and turquoise spots with aubergine swirling lines, cased in clear etched Kosta mark 22cm. wide. £100-200

118. A Cenedese style glass bird vase, stylised form pale pink cased in clear, another similar, a glass brown bear and four other glass items unsigned 30cm. high £100-150

117

118

119

119. A Flygsfors smoky glass vase designed by Viktor Berndt, dated 1960, shouldered form modelled in low relief and polished with two archers firing longbows, and another Flygfors vase decorated with stylised cave painting figures and scenes etched mark, signature and date 23cm. high £100-200

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120

121

122

120. A Holmegaard clear glass Flower Frog vase by Michael Bang, ovoid form with pulled solifleur neck, the shoulder with six flower stem aperture, another smaller with four aperture to the shoulder and another clear glass vase etched Holmegaard and MB monogram 14.5cm. high (3) £100-200 These Flower Frog vases were produced between 1973 and 1978. Literature Glass Since 1945 The Dan Klein Collection, Sotheby’s London 1984, lot 1 for comparable vases.

123 121. An Orrefors glass dish possibly by Vicki Lindstrand, square section the thick, heavy glass with martele hammered finish, two Orrefors opalescent glass dishes and an Orrefors smoked grey glass dish etched marks, 14cm. wide (4) £100-150

122. An Arch Taddei Sestini moulded glass vase, architectural form mounted with silver domed panel, and another silver mounted slab vase, a Spiegelau glass vase and two others, a Pukeberg glass serving platter and a frosted glass dessert service in the style of Iitala stamped marks, 22cm. high (13) £100-150

123. A blown amber glass sculptural vase attributed to Henryk Albin Tomaszewski (Polish, 1906-1993), ovoid amorphic form with linking tubes of glass to the interior unsigned 15cm. high £150-200

124

Several examples of this shape are recorded all have been in an olive green colour. They have previously thought to have been made in Czechoslovakia although Mark Hill now believes them to have been made by the Polish studio glass artist Henryk Albin Tomaszewski. Woolley and Wallis would like to thank Mark Hill for his help in cataloguing this piece of glass.

124. A Venini Murano emerald green glass platter, circular form with central well and broad rim, acid etched Venini Murano Italia mark, 41.5cm. diam. £100-200

125. A large amethyst glass tazza in the manner of Salviati, the knopped stem with applied clear glass swans, with aventurine decoration and applied glass eyes, on flaring slightly domed base unsigned £200-300

125

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126. A Murano glass urn and cover, white glass with aventurine decoration, cased in clear, the cover with twisted glass finial, a red and green striped glass plate, a large striped glass bowl, a vase by Barry Cullen and two etched glass vases, 35cm. high (6) £50-150

127. An Archimede Seguso glass dish, the irregular form thick black glass internally decorated with silver, cased in clear etched Archimede Seguso Murano to base 27cm. wide £250-350

126 part

128. An Elio Raffaelli and Robert Camozzo large glass Aquarium charger, internally decorated with three swimming fish, with air bubbles, cased in clear glass graduating to a blue rim, etched Camozzo Raffaelli 45cm. diam. £200-300

127 128

129. A large Graffito Barbarico Opaco glass bowl the design attributed to Barovier & Toso and attributed design to Ercole Barovier, striated green glass with aventurine inclusions, cased in clear unsigned 25cm. wide £500-800 Literature Marina Barovier, Art of the Barovier Glassmakers in Murano 1866-1977, page 202 for two comparable vases. Ercole Barovier 1889-1974 Dorigato, page 121 catalogue number 114 for a vase with this design, designed by Ercole Barovier in 1969 for Barovier & Toso.

129 130. An Archimede Seguso glass vase, ribbed, shouldered pale pink glass with gold aventurine inclusions, on applied foot, and two modern I Quadernio di Archimede Seguso catalogues, (no.2 and No.12) etched Archimede Seguso Murano 43cm. high (3) £300-500 Literature I Quadernio di Archimede Seguso No.2, (1994) this model illustrated on the back cover.

131. A tall glass solifleur vase in the manner of Dino Martens, aubergine and white stripes cased in clear, an ovoid vase with aubergine and white stripes and four other glass items unsigned 35cm. high (6) £100-150

130

131

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132. Yemen a Venini glass vase designed by Ettore Sottsass, dated 1998, etched Venini 98 Ettore Sottsass, 30.5cm. high ÂŁ1,000-1,500 Literature Sottsass Glass Works, Vitrum, page 70 and 71 for a vase in the same design. Provennace Tom Watkins private collection.

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A PRIVATE COLLECTION OF MODERN DESIGN 133. A Schott & Genossen Jenaer Glass Sintrax coffee pot, percolator and cover designed by Gerhard Marcks, with ebonised wood handle, with glass lid, a milk-jug and sugar basin and four cups, and a pair of Rosenthal Trulla wine-taster glasses designed by Michael Boehm in original box acid etched marks, 29.5cm. high £100-200 Literature Richard Sussmuth & V Haft Schriftenreihe der Freunde der Glaskunst page 12 illustration 15. Bauhaus, Wiener Werkstatte & other important 20th Century Design, Sotheby’s London 25th October 1991, lot 140 for a comparable coffee pot.

133

Provenance Private collection of modern ceramics and glass 134. An iittala clear glass Savoy vase designed by Alvar Aalto, irregular form, a rounded rectangular tray designed by Allvar Aalto and two cased white glass trays designed by Alvar Aalto for iittala etched marks to base 22/1988 28.5cm. wide (4) £100-200 Literature Jennifer Opie Scandinavian Ceramics & Glass in the 20th Century, Victoria & Albert Museum, page 23 catalogue number 189 for a similar vase illustrated.

134

Provenance Private collection of modern ceramics and glass 135. A collection of iittala glass designed by Alvar Aalto, comprising; eleven Cordial, Cocktail and Old Fashioned glasses, some in original presentation boxes (33) £100-200 Provenance Private collection of modern ceramics and glass

135 136. Eight iittala Marcel glass candlesticks designed by Timo Sarpaneva, model no.2761, four frosted and four clear glass examples each in original cardboard boxes, applied labels, 41cm. high £100-150 Provenance Private collection of modern ceramics and glass 137. Two iittala moulded glass Arkipelago candlesticks designed by Timo Sarpaneva, dated 1978, the thick clear glass column with moulded surface decoration and internal air bubbles, an iittala glass, four nineteenth century glass tazze and two glass bowls etched mark and signature and date to base, 29.5cm. high (8) £100-150

136

137

Literature Jennifer Opie Scandinavian Ceramics & Glass in the 20th Century, Victoria & Albert Museum, page 77 catalogue number 231 for examples of the Arkipelago range illustrated. Provenance Private collection of modern ceramics and glass 138. A set of eight Tsaikka metal mounted glasses designed by Timo Sarpaneva, eleven other glasses and eight iittala Tapuli glasses in original presentation boxes designed by Jorma Vennola, 8.5cm. high £100-150 Provenance Private collection of modern ceramics and glass

138

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139. An iittala Karelia glass suite designed by Tapio Wirkkala, comprising; four tall goblets, three smaller goblets, nine footed bowls, and six smaller footed bowls, an iittala Romantica clear glass decanter and stopper designed by Tapio Wirkkala and a collection of iittala clear glass bowls unsigned, 23cm. (decanter) (a lot). £100-200 Literature Tapio Wirkkala Eye, Hand & Thought Museum of Art & Design Helsinki, 2000, exhibition catalogue, page 312 plate 245 for a comparable example.

139

Provenance Private collection of modern ceramics and glass

140 part

140. A large etched glass platter possibly by Inkeri Toikka, etched to the well with a large fish, a large, thick circular glass bowl with polished rim, a clear and black glass lazy susan and a large welled green glass bowl unsigned 50.5cm. wide (4) £50-100 Provenance Private collection of modern ceramics and glass 141. A collection of Kosta Boda Pippi glasses, comprising; six tall slender glasses, five shorter and eight small glasses, each with single air bubble in base acid etched marks, 19cm. high £50-100 Provenance Private collection of modern ceramics and glass

141

142. An Orrefors Puck glass candlestick designed by Lena Bergstrom, thick clear glass, in original box, four iittala votive glass candle holders designed by Harri Koskinen in original boxes and a collection of glass etched mark, 10cm. diam. £50-100 Provenance Private collection of modern ceramics and glass 143. A collection of Holmegaard Stub glasses designed by Grethe Meyer , comprising four Champagne, eight white wine, ten claret and eight goblet glasses, in original boxes, 13.5cm. high (goblet glass) (30) £50-100

142

Literature Danish Arts and Crafts 1931-1981 this design illustrated on the front cover. Erik Zahle (editor) Scandinavian Domestic Design, Methuen, page 200 for this design illustrated. Provenance Private collection of modern ceramics and glass 144. An early Nuutajarvi blue glass footed vase designed by Oiva Toikka, shape no.3407, produced between 1958 and 1966, a Nuutajarvi clear glass decanter designed by Kaj Franck and a clear glass vase with engraved bands designed by Saara Hopea and a collection of glass 19.5cm. high £50-100

143

Provenance Private collection of modern ceramics and glass 145. A Nuutajarvi deep blue glass vase designed by Vuokko Eskolin-Nurmesniemi, waisted form, a large iittala glass vase designed by Lisa Johansen-Pape, three Nuutajarvi slender tumblers designed by Gunnel Nyman, a moulded glass cheese dish designed by Nanny Still and a collection of Scandinavian glass, ceramics and wood 14.5cm. high, (a lot) £50-100 Provenance Private collection of modern ceramics and glass

144

145

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146. A Nuutjaarvi tall blue glass vase designed by Kaj Franck, flaring cylindrical form, another smaller smoked glass vase, a smoked glass bottle and a collection of glass unsigned 29cm. high (a lot) £100-200 Provenance Private collection of modern ceramics and glass 147. A collection of Nuutajarvi glass designed by Kaj Franck, including eleven various coloured glass tumblers, 8cm. high (tallest) £100-200 Provenance Private collection of modern ceramics and glass 148. An Arabia pottery serving dish probably designed by Kaj Franck, square section, glazed green, a collection of Arabia serving dishes with teak trays, two glass water carafes, possibly Finnish and a collection of glass and ceramics unsigned 24cm. wide (a lot) £50-100

146

Provenance Private collection of modern ceramics and glass 149. A Rosenthal porcelain vase designed by Tapio Wirkkala, slightly swollen cylindrical form, moulded in low relief vertical ribs, and a collection of Rosenthal Studio-line porcelain, including Century and Polygon designs, some in original boxes printed marks, 22cm. high (vase) (a lot) £50-100 Provenance Private collection of modern ceramics and glass 150. A Bing & Grondahl tea and coffee service designed by Stig Lindberg, comprising four cups, saucers and side plates, and thirteen coffee cups and saucers, and an Arzberg part tea set designed by Heinrich Loffelhardt and a collection of tableware including Bing & Grondahl designed by Henning Koppel, a Lyngby part service designed by Axel Bruel, and An Arabia porcelain Rice service designed by Elfride Holzer-Kjellberg, comprising; five graduated bowls and six various saucers printed marks, (a lot) £50-100

147

Literature Erik Zahle (editor) Scandinavian Domestic Design, Methuen, page 227 catalogue number 322-323 for the Lyngby ‘Thermodan’ pieces illustrated. Jennifer Opie Scandinavian Ceramics & Glass in the 20th Century, Victoria & Albert Museum exhibition catalogue, 1989, page 65 catalogue number 154 for a bowl from the Rice service illustrated.

148

Provenance Private collection of modern ceramics and glass 151. A Rosenthal porcelain Form 2000 coffee set designed by Raymond Loewy, comprising fifteen various cups and eleven saucers, and Four bowls and saucers also designed by Raymond Loewy printed marks and facsimile signature £50-100 Literature Die Funfziger Museum Villa Stuck, 1984, page 88 catalogue number 114 for this design illustrated. Provenance Private collection of modern ceramics and glass

149

150

151

152

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153

154

152. A Rosenthal Studioline TAC1 coffee service designed by Walter Gropius, glazed white, comprising; teapot, cover and infuser, milk-jug and sugar basin, six cups and saucers and four TAC2 coffee cups, saucers and side plates with grey decoration impressed marks, 24cm. wide £100-150 Literature Art Nouveau, Art Deco & The Thirties, Brighton Art Gallery & Museum, page 84 catalogue number 205 for this service in black illustrated. Provenance Private collection of modern ceramics and glass

153. Blue Line a large Royal Copenhagen faience service designed by Grethe Meyer (1918-2008), designed in 1965, comprising two large floating bowls, four graduated bowls, two sauce pourers, one gravy boat and saucers, three tureens and covers, two circular and two oval dishes, 4 side plates, one cream jug, two sets of 3 graduated salads bowls, five other salad bowls, 3 sauce boats, 4 Portionskaal (side order) bowls, one egg cup, and a large collection of various cups and saucers printed and painted marks, (a lot) £100-200 Literature Jennifer Opie Scandinavian Ceramics & Glass in the 20th Century, Victoria & Albert Museum, page 45 catalogue number 76 for this range. Provenance Private collection of modern ceramics and glass

155

154. A Royal Copenhagen Gemma and Capella part services designed by Gertrud Vasegaard, Capella speckled grey glaze, Gemma with relief decorative motif, comprising; two various large serving bowls, one tureen and cover, one rounded serving platter, sauce-boat, gravy boat, milk jug and two sugar basins, one cup and saucer, and two Copenhagen Fire-Pot small bowls and lids designed by Grethe Meyer printed marks, bowl 28cm. diam. £50-100 Provenance Private collection of modern ceramics and glass

155. A Flos Lampandina lamp designed by Achille Castiglione, in original packaging and box, a Danese bookmark and two Ericsson Shannon telephones, 24cm. high (4) £100-150 Provenance Private collection of modern ceramics and glass

156. A Louis Poulsen black enamelled AJ table lamp designed by Arne Jacobsen, designed in 1957 for the SAS Royal Hotel in Denmark, and a brushed metal lamp with clamp fitting applied label 55.5cm. high £100-150 Literature Charlotte & Peter Fiell 1000 Lights 1879-1959, Taschen page 532-533 for this lamp in table and floor standing form illustrated. Provenance Private collection of modern ceramics and glass

156

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157 157. The Owl and The Pussycat went to Sea a Robin & Nell Dale traditional wood toy, painted in colours, and eight other Robin & Nell Dale Regional and Nativity collection wooden toys, all in original card cases paper labels to boxes the owl and pussycat boat 17.5cm. wide £100-200 Provenance: Private collection of modern ceramics and glass 158. An Aarikka pine sculpture of a reindeer, an Aarikka model of a mountain goat, and a collection of Scandinavian animals including Aarikka and Penna stamped marks, reindeer 21cm. high £50-100 Provenance: Private collection of modern ceramics and glass

158

159. A turned teak salad bowl by Bertel Gardberg, two wooden birds designed by Kristian Vedel, five Dansk trivets and a collection of wooden items stamped marks, 25cm. diam. £50-100 Provenance: Private collection of modern ceramics and glass 160. A Georg Jensen Rafler dice game designed by Dan Christensen, in presentation box, a Stelton Cylinda-line stainless steel bowl designed by Arne Jacobsen stamped marks, a Hackman large stainless steel bowl designed by Carina Seth-Andersson and an Alessi La Cocotte cast iron tureen and cover designed by Richard Sapper, various marks, 6.5cm. high (4) £50-100 Provenance: Private collection of modern ceramics and glass 161. An Old Hall stainless steel Alveston tea pot designed by Robert Welch, an Old Hall jug with strainer, a tea strainer and a toastrack, an Eva Trio saucepan designed by Ole Palsby, a Zack Cappio trivet and two stainless steel fish shaped dishes stamped marks, 11cm. high (8) £100-150

159

Provenance: Private collection of modern ceramics and glass 162. A collection of Studio Joe Colombo plastic cutlery made for Alitalia airlines, cream plastic, comprising four knives, forks and spoons, and three clear plastic tea spoons, and a collection of serving cutlery and plastics including a Caravelle melamine plate made for Finnair designed by Tapio Wirkkala, cast marks, 16cm. long (fork) £50-100 Provenance: Private collection of modern ceramics and glass

160

161

162

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CERAMICS

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163. A large Farnham Pottery ewer and basin, each decorated with a simple band of stud motif, glazed green to the exterior, the interior cream feint etched marks to basin, minor glaze nicks, basin 40cm. diam, jug 31.5cm. high £150-250 Literature William Morris Decor & Design, a version of this jug illustrated. 164. A Farnham Pottery single-handled bottle vase, incised with two bands of grape and vine motif, the neck with a band of Celtic knot motif, in shades of green on a brown, and a jug decorated with heraldic shield motif main unsigned, jug with incised marks, minor glaze chips, 21.5cm. high £100-150

163

164

165. A Farnham Pottery charger, the rim decorated with masks, scrolling foliage and ox skulls, glazed green unsigned, firing faults and underglaze chip to rim, 30.5cm. diam. £300-500 166. A Wardle Pottery Hadcote vase made for retail by Liberty & Co designed by Frederick Rhead, swollen cylindrical form, slip decorated with flowers on tubelined stems, glazed blue and another similar impressed Liberty & Co marks, minor glaze faults to top rim of second vase 25cm. high £100-200 167. A metal mounted amphora vase, possibly Ashby Guild, covered in a curdled blue glaze, in wrought iron metal mount with scroll feet, unsigned 28cm. high £150-200

165

168. A Linthorpe Pottery vase designed by Dr Christopher Dresser, ovoid with twin-handles, cast in low relief with geometric flower design, covered in a streaked brown glaze indistinct marks, chip to top rim, 21.5cm. high £100-200

166

169. A Minton’s Aesthetic Movement Cloisonne porcelain caddy and cover the design attributed to Dr Christopher Dresser, modelled as a bundle tied with rope, decorated with calligraphic characters and flower stems in colours and gilt on a pink ground unsigned, restored cover 10.5cm. wide £200-250 Literature Widar Halen Christopher Dresser, Phaidon, page 129 figure 141 for comparable caddies illustrated 170. An Old Hall Shanghai dinner service designed by Dr Christopher Dresser, printed with a stylised foliate border, in shades of yellow and green outlined in black, comprising; one platter, two large tureens and covers, one small tureen and cover, four dinner plates and four entree plates impressed mark, printed Shanghai 42cm. wide (platter), (12) £100-200 Literature Judy Rudoe Decorative Arts 1850-1950 A Catalogue of the British Museum Collection, British Museum, page 185 catalogue number 104 for two plates from the Shanghai pattern illustrated.

167 168

169 170

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171

173

172

171. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1878, slender baluster form, with waisted neck, painted with berried foliage sprays in shades of brown and white on a buff ground, the foot with blue band incised 55 R W Martin London & Southall 5-1878, firing crack to base, professionally restored neck, 26cm. high £200-300

172. A Ruskin Pottery vase by William Howson Taylor, dated 1922, waisted flask form, covered in a sang de boeuf glaze over silver-grey, with mint and lavender spots impressed marks, repaired neck 24cm. high £100-200

174

173. A pair of Minton’s Art Pottery moonflask, the flattened disc body with applied modelled foliate handles, on flaring rectangular base, covered in a deep blue glaze impressed marks to base, fine hairline to top rim of one, 34.5cm. high (2) £200-300

174. A Della Robbia Pottery box and cover by John Fogo and Tom Hall, incised with dog rose frieze in red, yellow and green on an ochre ground etched marks JF monogram 14cm. high £600-800

175. A good Art Nouveau Della Robbia Pottery charger by Gertrude Russell, the well painted with radiating foliate stems, the rim with a border of stylised flower and foliage panels, in shades of blue, yellow, turquoise and green incised marks, CW monogram 39.5cm. diam. £2,500-3,000 Literature Peter Hyland The Della Robbia Pottery, ACC publishing, page 210 figure 226 for a comparable charger illustrated by Gertrude Russell.

175

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176

178

177 176. Ellen Mary Rope (1855-1934) Adoration of the Magi a painted plaster panel, unsigned, chipped 82 x 68cm

£300-500

177. Ellen Mary Rope (1855-1934) Unto Babes a painted plaster panel, framed unsigned 80 x 43cm

£200-400

Literature Ellen Mary Rope - The Poet Sculptor H Blairman & Sons 1997, no.46 for another example of this panel. The Studio LVIII (1913) page 27

178. Ellen Mary Rope (1855-1934) Visit of the Magi white painted plaster panel, framed unsigned, repaired 30 x 22cm

179

£100-200

Provenance Ellen Mary Rope - The Poet Sculptor H Blairman & Sons 1997, no.29. This panel design was exhibited at the Art Club in 1902 (no.418).

179. Ellen Mary Rope (1855-1934) Christ Teaching painted plaster panel, framed unsigned 38 x 31cm.

£200-300

Provenance Blairman’s No.49

180. A large painted plaster panel of the Crucifixion in the manner of Robert Anning Bell, the rectangular panel depicting Christ on a Celtic cross, wearing a crown above the holy grail, two large angels flanking the cross, in colours, framed, unsigned, 62 x 49.5cm. £300-500

180

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181

182

181. A large Pilkington’s Lancastrian vase by Gladys Rogers, swollen, shouldered form, painted with a frieze of conkers and scrolling horse chestnut foliage in orange and golden lustre on a mottled red ground impressed marks, painted artist cipher, 36cm. high £1,500-2,000

182. A large Pilkington’s Lancastrian Pottery vase by Richard Joyce, ovoid with flaring neck, painted with a mounted Greek hunter shooting an arrow at a buffalo in golden lustre before ruby lustre swags painted artist cipher, 27cm. high £4,000-5,000

183. A tall Pilkington’s Lancastrian vase by Charles Cundall, dated 1911, shouldered cylindrical body with tall cylindrical neck, painted with panels of scrolling rose and stylised tulip flowers, the neck with columns of tulip stems, in ruby and blue lustre on a mottled red and golden ground, painted artist cipher and datemark 1911 37cm. high £2,800-3,200

183

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184. A pair of Pilkington’s Royal Lancastrian vases, shape no.2786, tapering cylindrical form, covered in a streaked and curdled blue glaze, another covered in a green glaze and another Pilkington’s vase and six other PIlkington’s items impressed marks, damages and repaired chips, 27.5cm. high (10) £100-200

184

185

185. A Pilkington’s Royal Lancastrian bowl by William Mycock, 1930, decorated to the well with a scaly fish, another Pilkington’s Royal Lancastrian bowl by John Brannam, an Arthur Wedgwood crystalline glaze bowl, a Van Briggle pottery vase and a pair of Rookwood candlesticks, impressed marks, 21.5cm. diam. (6) £100-150 186. A Pilkington’s Lancastrian Pottery vase and cover by William S Mycock, dated 1906, painted with Tudor rose on scrolling stems impressed marks and painted cipher, professionally restored 12cm. high £400-600 187. Six Pilkington’s Lancastrian Persian tiles designed for the RMS Titanic, 1912, painted with scrolling floral design in blue on a white ground, impressed and painted marks, damages 15.5cm. square (6) £200-300 Provenance Pilkington’s Lancastrian Private collection This Persian inspired design by Pilkington’s was used in the cooling room of the Turkish Bath on the Titanic liner and her sister ship the RMS Olympic. These specific tiles appear to be extras or even trials which never left the factory. A panel and two spare tiles were loaned to a local gallery and when the company went into receivership in 2010 the tiles were sold by the administrators (without including provenance). Two of these tiles were included in that sale whilst the other four came from a private collection of a friend of John Chambers.

186

Exhibited A small exhibition of these designs and original photographs from Pilkington’s is currently at the John Chambers Ceramics Room, Peter Scott Gallery, Lancaster University.

187

188. Sixteen Pilkington’s Lancastrian tiles each modelled with a lion Passant, glazed green, another two Pilkington’s Lancastrian tiles modelled in low relief with TBL monogram for Tootal, Broadhurst & Lee, and seven spacer tiles impressed marks, damages and losses 15.5cm. square (25) £100-200 Tootal, Broadhurst & Lee were well known cotton manufacturers and these tiles were commissioned to decorate their Manchester offices.

188

189

189. A collection of fifty-one Maw spacer tiles, each covered in a high-fired glaze possibly relating to the Ruskin Pottery, and eleven olive green spacer tiles impressed marks, 8cm. square (62) £50-100

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190 front and back 191

190. A Doulton Lambeth Tyg by Hannah Barlow, dated 1876, incised with panels of pigs grazing and resting, inside oak leaf panels with applied beadwork, glazed blue and green on a buff ground impressed factory mark and date, incised monogram, professional restoration to top rim, 18cn, high £600-900

191. A Doulton Lambeth jug by Hannah Barlow, tapering cylindrical form, incised with a fox spying on a colony of rabbits, between simple geometric bands impressed mark, incised monogram 24.5cm. high £700-900

192

192. A Royal Doulton flambe vase by Harry Nixon, shouldered form with collar rim, printed and painted in green and gilt with a frieze of grape vine to the shoulder on a flambe red ground printed factory mark, painted HN monogram 17cm. high £1,000-1,500

193. A rare Royal Doulton Chinese Jade vase by Charles Noke and Harry Nixon, cylindrical form, moulded in relief with fruiting boughs, covered in a jade green and white streaked glaze, printed mark, painted Chinese Jade and artists ciphers 15cm. high £1,000-1,500

193

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194. A C.H.Brannam pottery toby jug, dated 1909, modelled as a seated medieval man in tricorn hat, holding an ale, glazed green and blue incised marks, dated 1909, chips, 15cm. high £50-100 195. A C.H.Brannam pottery model of a pig, dated 1907, modelled lying on one side sleeping, incised All Inclined to Sleep, glazed blue and green incised marks, small chip to snout, 17cm. wide £100-200

195 194

196. A C.H. Brannam Pottery jug modelled as a heron, dated 1898, glazed in shades of blue, green and brown incised marks to base 25cm. high £150-200 197. A C.H. Brannam Pottery vase modelled as a goose, dated 1903, glazed in shades of green, blue and brown incised marks, minor glaze loss 24cm. high £100-200 198. A continental Mosanic pottery comical cat, modelled seated in alert pose, glazed pink, applied glass eyes indistinct painted marks to foot, minor glaze frits 38cm. high £200-300 199. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid body with flaring cylindrical neck, painted in shades of ochre, red and green on a graduated blue ground impressed marks, painted blue signature 10cm. high £100-200 200. ‘Cluny’ a modern Moorcroft Pottery vase, ovoid with narrow neck, painted in colours, a Cluny ginger jar and cover and a bramble pattern bowl painted green WM monogram 19cm. high (3) £150-250

196 197

201. ‘Powder Blue’ a Moorcroft Pottery service designed by William Moorcroft and retailed by Liberty & Co, comprising; two various teapot and covers, two hot-water pots and covers, one large milk-jug, two smaller milk-jugs and a sugar basin, preserve pot and cover, two serving plates, seven tea cups and saucers, one large tea cup and saucer, six side plates, one larger plate and three large acorn pepper pots impressed marks, teapot 15cm. high £100-200 202. ‘African Lily’ a Moorcroft Pottery plate, painted in colours on a graduated blue/green ground, another Arum Lily Moorcroft plate, a pair of Leaf and Berry candlesticks a Plum pattern vase painted with finches, a Springflowers box and cover and fourteen other items various marks, 22cm. diam. (20) £300-500

199 198

200

201

202

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205 203

204

208

206

207 203. A Moorcroft Collector’s Club vase, ovoid, painted with a summer scene of a Tyrolean cottage nestled in the mountain landscape, in colours painted marks, 19cm. high £100-200 204. ‘Wisteria’ a Moorcroft Pottery vase, shouldered form with collar rim, painted in colours on a blue ground, impressed marks, painted blue signature, original paper label 16cm. high £100-200 205. A rare Moorcroft Pottery Anemone miniature vase by William Moorcroft, painted in shades of blue and green on a white ground printed factory mark, painted green signature 7.5cm. high £1,000-1,500 206. ‘Finches’ a Moorcroft Pottery vase designed by Sally Tuffin, painted in colours, a Tulip Moorcroft Pottery vase and three Violet Moorcroft pattern items, impressed marks, painted green monogram 19.5cm. high (5) £200-300

209

207. ‘Frilled Orchids’ a Moorcroft Pottery vase, ovoid with everted rim, painted in colours, a Moorcroft Pottery Clematis bowl and cover, a Cluny vase and a Moorcroft flambe vase impressed marks, restored, 13cm. high (4) £100-200 208. ‘Hedgevine‘ a rare Moorcroft Pottery vase designed by Walter Moorcroft, introduced in 1960, tapering cylindrical form, painted in shades of blue, green and red on a graduated green to yellow ground impressed marks, painted blue signature 23.5cm. high £200-300 209. ‘King Protea’ a rare modern Moorcroft trial vase designed by Emma Bossons, dated 1998, painted in shades of pink, green and brown on a pale lemon ground painted marks to base 39cm. high £700-900 210. ‘Carp’ a unique Moorcroft Pottery trial vase designed by Sally Tuffin, dated 1990, painted in shades of pink and blue on a cream ground impressed and painted marks, 21cm. high £800-1,200

210

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DENNIS CHINAWORKS 211. ‘Owl’ a Dennis Chinaworks jug designed by Sally Tuffin, dated 2000, the bellied jug decorated with an owl in shades of claret, orange and yellow on a pale blue ground, painted marks, 21cm. high £150-200

211

212 212. ‘Dennis Chinaworks’ a teapot and cover designed by Sally Tuffin, dated 2000, the ovoid pot tubelined with a sunflower and the DCW monogram in orange and blue impressed marks, 14.5cm. high £100-150

213. ‘Cockerel’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, shouldered form, painted in colours on a buff ground painted marks, 21cm. high £100-150

213

214 214. ‘Orchid’ a Dennis Chinaworks Flute vase designed by Sally Tuffin, dated 2004, painted in colours on a pale green ground, painted marks, 17cm. high £100-150

215. ‘Pansy’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2003, painted in colours, and a Pansy preserve pot and cover, painted marks, 21cm. high (2) £150-200

216

215

216. ‘Elephant’ a Dennis Chinaworks preserve pot and cover designed by Sally Tuffin, dated 2003, painted in shades of black and orange painted marks, 12cm. high £100-150

217

217. ‘Iris’ a Dennis Chinaworks Flute vase designed by Sally Tuffin, painted with purple flag iris on a graduated blue to green ground, a miniature version and another shouldered Iris vase painted marks 16.5cm. high (3) £200-250

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218. ‘Wisteria with Butterfly’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, 2006, slender cylindrical form with everted rim, applied with butterfly to the shoulder, painted in shades of purple and green on a graduated purple to blue ground painted marks, 39cm. high £250-300

219

218

219. ‘Butterfly’ a Dennis Chinaworks vase and cover designed by Sally Tuffin, dated 2006, tapering cylindrical form with flat cover, the finial modelled as a butterfly, the vase moulded with a ladybird, in colours on a graduating black to white ground painted marks, 22.5cm. high £150-200

220. ‘Snake’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, shouldered form, painted in shades of green and blue on a purple ground painted marks 33.5cm. £250-300 This vase was produced in a limited edition of 30.

221. ‘Blue Eagle’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, dated 2000, painted in colours on a blue ground painted marks, 40cm. high £300-400

220

221

222

223

222. ‘Lobster’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, shouldered form with cylindrical neck and everted rim, painted in shades of green, blue and red on a graduated green ground, painted marks, 35cm. high £300-400 This vase was produced in a limited edition of 40.

223. ‘William De Morgan Antelope’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, shouldered form with cylindrical neck and evrted rim, painted in shades of purple, blue and green painted marks, 35cm. high £500-600

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224. Autumn Breezes HN1911 Simone HN2378 Top O The Hill HN1849 Fair Lady HN2193 Francine HN2422, Elegance HN2264 and Cherie HN2341 seven Royal Doulton figures, painted in colours printed and painted marks (7) £100-150

224

225

225. ‘The Balloon Seller’ HN 583 a Royal Doulton figure designed by L Harradine, painted in colours, and ‘The Balloon Man’ HN1954, printed and painted factory marks, 22.5cm. high £100-150 Provenance The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

226. A pair of Ashtead Pottery Genozo lions designed by Percy Metcalfe, modelled on rectangular plinth, covered in a speckled blue glaze printed marks, restored teeth 18.5cm. high £100-200

226

227. ‘Buster Boy’ an Ashtead Pottery figure designed by Phoebe Stabler, model M.51, painted in colours on a muff ground printed and moulded factory marks, two small chips to base 18.5cm. high £200-250

228. ‘Eastern Lady’ an Ashtead Pottery figure designed by Phoebe Stabler, model no. M.37, painted in colours printed factory marks,14cm. high £120-180

227

229. An unusual Ashtead Pottery plate, painted to the well with a duck, the rim with chevron frieze in red, blue and purple on a white ground printed and painted factory marks, 23.5cm. diam. £100-150

228

230. ‘Drinking’ and ‘Courting two Royal Chelsea Country Pleasures plates designed by Edward Ardizzone RA, printed in black and grey on a white ground, printed factory marks, signed Diz in the print 26.5cm. diam. (2) £100-200 Literature Reginald Haggar & Wolf Mankowitz, The Concise Encyclopedia of British Pottery and Porcelain, plate 158

230

229

231. A Wemyss Pottery pig, modelled seated on its haunches, painted with black patches impressed Wemyss mark, printed T Goode mark, one ear chipped and also restuck 16cm. long £150-200

232. An unusual Royal Worcester model of a big cat, covered in a bright orange glaze, printed mark, 7.5cm. long £100-200

231

232

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234

233

233. The Lucky Futurist Cat a spill vase designed by Louis Wain, decorated with meow meow notes, painted in colours, facsimile signature, impressed and printed three rifle mark, paper label 13cm. high £800-1,200 Literature Cork Marcheschi Louis Wain Lucky Futurist Mascot Cats, this cat illustrated. The printed three rifle mark is the mark of retailer Max Emanuel.

234. The Lucky Haw Waw Cat a spill vase designed by Louis Wain, painted in colours, facsimile signature, printed and painted marks, triple rifle mark, 13cm. high £500-1,000

235. ‘The Lucky Bully Bulldog’ a rare figural spill vase designed by Louis Wain, painted in colours printed marks and facsimile signature 13cm. wide £800-1,200

235

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236. A pair of Hancock & Sons Morrisware vases designed by George Cartlidge, C27.28, waisted cylindrical form with everted rim, tubeline decorated with rhododendron flowers in pink, blue and green on a lime green ground printed and painted marks, professional restoration to rim chip on one, 31cm. high ÂŁ1,500-2,000 Literature Tony Johnson The Morrisware, Tiles and Art of George Cartlidge, private press, page 100 and front cover for this design and shape illustrated.

236

237. A Wedgwood lustre bowl, decorated to the interior with fruit on a mottled orange lustre ground, the exterior fruit panels on a blue lustre ground printed and painted marks, 23cm. diam. ÂŁ100-200

237

238. A Wedgwood Dragon lustre Malfrey pot and cover designed by Daisy Makeig-Jones, printed in gilt on a deep red lustre ground printed factory marks, original paper labels, 22cm. high ÂŁ200-300

238

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239. Poplar Trees a Wedgwood Fairyland Lustre Antique Centre bowl designed by Daisy MakeigJones, printed and painted in colours on a flame lustre ground, highlighted in gilt, the interior with Woodland Elves V pattern and Mermaid roundel, printed and painted marks, printed gilt MJ monogram 24cm. diam. ÂŁ4,000-6,000

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240. Roc Centre a good Wedgwood Fairyland lustre Lincoln plate designed by Daisy Makeig-Jones, enamelled in colours on a blue ground to the well, the rim printed in gilt on an orange ground printed and painted marks, 27cm. diam. £2,500-3,000 Literature Una Des Fointaines, Wedgwood Fairyland Lustre, Sotheby Parke Bernet, page 215 plate 50 for this design on a Lincoln plate.

240

241. ‘Butterfly Woman’ a Wedgwood Fairlyand lustre vase by Daisy Makeig-Jones, printed and painted in colours and gilt on a black lustre ground printed and painted marks, 20cm. high £800-1,200

Literature Una Des Fontaines Wedgwood Fairyland Lustre Sotheby Parke Bernet, page 146 plate 30 for an identical vase illustrated.

241

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242. Candlemas a rare Wedgwood Fairyland lustre vase designed by Daisy Makeig-Jones, shape no.2357, printed and painted in colours on a cream lustre ground, highlighted in gilt printed and painted factory marks, 21.5cm. high ÂŁ3,000-5,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre Sotheby Parke Bernet, page 168 for a covered vase in the Candlemas pattern.

242

243. Bi Frost or Rainbow Wedgwood Fairyland lustre Malfrey vase and cover designed by Daisy Makeig-Jones, printed and painted in colours and gilt, printed and painted marks, 23cm. high ÂŁ4,500-5,500 Literature Una Des Fointaines, Wedgwood Fairyland Lustre, Sotheby Parke Bernet, page 127 plate 25 for a version of this vase and design illustrated.

243

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244

244. Woodland Bridge Variation 1 a Wedgwood Fairyland Lustre Kang H’si bowl designed by Daisy Makeig-Jones, the interior in the Garden of Paradise variant pattern, printed and painted in colours on a midnight black ground, highlighted in gilt, printed and painted marks, 18.5cm. diam. £2,000-3,000

245. Feng Hwang a Wedgwood Fairyland Lustre vase designed by Daisy Makeig-Jones, slender, shouldered form, printed and painted in colours on a flame lustre ground, highlighted in gilt printed and painted marks 20.5cm. high £2,500-3,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre Sotheby Parke Bernet, page 132-135 for a discussion of this pattern.

245

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246. A Wedgwood Queen’s Ware tea and coffee set, glazed white, comprising two graduated coffee pots and covers, six cups and saucers, two large salad bowls, cream jug, six sugar bowls, six cans and saucers, six breakfast bowls, two oval platters, six dessert bowls and three Wedgwood Matt black tea cups and saucers various printed marks, 19cm. high £50-100 Literature Bernard Hollowood Pottery & Glass - The Things We See: No.4, Penguin, page 4 this design illustrated.

247

Provenance: Private collection of modern ceramics and glass 247. A Wedgwood Matt Green earthenware vase designed by Keith Murray, ribbed, globe form with collar neck, and two Pilkington’s Royal Lancastrian matt green bowls, impressed marks, facsimile signature 15cm. high (3) £80-120

246

Literature: Andrew Casey 20th Century Ceramic Designers in Britain, Antique Collector’s Club, page 192 catalogue number 210 for a comparable vase in matt straw. Provenance: Private collection of modern ceramics and glass 248. A Wedgwood earthenware bowl by Norman Wilson, footed, flaring form with ribbed decoration glazed matt grey/blue over Moonstone matt white glaze printed Wedgwood and NW monogram 26.5cm. diam. £100-200 Literature: Maureen Batkin, Wedgwood Ceramics 1846-1959 Richard Dennis, page 224 plate LI for comparable bowls by Norman Wilson illustrated.

248

249. A Wedgwood Travel meat platter designed by Eric Ravilious, printed to the oval well with a steam train racing along the track, in black and blue on a grey ground, and a large Wedgwood Garden platter designed by Eric Ravilious, impressed and printed marks, 32cm. wide (travel) (2) £100-200

249

249A. A Wedgwood earthenware Harvest Festival dinner service designed by Eric Ravilious, printed in blue and black with harvest vignette,of fish, bread vegetables and cornucopia, comprising, two graduated platters, two tureens and covers, sauce boat and stand, six dinner, entree and side plates, six soup bowls, printed factory marks, largest platter 36.5cm. wide (29) £300-500 250. A Wedgwood vase by Alfred Powell, model no.3279, painted with a sparrow-hawk clutching a bird in its claws, in shades of brown between blue foliage borders, impressed mark, painted monogram 13.5cm. high £200-300 251. Garden Implements a Wedgwood lemonade set for six designed by Eric Ravilious, printed with vignette of garden tools and scenes in pink lustre and black on a white ground, comprising large jug and six handled beakers, printed and painted marks, 20cm. high (7) £1,500-2,000

249A

Literature: Andrew Casey 20th Century Ceramic Designers, Antique Collector’s Club, page 227 figure 260 for a comparable Garden Implements jug illustrated.

250

251

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253 252. ‘Acorn’ a Susie Cooper Productions dinner service designed by Susie Cooper, pattern no.1398, painted in colours on a cream ground, comprising; three graduated platters, two tureen and covers, a sauce boat, eight dinner plates, six entree plates and six side plates, six twin-handled soup bowls and saucers, and another Susie Cooper tureen and cover printed and painted marks, damages 41cm. wide £100-200

252

Provenance Private collection of modern ceramics and glass 253. An Art Deco Edna Best Art Pottery part coffee set retailed by Lawleys, painted with geometric Cubist panels in orange on a honey coloured glaze, the rim and handles enamelled black, comprising; milk-jug and sugar basin, six cups and saucers printed mark and facsimile signature 4.5cm. high (sugar) (14) £100-200

254 254. A Shelley Pottery Yellow Block Vogue part tea set designed by Eric Slater, pattern 11787, printed and painted in yellow, black and silver, comprising milk-jug and sugar basin, one tea cup and saucer, one side plate and one coffee cup and saucer, two Vogue cup, saucer and side plate trios decorated with berried foliage, a Vogue coffee and saucer, another trio and a Clarice Cliff Conical trio printed and painted marks, 9.5cm. high £200-400 Literature Thirties Arts Council exhibition catalogue, 1979, page 95 catalogue number 4.104 for a comparable Vogue part tea set illustrated. 255. ‘Orange Block’ a Shelley Pottery Vogue bachelor tea set designed by Eric Slater, pattern no.11792, printed and painted with black and orange geometric bands, comprising; teapot and cover, milk-jug and sugar basin, one cup, saucer, side plate and two sandwich plates, and an Eve shaped coffee can and saucer printed and painted marks, teapot 10.5cm. high £200-400

255

Literature Andrew Casey 20th Century Ceramic Designers, Antique Collector’s Club, page 150 figure 164 for a comparable Orange Block design illustrated on the Eve shape. 256. A Burleigh Ware charger by Harold Bennett, tubeline decorated with a tree in a hilly landscape, in shades of brown and blue on a mottled orange ground, printed mark, painted Bennett signature 36cm. diam. £100-200

256

257

257. A pottery shallow charger painted with a Geisha playing a musical instrument the design attributed to Lucien Boullemier, possibly made by Soho Pottery, painted and enamelled in colours and gilt on a vivid yellow ground, the rim with flowerhead border on a black ground remains of a printed mark, 33cm. diam. £200-300

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258 258. A pair of Picardy Peasant pottery figures designed by Phoebe Stabler, possibly made for the American market, glazed pale blue, faint signature to one 26cm. high £200-300

260 259

259. An Art Deco Poole Pottery vase designed by John Adams, model C54A, twin-handled form, the handles modelled as doves, the exterior spray glazed in Ice Green, the interior Peach Bloom, and a Poole three branch candelabra covered in a Magnolia White glaze impressed marks, 37cm. high (2) £100-200 260. ‘General Wolfe’ a Poole Pottery plate drawn by Arthur Bradbury and painted by Ruth Pavely, dated 1942, painted in colours painted inscription to back, smashed and restuck 38cm. diam. £150-250 261. ‘Red Roofs’ a Clarice Cliff Bizarre Mei Ping vase, painted in colours on a mottled cafe au lait ground printed factory mark, professionally restored rims, 16cm. high £300-500

262

261

262. ‘Rhodanthe’ a Clarice Cliff Bizarre 565 vase, painted in colours printed factory mark, 11.5cm. high £150-250 263. ‘Crocus’ a Clarice Cliff Bizarre beaker and a Beehive honey pot and cover, painted in colours printed and painted marks to beaker, professional restoration to the cover, 9cm. high £200-300 264. ‘Gay-Day’ a Clarice Cliff Bizarre side plate, painted in colours, a Crocus side plate and a Biarritz plate printed marks, 18cm. diam. £100-150 265. ‘Latona Tree’ a Clarice Cliff Bizarre Conical tea cup and saucer, painted in colours with orange and brown bands., an Original Bizarre milk jug, a Newlyn shell dish, a Tulip Lynton mustard pot and cover and three other items printed and painted marks, 14.5cm. diam. (7) £300-500 266. ‘Patina Tree’ a Clarice Cliff Bizarre 362 vase, painted in shades of Coral red, blue, green and yellow on a honeyglaze ground, splashed with blue patina glaze printed factory marks, 20.5cm. high £300-500

264

263

265 266

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268 267. ‘Latona Tree’ a large Clarice Cliff Mei Ping vase, painted in colours on a Latona cream ground printed and painted marks, 36cm. high £800-1,200 Provenance Clarice Cliff, Christie’s South Kensington, 10 November 1999 lot 42 Private collection 268. ‘Latona Tree’ a Clarice Cliff Bizarre Conical Bowl, painted in colours on a Latona cream ground, with orange rim band printed marks, 23.5cm. diam. £400-600

267

Provenance Private collection 269. ‘Latona Tree’ a Clarice Cliff Bizarre 369A Stepped vase, painted in colours on a Latona cream ground, with orange rim band printed and painted marks, 19.5cm. high £500-800 Provenance The Louis K Meisel & Susan P Meisel Collection, Bonhams, lot 105 Private collection

269

270

270. ‘Latona Tree’ a Clarice Cliff Bizarre 342 vase, painted in colours on a Latona cream ground, with orange rim band printed and painted marks, 20cm. high £500-800 Provenance Clarice Cliff, Christie’s South Kensington, 2nd May 2002, lot 117 Private collection 271. ‘Latona Tree’ a Clarice Cliff Bizarre 358 vase, painted in colours on a Latona cream ground, with orange rim band printed and painted marks, 20.4cm. high £600-900 Provenance Clarice Cliff Christie’s South Kensington, 2nd November 2001 lot 155.

272

271

Private collection 272. ‘Latona Tree’ a Clarice Cliff Bizarre 358 vase, painted in colours on a Latona cream ground, with orange rim band printed and painted marks, 21cm. high £300-500 Provenance Clarice Cliff, Art Deco & 20th Century Design Woolley and Wallis, 8th April 2009 lot 363. private collection

273

273. ‘Latona Tree’ a Clarice Cliff Bizarre Bachelor Conical tea set, dated 1929, painted with a tree in colours on a Latona cream ground, comprising Conical teapot and cover, milk-jug and sugar basin, one cup, saucer and side plate, painted with blue bands, and another en-suite saucer printed and painted marks, 11.5cm. high £1,000-1,500 Provenance Private collection

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274. Freya a Poole Pottery contemporary wall plaque designed by Ann Read , pattern VZ, painted in colours on a white ground with a boat moored in Poole Harbour, printed and painted marks, 31cm. diam. £100-200 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 105 for another example illustrated. 275. A large modern Poole Pottery Delphis charger by Sue Pottinger, painted with a vibrant sunset over a coastal landscape, glazed in colours, and two Poole Pottery Aegean plates printed and painted marks, 41cm. diam. (3) £200-300 276. A Poole Pottery Atlantis vase by Guy Sydenham and Beatrice Bolton, ovoid with cylindrical neck, incised with circle repeat, glazed white with hints of turquoise and brown impressed mark and artists monograms 22.5cm. high £150-200

274

275

277. A modern limited edition Poole Pottery Studio charger by Sue Pottinger, painted with a seascape in colours on a cream ground, the rim with a wave repeat, printed and painted marks, 41cm. diam. £100-200 278. A set of Poole Pottery Dorset Views tiles designed by Bernard Charles, each printed in blue and green, comprising Lulworth, Customs House, Blandford Forum Market Square, Fisherman’s Quay, The Bar and Pier Swanage, West Bay Bridport, The Cobb Lyme Regis , Guildhall, Sandbanks Ferry, The Minster Wimborne Minster, The Castle Corfe Castle, and two matched tiles Church of St James and Poole Quay, and twelve Poole Pottery Delphis glaze trial tiles each annotated to the reverse, impressed marks, 15.5cm. square (25) £100-200 Literature Leslie Hayward & Paul Atterbury Poole Pottery Richard Dennis Publications, page 172 for one of this tile range illustrated.

277 276

279. A set of four Carter’s Poole Pottery Mask Series tiles designed by Leslie Elsden, screen-printed with surrealist designs in black on a white ground, framed impressed marks, 15.5cm. square (tiles) £200-250 Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 172 for a tile from this series illustrated. 280. A rare and early Troika Pottery Lidded Cube vase by Leslie Illsley, square section, painted with a smiling cubist face, the reverse with a sad, crying face, in blue/black on a white ground, the feet, shoulders and handles glazed bronze impressed Troika trident motif 15cm. high £700-900

278

Literature Carol Cashmore Troika Pottery St Ives, colour plate 28 Ben Harris & Laurence Illsley Troika 63-68 colour plate 9 Exhibited Troika Pottery 1963-1983, Penlee House, 2013 Provenance Private collection

279

280

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281. A Fulham Pottery flower vase designed by Constance Spry, twin-handled footed form, covered in a white glaze, and another Fulham Pottery flower vase impressed marks and C monogram, hairline to handle, 29cm. wide. (2) £50-100 282. A Fulham Pottery flower vase designed by Constance Spry, model no. C1, flaring elliptical bowl, modelled in relief with leaf motif, another flaring, foliate form and a chalice vase impressed factory marks, facsimile Constance Spry signature 39cm. wide (3) £150-250

281

283. Adam and Eve a rare Richard Parkinson Pottery figure designed by Susan Parkinson, modelled standing before a stylised tree, the trunk with painted serpent, and a cast metal medallion of J P Priestley, cast PP mark and limited edition mark, repaired chips to edge and base 18cm. high £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson & The Richard Parkinson Pottery, private press, page 23 for a variation of this figure. Sylvia Priestley commissioned a version of this figure group for her father, J B Priestley’s 60th birthday.

282

284. A Richard Parkinson Pottery figure of Sir Lawrence Olivier as Henry V designed by Susan Parkinson, made for Briglin Pottery, modelled standing, the base title, glazed blue on a white ground inscribed to base Designed and Made for Briglin by Susan Parkinson 31cm. high £200-300 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, private press, page 66 for a full page illustration of this figure, and page 67 for the cover of the 1959 brochure featuring the this model. 285. A Richard Parkinson Pottery model of the Lion of Empire designed by Susan Parkinson, modelled standing painted in shades of blue impressed factory mark and 2B, 23cm. wide. £150-250

283

284

Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson & the Richard Parkinson Pottery, page 17 for an illustration of the lion with the unicorn figure. 286. A Lorna Bailey prototype double spouted coffee pot, dated 2002, painted in shades of yellow, orange, purple and blue outlined in black, painted inscription to base 34cm. high £100-150 287. Exhibition of the Art of Bernard Leach an exhibition catalogue 1980, text in Japanese, Bernard Leach A Potters Work, Artist Potters in England by Muriel Rose, and three other books, (6) £50-100

285

286

287

288. Robin Welch (born 1936) a collection of early stoneware, comprising two cylindrical vases, four goblets, two canisters with cork tops, four bowls and three egg cups, all partially glazed in white with a silver band, vases 18.5cm. high (15) £100-150

288

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289. David Leach (1911-2005) an early earthenware tankard possibly Leach Pottery, swollen barrel form with applied handle and Cornwall symbol, covered in a rust brown glaze impressed DL monogram 13.5cm. high £100-150 290. Poh Chap Yeap (1927-2007) a large flat platter with fluted rim, covered in a rich tenmoku glaze, a bowl by Jan Van Der Vaart and a bottle by Keiko Hasegawa, incised Yeap, 37cm. diam. (3) £150-200 291. Malcolm Pepper (1937-1980) a stoneware vase, shouldered form with everted rim, covered to the foot with a crazed pale blue glaze, painted with a band of stylised foliage in blue, and a Malcolm Pepper plate, painted with a pagoda in a garden setting, and another vase decorated in Tenmoku impressed seal mark to plate, vase has rim chips, vase 41.5cm. high, plate 29.5cm. diam.(3) £100-150

290 289

Provenance The Liliana Epstein Collection, Christie’s South Kensington, 27th April 1998, lot 23 (plate) 292. Malcolm Pepper (1937-1980) a tall stoneware vase, covered in a running tenmoku glaze and another vase impressed seal mark, 35cm. high (2) £200-300 293. Judith Gilmour four various stoneware porringers, each with tube handles, covered in a matt, speckled oatmeal glaze painted signature, 29cm. wide £50-100 Provenance Private collection of modern ceramics and glass

291

292

294. Mike Dodd (born 1943) a cut-sided stoneware vase, covered to the foot in a pale blue glaze, a Mike Dodd teapot and cover and a Peter Swanson vase impressed seal mark, 18.5cm. high (3) £100-150 295. Walter Keeler (born 1942) a salt-glaze stoneware trough vase, elliptical form, covered in a blue glaze, the interior mustard yellow impressed seal mark, 33cm. wide £100-200

293

296. Peter Hayes (born 1946) a small sack form vase, set with red roundel, and an Allister Malcolm glass paperweight, vase unsigned, 13.5cm. high £100-200 297. Peter Hayes (born 1946) a porcelain arrow form, on raku stand, dated 1997, on slate plinth, etched Peter Hayes 97 20.5cm. high £100-150

294

295

296

297

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301 300 298

299

CONTINENTAL CERAMICS 298. A large Sevres moonflask by Paul Millet, flattened disc form with modelled fish handles, covered in a turquoise printed mark PM monogram 38cm. high £150-250 299. A Jean Massier pottery vase, compressed ovoid vase with slender, swollen neck, applied scroll handles, covered in a pale green glaze, another green crystalline glaze solifleur vase, a large vaseline glass shade and a collection of ceramics and glass impressed marks, small chip to base, 25.5cm. high (a lot) £100-150 Provenance Nick Rocke

303

302

300. A pair of Sevres Vallauris pottery barbotine double gourd vases by Optat Milet and Clement Massier, with moulded bat handles, enamelled in green, white and yellow with a butterfly flying past berried foliage on a streaked brown ground, painted Sevres Vallauris OMC and HC monograms, repaired necks,28cm. high £100-200 301. A Jean Luce pottery dish, modelled as a cog with serrated edge, the well with wheel motif, glazed blue and cream impressed Jean Luce Paris, chip to rim, 11cm. diam. £100-150 302. A Secessionist pottery vase probably Austrian, modelled in low relief with flower panels and columns, glazed in colours on a cream ground and highlighted in gilt, two boxes and covers and, a Denby Pottery Tigo ware vase designed by Tibor Reich, Richard Ginori vase, a collection of continental ceramics and studio pottery printed mark, 31cm. high £100-200

304 305

303. An Art Deco St Clement Pottery vase, ribbed cylindrical form, covered in a matt green glaze, and a WMF Ikora glass vase impressed S’ Clement mark, 26cm. high (2) £100-200

304. A Dutch three tile panel, modelled in low relief with a mythical charioteer riding in the sky before a sun, in colours, the corners with NS Ltd logo, logo to design, impressed numbers to reverse, minor frits to rims 31.5 x 21cm. £50-100

306

307

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305. A De Porceleyne Fles Delft Moorish pottery vase, ovoid form, painted with scrolling flowers and foliage in ruby on a white ground, another smaller decorated with butterflies and a wall plate, and two Dutch tiles one decorated with a peacock perched on a wall painted marks, 8cm. high (4) £100-200 Literature De Porceleyne Fes History of a National Product, cat no.108 for a comparable albarello vase and cat no. 119 for a comparable tile.

306. A Secessionist stoneware jug the design attributed to Peter Behrens, model no.1630, with hinged pewter cover, impressed Secessionist decoration glazed blue and grey, and three smaller steins, model 1967, impressed marks, 31cm. high (4) £100-200

308

307. A Rookwood Pottery vase, dated 1911, model no.1658E, tapering cylindrical form, painted with trees on a lake side landscape, in vellum colours impressed factory marks, 20cm. high £200-300

308. Il Suonatore (The Tired Player) a Richard Ginori tile designed by Gio Ponti, painted with a seated accordion player, in shades of red and brown on a white ground, framed, impressed, printed and painted marks, 14cm. square (tile) £200-300

309. A Wiener Werkstatte glazed terracotta head by Lotte Calm, modelled with sideways glance, her black curls held back with blue ribbon and flowers, tin-glaze, on later wooden plinth, impressed WW mark, 960 22.5cm. high £1,000-1,500

309

Provenance The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire. Literature Charlotte Benton, Tim Benton and Ghislaine Wood, Art Deco 1910-1930 Victoria & Albert Museum exhibition catalogue 2003, V&A Publications, page 181 catalogue number 15.8 for a comparable example. Gabrielle Fahr-Becker Wiener Werkstatte Taschen, page 151 for a comparable head by Lotte Calm illustrated.

310. A Goldscheider Pottery figure of a Nubian bare breasted woman, cast from a model by A Rubelle, model no.896, modelled standing holding a shell tray, wearing a headdress and gold necklace, arm band and bracelet, impressed marks and signature, restored 53cm. high £1,000-1,500 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 66 for this figure reproduced in the 1900 Goldscheider catalogue

310

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311. An Art Nouveau Gouda Nora floating bowl, painted with flowers and foliage in colours, a Gouda vase and a jug and a box and cover painted marks, 34cm. diam. (4) £100-150 312. A large Art Nouveau Gouda Pottery vase, painted with an exotic blue bird with long tail, amidst panels of stylised flowers and foliage in purple, yellow and green on a white ground with later gilt metal lamp mount painted marks, 61cm. high £600-800 313. A pair of Royal Copenhagen Faience vases designed by Nils Thorsson, model no. 1064/5368, bottle form, painted with scaly fish amidst waterweed, in browns on a white ground printed and painted factory marks 25.5cm. high £150-250

311

314. A pair of Danish Copenhagen vases, model no 430/190, the swollen cylindrical body applied with twin-handles each modelled with a slug crawling over the rim, the bodies painted with pansy flowers in yellow, green, blue and pink on a white ground painted marks, professional restoration to handles, 26cm. high £300-400

312

315. A Royal Copenhagen Fajance vase designed by Nils Thorssen, pattern no.870/3121, shouldered form, painted with abstract flowers in shades of brown and blue on a brown ground, a large charger in the same pattern and another vase printed and painted marks, vase 19cm. high, charger 33cm. diam. £100-200

313 314

316. A Bing & Grondahl porcelain vase, moulded in low relief with a frieze of Maple foliage and seedheads, glazed in shades of pink, blue and brown printed factory mark, 10.5cm. high £200-300 Literature Jennifer Opie Scandinavian Ceramics & Glass in the 20th Century, Victoria & Albert Museum, page 38 catalogue number 21 for a footed bowl similar illustrated, dated 1910. 317. A Rosenthal Porcelain figure of a Satyr and two maidens designed by Walter Schott, model no. K.296, covered in a blanc de chine glaze impressed and printed factory marks, finger losses, 23cm. high £100-200 318. A Katzhutte porcelain model of a woman riding a polar bar, the exotic naked woman with jewelled tiara and holding a tambourine, glazed in colours, highlighted in gilt printed mark to base 23cm. high £200-300

316

315

318A. Europe and America a pair of Royal Copenhagen Blanc de Chine figures designed by Arno Malinowski, model number 12485 and 12489, Europe modelled as bathing belle, America as an native Indian squaw glazed white printed and impressed marks, losses to America’s feather headdress 23.5cm. high £200-300

317

318

318A

Literature Nick & Caroline Pope Royal Copenhagen Figures, Schiffer, page 212 and 213 for this design illustrated.

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319. A rare Essevi Pottery figure designed by a Sandro Vacchetti, model no.430, modelled as a lady perched on a bar stool, recoiling in fright as a mouse looks up, painted in colours, painted marks, two small chips to base rim, 41cm. high ÂŁ4,000-6,000

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320. A Goldscheider Pottery wall mask, model no.7121, modelled as a stylised woman her hand raised to hold her yellow bead necklace, glazed in colours, impressed marks, repaired damages 31cm. high ÂŁ100-200

320

321. A Boulogne pottery sculpture of a young kneeling woman by Andre Fau, modelled on a cushion, her arm upraised to support a resting butterfly, glazed in colours impressed factory marks, re-stuck butterfly 19.5cm. high ÂŁ150-200

322. Lilian a Goldscheider Pottery figure designed by Stephan Dakon, model no.6554, modelled seated resting her elbow on her raised knees, wearing a flowing pink floral dress impressed and printed marks, original paper label 28cm. wide ÂŁ500-600

321

322

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323. A rare Goldscheider Pottery model of a woman sitting on her luggage trunk designed by Stephan Dakon, model no.7172, painted in colours, impressed and printed marks, minor professional restoration to her neck, 26cm. high ÂŁ2,500-3,000 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 130 for a comparable figure illustrated.

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324. A Goldscheider Pottery figure of a girl packing her trunk, model no.7779, painted in colours impressed and printed marks, professionally restored 19cm. high ÂŁ2,000-3,000 Literature Ora Pinhas, Goldscheider Pottery, Richard Dennis Publications, page 134 for a comparable figure illustrated.

324

325. The Captured Bird a large Goldscheider Pottery Bat Girl figure designed by Josef Lorenzl, model no. 5230, painted in colours, impressed marks, facsimile signature, restored fingers to front hand, 47cm. high ÂŁ2,500-3,000 Literature Ora Pinhas, Goldscheider Pottery, Richard Dennis Publications, front cover and page 118 for a comparable figure illustrated.

325

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326. A large Longwy pottery tile, square, enamelled with stylised flowers in blue, green and aubergine on a crackled white glaze, and another smaller, impressed mark, chip to corner 26cm. square (2) £100-200 327. A Boch Freres Keramis stoneware vase, numbered 73, compressed gourd form with collar neck, painted with flowers and foliage in black, white and pale yellow lustre on a pink lustre ground, A Sevres vase by Paul Milet covered in a streaked yellow and blue glaze, a Sevres Art Pottery box and cover, an Aesthetic Movement lamp base attributed to Edmond Lachenal, glazed blue, and an Aesthetic Movement vase covered in a blue glaze, impressed and painted marks, 16cm. high £200-300

326

327

328. A Boch Freres Gres Keramis stoneware vase designed by Charles Catteau, pattern D.820, shouldered ovoid form, decorated with a band of scrolling foliage in brown on a crackled white ground printed marks, Pomone mark 13cm. high £100-150 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 433 catalogue number 1013 for a comparable vase.

328

329

329. A pair of pottery busts by Ake Holm, each modelled as a woman with straight shoulder length hair, incised Ake Holm 15cm. high (2) £150-250 330. A Boch Freres Keramos vase designed by Charles Catteau, model no. D704, enamelled with columns of stylised flowers in blue, yellow and black on a crackled white ground, a Boch Freres twinhandled bowl enamelled with flowers and French pottery tile enamelled with a Classical Hippocamp creature impressed and printed marks, damages 24cm. high (3) £200-400

330

331. A large pottery tile by Pierre Caille, square, cast and modelled in low relief with a lady taking shelter from the sun, a small servant holding an extended parasol over her, in a formal garden, glazed in shades of blue and orange, inside a border of flowers and foliage framed, etched signature to reverse 29cm. square £200-300 332. A large pottery tile by Pierre Caille, square, cast and modelled in low relief with two birds perched on a vase of flowers, in shades of blue, white, pink and red on a turquoise ground, inside shell border incised signature bottom right 42.5cm. square. £200-300

331

332

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â&#x20AC;Ą 333. The Watercarrier (variant) a glass figural vase

designed by Pablo Picasso, made by Aldo Bon, dated 1955, white glass cased in clear and applied with black detailing, etched Aldo Bon Murano Italia 1955 and Picasso to the other foot,, 41cm. high ÂŁ1,500-2,000 Literature An Important Private Collection of Italian Glass, Christieâ&#x20AC;&#x2122;s New York, 30th November 2000 lot 11 for a comparable figure designed by Picasso and made by Ermanno Nason circa 1954. The catalogue states that these designs were conceived in 1947, originally for ceramic, but later produced in glass. Aldo Bon (known as Polo) was born in Murano in 1906 where he died in 1988. He worked for Aureliano Toso with Dino Martens between 1939 and 1955 before setting up Vetreria Artigiana Aldo Bon in 1960. He exhibited at the 1964 Venice Biennale. This work relates to a figural vase designed by Pablo Picasso in collaboration with Ermanno Nason and made at the I.V.R. Mazzega foundry in Murano - a figure modelled holding a bottle under one arm.

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334. Pablo Picasso (1881-1973) Noel, 1953 a colour print on paper, framed signed and dated in the print, gallery label to reverse 48.5 x 38.5cm (image) £100-200 Provenance The Redfern Gallery, 1960 no.196

334

‡ 335. Sujet Poisson a Madoura terracotta vessel by Pablo Picasso, painted highlights in black and white,

impressed marks, 21.5cm. wide

£3,000-5,000

Literature A Ramie Picasso Ceramics, no.139, page 78 for a comparable example illustrated. This pitcher was conceived in 1952 and executed in an edition of 500.

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336. A rare soup bowl and ladle designed by Bjorn Wiinblad, modelled as a bird, painted in shades of green and yellow on a tin-glaze ground, the ladle with feather terminal, painted marks and artists cipher, 26cm. wide £100-150 Literature Esbjorn Hiort Modern Danish Ceramics, Museum Books Inc, 1955, page 120 for a variation of this bowl used as a salad bowl with salad servers. 337. A Gustavsberg Pottery vase by Stig Lindberg, ovoid with cylindrical neck, covered in a tinglaze, painted with seedheads in blue, yellow and black on a white ground painted marks, painted hand cipher 21.5cm. high £100-200

336 337

338. A Fritz Hansen Egg chair designed by Arne Jacobsen, designed 1958, covered in a green fabric, applied Fritz Hansen label, 99cm. high £300-500 Provenance Leslie Gooday OBE Literature Michael Collins Towards Post Modernism, page 92 plate 97 for a comparable chair. 339. Herbert Leupin (1916-1999) Circus Knie a lithographic poster in colours, printed by Hug & Sohne Zurich, linen backed and framed, a folio of Herbert Leupin poster designs and a Herbert Leupin poster exhibition poster for the Kunstschule Alsterdamm signed in the print 99 x 70cm (3) £200-300

338

340. Henri Matisse (1869-1954) The Dancer a Schools Print Ltd European Series lithograph on paper, printed by W S Cowell Ltd, 1949, framed signed in the print 73 x 48cm. £200-400 341. The Dramatists Guild Fund - Young Playwrights Festival 1982 a poster designed by David Hockney, printed by the Petersburg Press, framed facsimile signature and monogram 103 x 76cm. £50-100 λ 342. A large Arkana Tulip table designed by Eero Saarinen, designed 1957, the round, rosewood veneer top on waisted chrome metal base 121cm. diam. £300-500

Literature Michael Collins Towards Post Modernism, page 92 plate 97 for a comparable table

339

340

341

342

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343

344 detail

343. A large collection of fountain pens, nibs, cases including Osmiroid, Swan, Onoto, Conway Stewart, Easterbrook, Burnham, and Regency, many with original nib chalk markings, original paper labels and Osmiroid comment labels. (a lot) £100-200 Provenance This collection of pens mainly from the 1950s comes from a managing director of the Osmiroid company. The pens formed part of their research and development collection.

344

344. Le Mannequin Ideal an articulated link couture mannequin, on adjustable stand with ebonised wooden tripod foot, applied makers paper label, 104 rue Reaumur, 75002, Paris, and each brass link stamped Ideal, 134cm. high £500-1,000

345

345. A BIBA shop mannequin, set with glass eyes and teeth, with sequin bonnet, four other mannequins and a hat stand, 68cm. high (6) £200-400 Provenance Leslie Gooday OBE

346. A pair of continental jardinieres and trays, glazed blue and green, with metal tripod stand unsigned, damages 53cm. high £50-80

346

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348 347

347. A pair of modern Cassina Order Desk ebonised wood chairs originally designed by Charles Rennie Mackintosh, for Miss Cranston’s Willow Tea Rooms, 1904, with padded cushions, 119cm. high, 54cm wide, 42cm. deep £700-900 348. A large Art Deco rosewood dining table, on eight swollen, reeded legs, with silvered bronze feet 199 x 119cm. high £600-1,000 349. A modern De Stijl side table originally designed by Gerrit Thomas Rietveld, probably made by Cassina, originally designed in 1922 for the Schroeder House, laminated beech construction, unsigned 62cm. high £150-200 350. A modern pair of Grand Confort LC2 chairs designed by Le Courbusier, Pierre Jeanneret and Charlotte Perriand, originally designed 1928, probably manufactured by Cassina, chrome tube frame with leather padded seats, 99cm. wide (2) £300-500 Provenance Leslie Gooday OBE Literature Charlotte & Peter Fiell, 1000 Chairs, Taschen, page 133 for comparable examples illustrated. 351. A modern pair of Grand Confort LC2 chairs designed by Le Courbusier, Pierre Jeanneret and Charlotte Perriand, originally designed 1928, probably manufactured by Cassina, chrome tube frame with leather padded seats, 99cm. wide (2) £300-500 Provenance Leslie Gooday OBE

349

350

Literature Charlotte & Peter Fiell, 1000 Chairs, Taschen, page 133 for comparable examples illustrated.

351

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352

λ 352. A Herman Miller Ottoman model no.671 designed by Charles & Ray Eames, originally designed 1956, bent rosewood ply with black leather cushion, applied label, 67cm. wide £300-500

Provenance Leslie Gooday OBE

353

Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 276-277 for this iconic chair and ottoman illustrated. 353. A modern leather and bentply Eames Lounge (670) chair after a design by Charles & Ray Eames, with black leather padded seat, the flaring five branch polished metal foot with casters, 101cm. high £100-200 354. A pair of Gelderland chairs designed by Rob Parry, two sizes, polished steel frame, one covered in grey the other in white textile, 83 and 86cm. high (2) £300-400 355. A Danish teak framed leather wing armchair after a design by Borge Morgensen, model no.2204, fitted with deep brown leather pads £100-200 356. A pair of Tank lounge chairs (37/400) designed by Alvar Aalto, upholstered white, 77cm. deep (2) £1,500-2,000 Literature Alvar Aalto Designer, Lahti, page 174 for a comparable chair

354

356 355

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357. Two clear glass easel back photo frames, probably Italian, the clear glass frame with bevelled edge and aluminium screws one with paper label 23 x 18cm. (2) £100-200 358. Martin Smith (born 1950) a unique red earthenware table, 1988, red earthenware tiles with glass cement, on turned, birch laminate plywood, and red earthenware foot chips to foot rim 69cm. high, 54cm diam. £400-600 Provenance Lord Parmoor

357

358

Private collection Exhibited Contemporary Applied Arts, London 1988 359. A set of six Hille polypropylene side chairs designed by Robin Day, designed 1963, four side chairs and two on central swivel pedestal base, cast marks, 75cm. high (6). £100-200 Provenance Leslie Gooday OBE

359

Literature Sutherland Lyle Hille 75 Years of British Furniture, Elron Press, page 86 for comparable examples Lesley Jackson Modern British Furniture Design Since 1945, Victoria & Albert Museum, page 173 figure 183 for various examples from this range of ground 360. A perspex and polished aluminium Lumitron table lamp designed by Robert Welch, 54cm. high £200-300

361

361. A Bestlite desk lamp base, an early desk mounted anglepoise lamp, a Fase desk-lamp and two other wall hanging lanterns, and a small collection of metalware cast marks to Bestlite 56cm. high (a lot) £50-100

360 362. An Old England watch designed by Richard Loftus, the dial decorated with a psychedelic flower inscribed Flower Power, another decorated with a Pop Art union jack, four others two with original card boxes and an Old England ring watch signed Old England to the dial, (7) £150-250 Old England watches were manufactured by Accurist and some were retailed by The Beatles at their Apple boutique on Baker Street in 1968.

363

363. A Jaeger Le Coutre chrome travel clock, with eight day movement, in leather travel case, an early Seiko Quartz stainless steel wristwatch, another early digital watch and nine other watches stamped marks and signed to face 9cm. high (12) £100-200 364. Stones of Bath a screen printed fabric curtain designed by John Piper, 1959, manufactured by Arthur Sanderson and Sons, 400 x 190cm (approx). £200-300

362

364

Literature Geoff Rayner, Richard Chamberlain, Annamarie Stapleton Artists Textiles in Britain 1945-1970 ACC publishing, catalogue number 74

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365

365. A set of eight Carimate chairs by Vico Magistretti, designed 1959, the pine frame with rush seating, 82cm. high (8) £100-200 Provenance Leslie Gooday OBE 366. A Bitossi Pottery model of a bull designed by Aldo Londi, with impressed decoration, painted in shades of green, ochre and orange unsigned 31cm . wide £100-150 367. A large Torben Orskov Krenit enamelled bowl designed by Herbert Krenchel, designed 1953, the interior enamelled yellow, the exterior matt black, unsigned 38cm. diam. £50-100

366

367

Literature Scandinavian Design Christie’s South Kensington 15th September 1999, lot 134 for comparable bowls. Erik Zahle (editor) Scandinavian Domestic Design, Methuen, page 102 catalogue number 52 for two comparable smaller bowls. 368. A tile topped table painted by K Townsend, dated 1960, on wrought iron base, the tiles painted with Surrealist still life of three mandolin with female bust terminal, signed and dated to the tiles, damages 138.5 x 47cm. £200-300

368

369. A white lacquered polyurethane Garden Egg chair designed by Peter Ghyczy, originally designed 1968, white fibreglass base and hinged cover, with black pads 77cm. deep, 37cm. high £300-500 Literature Cold War Modern Design 1945-1970, Victoria & Albert Museum exhibition 2008, V&A Publishing, page 20 catalogue no.1.12 for a tangerine example exhibited. Charlotte & Peter Fiell Plastic Dreams Synthetic Visions in Design, Fiell, page 152-153 this design illustrated. 370. A pair of patinated metal side tables, patinated gold finish, the base with cast abstract decoration, unsigned, 66 x 60cm (top) £150-250 371. A cream lacquered wood buffet designed by Tommi Parzinger, model no.101, with inset black glass top panels, bronze drawer furniture 173 x 42cm. £300-500

370

369

371

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373 372 374 372. A glass topped architects desk designed by Leslie Gooday OBE, for his own office three drawers under glass shelf and thick glass top, an office desk and a stool, (3) £100-200

375. Leslie Gooday O.B.E (1921-2013) Bread acrylic on board, framed signed in the wrapping, titled to reverse 35.5.x 35.5cm. (image) £100-150

Provenance Leslie Gooday OBE

Provenance The estate of the Artist

373. A Best and Lloyd polished aluminium Cantilever Light Mk II desk lamp designed by Gerald Abramovitz, applied label 51cm. high, 70cm. wide . £100-150

376. Leslie Gooday O.B.E (1921-2013) Identification acrylic on board, framed signed lower right, titled to reverse 66 x 33cm. £100-150

This lamp won the Design Centre Award in 1966 and was exhibited at the Philadelphia Museum of Art exhibition Design Since 1945 (1983-84).

Provenance The estate of the Artist

Provenance Leslie Gooday OBE, (Architect)

375 374. An enamelled wire chair designed by Harry Bertoia, designed 1950-1952, probably manufactured by Knoll Associates, 72cm. high £50-100 Provenance Leslie Gooday OBE Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 254 for comparable chairs.

376

377

378

377. Leslie Gooday O.B.E (1921-2013) Moon Bowl and Key acrylic on board, framed signed lower right, titled to reverse 489.5 x 26.5cm (image) £100-150 Provenance The estate of the Artist 378. Leslie Gooday O.B.E. (1921-2013) Aztec 8 and Bound doll and poppy-seed head Two, both signed acrylic on board 27 x 49cm and smaller (2) £100-150 Provenance The estate of the artist.

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380

381

379

379. Decorative Art Studio Yearbook six volumes, 1951-52, 195354, 1955, 1957-58, 1970-71, 1974-75, Designers in Britain published by the Society of Industrial Artists, Exposition Internationale Paris 1937 guide and seventeen other books on design, (25) £100-200 380. The Studio General Index volumes 1-42, and twenty-three volumes of the The Studio, bound, mostly with green boards, including volumes 5-7, (24) £200-300

382

381. The Duke & Duchess of Windsor a Sotheby’s two volume cased auction catalogue, 11-19th September 1997, with additional information booklet and prices realised for the auction £50-100 Provenance Leslie Gooday OBE 382. Coming Down The Seine a first edition book by Robert Gibbings illustrated by Clare Leighton, published by J M Dent & Sons, 1953, and Four Hedges A Gardener’s Chronicle, a book written and illustrated by Clare Leighton, 1935 £100-200 383. Hauptmann, A, Deutsche Skimeisterschaft, a lithographic ski poster in colours, 1928, framed 68x 46cm.

383 £150-200

384. Jules Cheret (1836-1932) Folies Bergere Fleur de Lotus a lithographic poster dated 1893, published by Encres Ch Lorilleux, mounted on linen, framed signed and dated in the print, losses 121 x 85cm £300-400

384

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386

385. Winifred Knights (1899-1947) Owl, pencil on paper, framed, Town Birds a felt painting by Christine Risley dated 1954, and a pair of watercolours in common mount, unsigned, paper label to reverse 11 x 10cm (image) £150-200

385

Provenance Paul Liss Gallery (Winifred Knights) The Hanover Gallery (Christine Risley)

386. Walter Crane (1845-1915) The Tempest, 1893 woodblock on paper, six prints in common frame signed with artist’s cipher in print, foxing 130 x 34.5cm (overall)

£200-300

387. A painted metal panel by A. Hess, rectangular, depicting two peacocks in a woodland setting in oak frame signed lower right 35 x 16cm. £100-150

387 388. A pen and ink sketch in the manner of Mabel Lucie Attwell, framed, unsigned 31 x 31cm. £100-200

‡ 389. Raymond Allen Jackson (JAK) (1927-1997) You realise under the new rules I’m the winner, Michael a pen, ink and crayon political cartoon featuring Robin Day refereeing a boxing match between Michael Foot and a dazed Tony Benn, Dennis Healey watches from the safety of outside the ring Signed and titled Friday 5th June 1981 43 x 54cm £50-100

388

389 390. W Gale Harris On the Tee a gouache on paper poster or book illustration design of golfers, framed signed W Gale Harris bottom right 25.5 x 22.5cm. £200-400

390

391

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DODO BURGNER

‡ 392. Dodo Burgner (1907-1998) Woman with a Fan watercolour, wash and silver, on paper, framed 34 x 22cm. (image) £200-300

‡ 393. Dodo Burgner (1907-1998) From our Gown Department pencil and wash on paper fashion design for John Lewis & Co, framed 48 x 33cm. (image) £200-300

‡ 394. Dodo Burgner (1907-1998) For Town and Country pencil and wash on paper fashion design for John Lewis & Co, framed 49 x 33cm (image) £200-300

392

‡ 395. Dodo Burgner (1907-1998) Woman at the Races pen and ink on tracing paper, framed signed b 18 x 14cm. (image) £150-250

393

394

395

396

‡ 396. Dodo Burgner (1907-1998) Girl with a Handbag pencil and ink wash on paper, framed 24 x 18.5cm. £150-250

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397. Maurice Milliere (1871-1946) Apple Picking a pair of aquatint on paper, framed signed in pencil and numbered no.58 41 x 32.5cm (image) £300-500

397

398. Bjorn Wiinblad (1918-2006) Costume for Myrrine and Costume for Kleonike, from Lysestage lithographs in colour, framed signed and titled 83 x 46cm. (image), (2) £300-500

‡ 399. Brian Stonehouse MBE (1918-1998) Fashion Study Woman in a Dress - Two Poses a pencil drawing on paper, framed, and two other Brian Stonehouse fashion studies, framed unsigned 60 x 47cm (image), (3) £200-400

Provenance The estate of the Artist

‡ 400. Brian Stonehouse MBE (1918-1998) Fashion Study of a Woman in a Black Cape ink wash on paper, framed, and another Brian Stonehouse Fashion Study drawing, framed unsigned 46 x 38cm (image), (2) £100-200

Provenance The estate of the Artist

398

399

400

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402

401

401. An Art Deco silk lined bead-work clutch bag, decorated with geometric flower design 22cm. long £100-200 402. A French Parfum Pompeia advertising paper fan by L T Piver, Paris printed with a harlequin standing in a gondola, another Parfum Pompeia fan by Mich printed with a lady and her dog companion flying a bi-plane, another entitled ‘The Berkeley’ and another fan £50-100

403

404

405

406

403. A Glasgow School silk embroidery, depicting a woman seated in a garden, a dove perched on her hand, framed unsigned 23 x 15.5cm. (image) £100-200 404. An Arts and Crafts silk embroidered panel, the floral ground embroidered in green, blue and pink on a mint green ground, 121 x 180cm. £150-200 405. A Glasgow school silk embroidered panel, square section, embroidered with stylised roses and flowerheads in silver and gold outlined in black, and another Arts and Crafts silk embroidered panel of berried foliage unsigned 54 x 53cm. (2) £100-200 406. An Arts and Crafts silk embroidered book cover, rectangular, embroidered with tulip flowers and scrolling foliage, in colours on a cream ground unsigned 33.5 x 30cm. £100-150 407. ‘Honeysuckle’ a long printed cotton textile originally designed by William Morris for Morris & Co, and an Arts and Crafts printed cotton printed in a red palette with wisteria and tulip flowers unmarked to selvedge 912cm long x 97.5cm wide (Honeysuckle) (2) £100-200

407

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A PRIVATE COLLECTION OF JAMES BOND & FILM EPHEMERA 408. A composite set of all six James Bond promotional photographs signed by the actors, Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig, 25.5 x 20.5cm (Sean Connery), (6) £500-1,000 409. Tomorrow Never Dies a promotional sheet signed by Pierce Brosnan, the reverse signed by three others including Ricky Jay, a signed promotional photo of Jonathan Pryce as media mogul Elliot Carver in Tomorrow Never Dies, a signed promotional photo of Michelle Yeoh as Wai Lin and another signed promotional photograph of Pierce Brosnan, 28 x 21.5cm. (main), (4) £150-250

408

410. Richard Kiel as Jaws from James Bond The Spy Who Loved Me a signed promotional colour photograph, together with a signed black and white promotional photograph of Vladek Sheybal, (the grandmaster chess player in From Russia With Love) a signed promotional photograph of The Waltons, and a signed photograph of Charles Dance as Ian Fleming from Goldeneye, signed ‘from Charles Dance and Ian Fleming’ (4) 25.5 x 20.5cm. £100-150 411. A signed colour promotional photograph of Cubby Broccoli, producer of the James Bond films, 25.5 x 20.5cm. £100-150 412. The Living Daylights a James Bond pre-teaser poster, framed, 44 x 29cm. (image) £250-350

409

411

410

412

413. Everything or Nothing a British Quad film poster advertising the untold story of James Bond, published 2012 , 102 x 76cm. £250-350

413

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414 ‡ 414. John McLusky On Her Majesty’s Secret Service a James Bond original pen and ink cartoon artwork numbered 14, published in the Daily Express, 1964-65, framed signed in ink 46.5 x 13cm (image) £500-1,000 ‡ 415. Ken Adam Spectre HQ from Thunderball an original pen sketch on paper for the Spectre HQ in the James Bond film Thunderball, sold with two letters from Ken Adam and a signed photo of Ken Adam (4) monogrammed and titled in pen framed 31 x 20cm (image) £1,000-1,500

Sir Ken Adam OBE was Production Designer on James Bond films from Dr No (1962) to Moonraker in (1979). 416. The Spy Who Loved Me a British Quad James Bond film poster, illustrated by Bob Peak, released 1977, framed 100.5 x 75cm £250-350 417. Dr Who and the Daleks a signed promotional black and white photograph of Peter Cushing as Doctor Who, depicted attacking a dalek, and a compliments slip, 25.5 x 20.5cm. (2) £100-200

415

Peter Cushing played Dr Who in the film Dr Who and the Daleks released in 1965. 418. Alexander a rare teaser film poster, printed by Intermedia, 2004, directed by Oliver Stone, framed 84 x 61cm. £100-150

416

417

418

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419

420

FURNITURE

421

419. An oak dining chair designed by A.W.N Pugin and probably made by John Crace, X Frame with pegged joint construction, the front leg plate with carved star motif highlighted in gilt, the carved back supports carved with similar motif, with padded seat and back rest 88cm. high £300-500 Examples of Pugin’s drawing which illustrated both the design of this frame and a comparable padded back arrangement are held in the Victoria & Albert Museum collection (E1575-1912), dated 1846. 420. A Gothic Revival oak chair, on X frame, the back with inset pierced ebonised wood panels and dowel borders, on turned columns, with slung seat, 76cm. high £100-200 421. A rare John Hardman & Co pair of brass candlesticks designed by A W N Pugin, for the Palace of Westminster, tapering foot supporting flat tapering stem with fleur de lys decoration, flaring circular drip pans, stamped port cullis and makers marks, 30.5cm. high (2) £1,000-2,000

422

422. A Myers pine table designed by A.W.N. Pugin, rectangular section with single full-width drawer with patinated iron handles, the carved legs with pegged joints, the T bar stretched with curved joists 84cm. wide, 39cm. deep £300-500 Literature Jeremy Cooper Victorian & Edwardian Furniture & Interiors, Thames & Hudson, catalogue number 96 for a washstand variant of this design. 423. A C. Seddon & Co inlaid mahogany dressing table mirror designed by John Pollard Seddon, the rectangular frame inset with rod and bar decoration, the adjustable stand with pegged joints, remains of C. Seddon & Co 58 South Molton Street label, 78cm. high, 65cm wide £800-1,200 Literature Important 20th Century Decorative Arts, Christie’s King Street, 11th May 2000, lot 11 page 17 for an inlaid oak sideboard with a similar label by Seddon. 424. An Aesthetic Movement patinated cast iron fender, cast and pierced with foliate repeat, the corners with single flower stem pillars, stamped regd diamond 111cm wide, 27cm. deep £150-200

423

424

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425. A Whytock & Reid oak and burr oak quartered walnut occasional table designed by Sir Robert Lorimer (1864-1929), the canted, square top with quartered walnut panels, on cruciform carved legs 84cm. square, 73cm high ÂŁ3,000-5,000 Provenance Sir James Norton, Cragiehall, Edinburgh and by family descent Private Collection. Literature Jocelyn Morton Three Generations in a Family Textile Firm, pages 314-315. Cragiehall was leased for the first time to James Morton in 1926 who stayed some 21 years in total. This table, which stood in the entrance hall, was an addition by Sir Robert Lorimer, who was commissioned to work on the house (1926-1927).

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427

428

426

426. A blueprint design for a metal wall sconce by Ernest Gimson, signed in the print, Ernest W Gimson, sheet 45 x 25.5cm. £250-350 Provenance Alfred Grey Gimson, Ernest Gimson’s nephew Private collection 427. A pair of Cotswold School wrought iron wall sconce, the pierced back-plate with fleur de lys finial and punched border decoration, supporting twin-branch sconces stamped A Bucknell 27cm. high £1,000-1,500 428. A Glasgow School oak firescreen, the rectangular frame with cut-out square decoration to top and bottom rail, above green velvet panel, on four tapering, arched legs, 87 x 52.5cm. £100-200 429. A good Shapland & Petter oak sideboard with bookcase, with adjustable shelves, central glazed cabinet, above two door hinged cabinet, with patinated copper frieze Books Bad & Good, and patinated copper furniture, stamped SP& B locks, 122cm. wide, 128cm. high. £2,000-3,000 Provenance Daryl Bennett Private collection

429

430

430. An Arts and Crafts Kingpost oak dresser with plate rack, the panelled, hinged cupboard doors with wrought iron furniture, carved signature cipher to side, 170cm. high, 160cm. wide £1,200-1,800

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433 431

431. A Heal’s limed oak two drawer hall table, the rectangular structure over turned legs and H stretcher, applied ivorine label to drawer 107 x 56cm (top) £200-400

432. A Heal’s limed oak bureau bookcase, the two door glazed bookcase with adjustable shelves, above hinged fitted bureau compartment with rests, over four drawers, each with carved wooden handles, applied Heal’s label to drawer 200cm. high, 88cm. wide £400-600

432

434

433. A Cotswold school elm crossbanded wall mirror by Malcolm Clubley, the tridecagon shape with circular mirror, stamped M Clubley 39.5cm. wide. £200-300 Malcolm Clubley was a pupil of Edward Barnsley, who came to the Barnsley Workshops in 1959 as a five year apprentice, he left in 1973.

λ 434. A Barnsley Workshops mahogany dressing mirror, arched top form, the articulated mirror with ivory knops, stamped marks to base 138cm. high £500-800

435. A Gordon Russell English oak single wardrobe, dated 1928, made by R France with metalwork by P Walker, rectangular form with overhanging mantel, twin doors, raised on square section legs, carved wood handle, applied paper label, 81.5cm. wide, 170cm. high £300-500

435 detail

435

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437

438

436 436. An Aesthetic Movement faux bamboo firescreen, the asymmetric frame flanking textile panel, 112 x 58cm. £100-200 437. A Liberty & Co oak firescreen set with Letho panel, the rectangular frame with pierced leaf shaped decoration, the Letho panel stamped in low relief with trees and stylised foliage unsigned 77 x 57cm. £100-200 438. A Liberty & Co mahogany The Leyden overmantel shelf, single shelf with arched supports, set with Dutch fishing village scene print by Henrik Cassiers, signed in the print, applied Liberty label, 132.5cm. wide £300-500 Literature Daryll Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, Antique Collector’s Club, page 179 cat no.5.51, this design with a different print by Cecil Aldin, illustrated in an original Liberty catalogue. 439. A Liberty & Co oak wash stand designed by Leonard Wyburd, set with green square tiles, the shelved slat-back set with similar green tiles and four floral tiles, probably Dunmore, over slat-back open shelf, patinated metal furniture applied label to drawer 123cm. wide, 154cm. high £400-600

439

Literature Daryl Bennett, Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design , Antique Collector’s Club, page 32 catalogue number 1.32 for four similar floral tiles set into a Liberty tile-topped table. 440. A Liberty & Co oak dressing table designed by Leonard Wyburd, the shelved slat-back with rectangular mirror, above central drawer and slat-back open shelf to base, patinated metal furniture, label missing, 127cm. wide, 154cm. high £500-800 441. A Liberty & Co oak wall mirror, rounded rectangular form with pegged joints, unsigned 48 x 41cm. £100-200

440

441

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442. A Medieval Revival limed oak bedroom suite retailed by Harrods, comprising; two single beds, bedside cabinet, two-door wardrobe and a four drawer chest below twin cupboard, carved with medieval heraldic panels with pained detailing, wrought iron hinges and handles, applied Harrods label to bed wardrobe 186cm. high, 122cm wide, ÂŁ1,000-2,000

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443

445 444 443. An Austrian Secessionist painted wood plant trough, rounded rectangular form, painted in black and white 80cm. high, 81cm wide £100-200

444. An Austrian painted and carved wood corner shelf, curved triangular section, painted with a pair of storks and stylised foliage unsigned 40cm. high £150-250

447

445. A Galle marquetry twin-handled tray designed by Emile Galle, rectangular, inset with flotilla of sailing boats signed E Galle 62 x 41cm. £350-400

446. An Art Nouveau Darmstadt walnut salon chair by Eugene Gaillard, the carved legs rising up to form a floriform back, with padded leather seat unsigned 94cm. high £400-600

446

Literature Alastair Duncan The Paris Salons Volume III, Antique Collector’s Club, page 214 for a variation.

448

447. An Arts and Crafts American stool, square section over pierced frieze, on four turned legs with carved trellis design, padded seat 35cm. square, 51cm. high £200-300

448. An Arts and Crafts copper and wrought iron firescreen, the rectangular copper panel stamped in low relief with stylised flower stems set with green flower roundels with brass frames, in scrolling patinated iron frame unsigned 85 x 68cm. £100-200

449. An Aesthetic Movement parquetry inlaid music cabinet, two double door cupboards, set with parquetry panels of classical musicians, the interior with panels of flower stems unsigned 109cm. high, 52cm wide £200-400

449

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450 mark

450. A nest of three Gordon Russell Broadway Workshops teak occasional tables, each graduating rectangular section, with reeded edge, applied Gordon Russell label to smallest, 67.5 x 45cm (largest top) £100-200

450

451. A set of three Wylie & Lochhead oak tub chairs designed by Ernest Archibald Taylor, with strung drop in seats, 70.5cm. high (3) £500-1,000

452. A Stanley Webb Davis walnut double bed dated 1935, with pegged joints incised cartouche date to bed head, 208 x 148cm. £800-1,200 Literature Arts and Crafts Woolley and Wallis for a chest of drawers from the same bedroom suite.

451

453. A Cotswold School walnut box and cover by Harry Davoll, rectangular, the hinged cover set with Edward VII Coronation medal stamped H Davoll 14 x 10.5cm. high £350-450

454. A Cotswold School walnut caddy and cover the design attributed to Hugh Birkett, hexagonal section the caddy formed as a rounded crown, cedar lined unsigned 13.5cm. high £150-250

455. A Cotswold School walnut caddy and cover the design attributed to Hugh Birkett, hexagonal section the caddy formed as a crown, cedar lined unsigned 11cm. high £150-250

452

453 454

455

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456

457

458

456. An Arts and Crafts oak tray attributed to Arthur Romney Green, rectangular section with carved rail, on four bakelite bun feet unsigned 53 x 31cm. £100-150

460 459

457. An Arts and Crafts inlaid oak mantel clock, the shaped wooden body with scroll mantel, inlaid with a peacock in wood and pewter, the circular enamel dial flanked with Art Nouveau flower stems, unsigned, losses to foot rim 29cm. high £150-250 458. An Arts and Crafts inlaid oak mantel clock, tapering, rectangular form with swollen, overhanging mantel, inlaid to the front with Art Nouveau flower stems in copper, the circular enamelled dial with Arabic numerals, dial stamped marks for Goldsmiths, Bristol 32cm. high £150-200 459. A pair of Arts and Crafts oak book ends, each carved with a bust of a woman unsigned 14cm. high £150-200

462

460. A pair of Cotswold School oak book ends, simple tapering, rectangular form, carved diamond border decoration 16.5cm. high (2) £150-200 461. An Arts and Crafts carved wall mirror, in the manner of Arthur Simpson, Kendal, carved with a frieze of fuchsia, unsigned, remains of retailers paper label 59cm. diam. £150-200

461

462. Salcot a Rowley Gallery marquetry mirror, rectangular form, original paper label to reverse 62.5 x 32cm £100-200 463. The Hunter a Rowley Gallery marquetry wall mirror, the square panel depicting a hunter walking in a stylised landscape, and a large marquetry panel Killchurn Castle probably by the Rowley Gallery, applied label, mirror 52.5 x 20.5cm (2) £150-250

463

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464. A set of four Aesthetic Movement polished brass door plates, in the manner of Dr Christopher Dresser, cast with stylised flower and scrolling foliage designs, four others similar and four smaller door plates one stamped B to reverse, 27.5cm. long (12) £100-200

465. A Gothic Revival cast brass vase, the swollen, ribbed body cast with a sun motif, unmarked 29cm. high £150-2050

464

465

466. An Aesthetic Movement cast brass roundel, possibly retailed by Liberty & Co, cast in low relief with a peacock displaying, stamped 798975 to hanging loop 17.5cm. diam. £100-150

466

467

467. A pair of Aesthetic Movement cast iron fire dogs, in the manner of Dr Christopher Dresser, model no. 879, cast with scrolling foliate panels and stylised flowerhead terminal, stamped model no and registration diamond for 1876 28.5cm. high £100-200

468. A pair of William Impey Aesthetic Movement cast iron candlesticks, cast in low relief with stylised floral panels, a cast brass candlestick and a George Bullock Herculaneum plate stamped regd mark for 1880 20cm. high (4) £50-100

469

468

469. A set of three patinated metal wall lights, comprising one twin-light and two single lights, scrolling foliate stem form with hanging flower terminal, mounted on wooden plate 35cm. high, 27cm. deep. (3) £200-300

470. A patinated metal clock in the manner of Cyril Colnik, dated 1897, the pierced metal framework with panels of lion rampant, the circular dial flanked with Anno Domini MDIIILXXXXVI, with domed scrolling foliate wirework canopy and domed cupola, and flaring grotesque dragon feet unsigned 65cm. high £800-1,200

470

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471. An electroplated metal mounted glass claret jug in the manner of Dr Christopher Dresser, with hinged flat cover and ebonised wood rod handle, and three W.A.S Benson Jacketed Jugs jugs unmarked 24cm. high.(4) £100-200 472. A Hukin & Heath electroplated Picnic tea set designed by Dr Christopher Dresser, model no.2109, comprising; teapot and cover, hot-water pot and cover, sugar basin and milk-jug, small fuel canister, burner and tripod, with velvet lined wood case stamped marks, designed by Dr Christopher Dresser teapot 10cm. high £200-300

472

471

473. A Hukin & Heath electroplated three piece tea set in the manner of Dr Christopher Dresser, model no.2077, the ovoid body with tripod ball feet, ebonised wood handle and finial to the tea pot, each piece incised with a unicorn crest stamped marks, 12cm. high (3) £100-200 474. A Ferdinand Barbedienne gilt and patinated bronze tazza, after a design by J E Reine, the shallow dish with central bas-relief depicting classical lovers, inscribed Coupe Trouard-Riolle, 1912, signed in the cast, F Barbedienne, 47cm. diam. £200-300

473

475. A Newlyn Industrial Classes copper chamberstick, the square section tray and circular sconce hammered in relief with scaly fish, stamped Newlyn 21cm. long £100-200 476. A large Newlyn Industrial Classes repousse hammered copper bowl, hammered in relief with panels of poppy flowers, seedheads and foliage, stamped Newlyn to base 26cm. diam. £150-250 477. A Newlyn Industrial Class repousse hammered copper string-holder, cylindrical for with shallow domed cover, hammered in relief with a frieze of fish and waterweed, a Newlyn copper Tobacco jar and cover, a Newlyn small box and cover and a Newlyn tray stamped Newlyn marks, string-holder 10cm. high. (4) £200-300

474

478. An Arts and Crafts patinated copper wall mirror, rectangular form, stamped in relief with heart-shaped foliage frieze, unsigned 65 x 56cm. £150-200

475

476

477

478

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481

479 480

479. An Artificers Guild patinated copper bowl designed by Edward Spencer, footed form with inverted rim, stamped with chevron border to top rim and foot rim, with hammered finish, stamped mark, 593, 20cm. diam. £100-200

480. A William Henry Mawson Keswick copper charger, hammered in low relief with a frieze of stylised flowers and foliage, stamped W H Mawson Keswick 58cm. diam. £150-200

482

481. A pair of Arts and Crafts copper and brass jardiniere possibly by W.A.S Benson, each shouldered form with serrated rim, applied with cast foliate frieze unsigned 7.5cm. high £100-200

482. A W.A.S Benson silvered metal oil lamp, on cruciform base, the central knopped stem flanked with swollen arms, supporting oil reservoir Benson & Co. mark to oil tap 48cm. high £200-400

483. A hanging patinated brass pendant lantern the design attributed to W.A.S Benson, simple wirework structure supporting moulded conical cranberry glass shades unsigned 30cm. high £150-200

483

484. A W.A.S Benson copper and brass hanging ceiling lantern, the copper floriform reflector with three pairs of curved brass column supporting a turned finial, with frosted glass shade unsigned 22cm. high £200-300

484

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485. Utagawa Kuniyoshi (1798-1861) attributed, Comic Faces print on paper, framed and a Japanese woven basket basket signed 24 x 11.5cm. £50-100 Provenance Morton Morris & Company, St James’s

485 486. An L C Mayer Hide-a-Phone candlestick phone cover, modelled as a woman and a cherub holding up a globe, in colours cast factory marks an date 1915 35cm. high £800-1,200

487. A brass wall clock by Margaret Gilmour, the square section face hammered in low relief with two Art Nouveau maidens gathering roses, circular dial with arabic numerals, with weight and pendulum, stamped monogram 43.5cm. square £500-800

486

488. An Iona brass charger by Alexander Ritchie, hammered in low relief with a hounds chasing a stag inside Celtic entrelac unsigned 32cm. diam. £350-450

487

Literature E Mairi MacArthur Iona Celtic Art The Work of Alexander and Euphemia Ritchie page 51 for an archive photo showing this charger hanging on a wall.

488

489. A small Wiener Werkstatte enamelled copper bowl, enamelled to the interior with stylised flowers and foliage on a black ground, the exterior enamelled blue, painted WW monogram, small dent and chip to rim, 10.5cm. diam. £150-250 Provenance From the collection of Peter & Ann Law.

489

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490. A pair of Elkington cloisonne enamel vases by Albert Auguste Adolphe Wilms, model no.312, tapering cylindrical from, enamelled with an aesthetic roundel of a white heron and a wading bird on the shore by bull-rush and grasses, on pale blue ground with butterflies, flag iris and stylised flowers stamped Elkington & Co 312 16.5cm. high (2) ÂŁ1,000-2,000 Literature The Fine Art Society The John Scott Collection Modern English Designers from the 1860s and 1870s, 11th June-3rd July 2014 page 94-95 catalogue number 71 for a comparable vase.

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491

492 493 491. A bust of a woman cast from a model of A Gamelli, on alabaster socle, incised signature 25cm. high £100-200 492. An Art Nouveau patinated bronze figural vase cast from a model by Hans Stoltenberg Lerche, cast in low relief with Loie Fuller performing the Scarf dance, signed H St Lerche in the cast, stamped Louchet foundry mark, 15cm. high £500-800

494

493. Paul Gabriel Carpellaro (1862-1956) Portrait of a boy and girl, 1903 a pair of rectangular polished plaster portrait plaques signed and dated 1903 17 x 9.5cm. (panel)

495

£150-200

494. G Saffir Applause, 1983, chestnut, a modern cast of a Greek Cycladic Idol woman’s head produced by the Louvre and a bronze resin bust of Rosemary Gooday by Pat Turner signed, titled and dated 14th October 1983 to underside of base, (3) £100-200 Provenance Leslie Gooday OBE

496

495. A bronze patinated pottery bust of a woman, unsigned 38cm. high £100-150

497

496. Akence Makore, attributed Bust of a Cubist African woman a polished yellow veined green marble signed Makore 37cm. high

£100-150

497. An alabaster sculpture of a woman with a greyhound dog, modelled on medieval dress holding a book in her hand, on separate alabaster base modelled as a rocky outcrop signed L Romity, dog’s tail missing 44cm. high £100-200 498. An alabaster pierrot lamp designed by Prof. G Viti, modelled in trouser suit with ruff collar, balancing a globe on his back, on alabaster column incised Prof G Viti, damages 58cm. high (figure with globe). £100-200 Provenance Leslie Gooday OBE λ 498A. A patinated bronze and ivory figure of a medieval woman reading cast from a model by Dominique Alonzo, on alabaster base signed in the cast Alonzo 37cm. high £500-1,000

Provenance Leslie Gooday OBE

498

498A

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499

499. W A Lovegrove Tiger and Gazelles, patinated bronze, signed in the cast and Susse Freres Paris foundry marks, 103cm wide £1,500-2,000

500. An Art Deco weathered marble figure of a woman, modelled standing, holding a drape around her waist, unsigned, head re-stuck, 62cm. high £50-100

501. A silvered bronze sculpture of a squirrel cast from a model by Sirio Tofanari, dated 1930, modelled perched on his hauches eating a nut, on polished slate base, signed in the cast S Tofanari 1930 33cm. high £700-1,000

500

502. Dora Gordine (1906-1991), attributed a patinated metal plaque of a buddhistic figure seated in Lalita Sana unsigned 65cm. high, 63cm wide £200-300

501

502

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503. A patinated bronze model of a nude dancer cast from a model by Josef Lorenzl, modelled standing on one leg her arms outstretched and holding a billowing scarf, on veined green onyx base signed in the cast Lorenzl 27cm. high £1,000-2,000 504. A silvered bronze model of a nude woman in the manner of Josef Lorenzl, modelled standing on tiptoes her arms raised upwards, on white veined red marble base, unsigned, 20.5cm. high £300-400 505. A patinated bronze model of a female dancer cast from a model by Josef Lorenzl, modelled standing, one leg raised up her arms outstretched to her sides, on tapering cylindrical onyx base signed in the cast lor 21.5cm. high £500-600 λ 506. Dancer a rare bronze and ivory figure cast and carved from a model by Ferdinand Preiss, on octagonal veined onyx base, signed in the cast F Preiss to the base, two fingers missing 21cm. high £1,000-2,000 Literature Bryan Catley Art Deco & Other Figures, ACC, page 266 for a comparable figure illustrated.

503

504

λ 507. A patinated bronze and ivory figure of a dancer cast and carved from a model by Josef Lorenzl, modelled standing, her arms outstretched and holding the hem of her skirt, on elliptical green onyx base, signed in the cast Lorenzl, 25cm. high £500-1,000

505

506

507

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508. A tall patinated bronze model of a dancer cast from a model by Josef Lorenzl, modelled balancing on one leg her other outstretched forward and balanced with outstretched arms, one holding the end of a drape, on faceted green onyx base, signed in the cast Lorenzl 68cm. high ÂŁ8,000-10,000 Literature Brian Catley Art Deco and other Figures, Antique Collectorâ&#x20AC;&#x2122;s Club, page 210 for a comparable figure illustrated.

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509 509. A large Bromsgrove Guild zinc alloy frieze panel designed by Walter Gilbert for Derry & Toms department store, 1933, cast in low relief with leaping deer and flying birds before stylised flowers and foliage flanking a central waterfall motif unsigned 182cm long, 43cm high. £2,000-4,000 Literature Charlotte Benton, Tim Benton and Ghislaine Wood, Art Deco 1910-1930 Victoria & Albert Museum exhibition catalogue 2003, V&A Publications, page 16 catalogue 1.6, for a comparable example. Derry & Toms department store in Kensington London was designed by George Bernard and built between 1929 and 1931.

510

510. A pair of Art Deco patinated bronze book ends in the manner of Edward Sandoz, each modelled as a finch its head down and beak open, on polished black slate plinth, both stamped 22 15cm. high £100-150

509 detail

511. A pair of Harcourts verdi gris patinated bronze bookends the design attributed to Donald Gilbert, each modelled as a hippocampus, stamped Harcourts Made in England 14cm. high (2) £100-200 512. An Art Deco bronze mounted marble mantle clock, the rectangular section clock with central square column with patinated metal Odeon shaped face with Arabic numerals, surmounted with marble ball finial, flanked with patinated bronze seals, unsigned 39cm. wide, 28cm. high £100-200

511 512

λ 512A. Amazon Girl a patinated bronze and ivory model cast and carved from a model by Gual Madriste, modelled kneeling and aiming a bow, on veined marble and onyx base etched signature to base Bronze et Ivoire Par Gual 36cm. wide. £300-400 λ 513. A small bronze and ivory figure cast and carved from a model by Ferdinand Preiss, on octagonal polished black marble base signed in the cast F Preiss, one hand missing 15cm. high £200-300

100

512A

513

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位 514. A bronze and ivory figure cast and carved from a model by Demetre Chiparus, modelled as a mother carrying her child on her shoulders, holding an urn in her right hand, on veined brown marble base signed in the cast D H Chiparus 54cm. high 拢3,000-5,000

101

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‡ 515. Paddy Burrow Summer bronze resin paper exhibition label 51cm. wide, 37cm. high

£100-200

Provenance Leslie Gooday OBE

516. Henry Moore, manner of Mother and Child a patinated bronze sculpture on a black marble base cast foundry mark, 14.5cm. high £100-150

515

‡ 517. John McKenzie (1897-1972) The Handmaiden a carved slate panel signed JM lower right, applied title label to reverse 18 x 8.5cm £250-300

517

Provenance The Studio Collection of John McKenzie Woolley and Wallis Auctioneer’s 4th April 2007 lot 14. private collection

‡ 518. Jean-Pierre Baldini (born 1949) Sculpture de Femme drapee, patinated bronze cast in a run of 60 signed in the cast, foundry marks and limited number 26.5cm. high £300-500

516

‡ 519. Donald Wells (born 1929) untitled a silvered metal sculpture signed wells numbered 1/2 to base 26cm. high £100-200

519

518

520. Stufun Torso polished bronze on polished marble base signed in the cast, numbered 2/6 35cm. high, 35cm. wide £100-200 Provenance Leslie Gooday OBE

‡ 521. Brian Blow (1931-2009) a patinated bronze panel, signed with felt tip BB to reverse, signed B and dated 91 in the cast 31 x 30cm. £100-200

Brian Blow was born in London and trained at the Sir John Cass School of Art and at the Hornsey School of Art where he studied etchings. His work is heavily influenced by his love of modern jazz.

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521

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522. ‘Taurus’ a patinated bronze figure in the manner of Ernst Eisenmeyer, the abstracted figure modelled standing, on square bronze base apparently unsigned 93cm. high £200-400 Provenance Leslie Gooday OBE

522

‡ 523. Chaim Stephenson (born 1926) The Warrior, 1971 bronze resin over metal and wire 180cm. high £300-500

Provenance 20th Century & Contemporary Paintings, Woolley and Wallis 4th June 2014 lot 222.

523

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524

526

525

524. A bronze mounted enamel vase by A Vilpien, flaring cylindrical form, enamelled with geometric flowers in red, black and white on a blue and grey ground, with loose bronze foot with vertical columns, painted A Vilpien signature 25cm. high £300-500

528 525. A lacquered metal lamp base, swollen ovoid form decorated with two carp swimming in turbulent waters, on wooden base, with silk shade, 38cm. high £150-200

527

Provenance Leslie Gooday OBE

526. A Georg Jensen Acorn pattern silver baby’s push and two small Georg Jensen spoons, a set of six Danish teaspoons and seven other various spoons stamped marks, 9cm. long,(16) £100-150

527. A Georg Jensen silver pedestal bowl designed by Johan Rohde, designed 1912, model no.17A, stamped marks 10.5cm. high £300-500

529 528. A Georg Jensen Blossom silver spoon, model no.24, hammered finish, stamped marks, 12.5cm. long £100-200

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533

529. An American silver Arts and Crafts bowl by Peter Muller-Munk, (1904-1967), circular tapering form, on a raised circular foot, spot-hammered decoration, stamped mark and artist cipher, hand wrought, sterling silver 925/1000, diameter 32.8cm, height 10.5cm approx. weight 31.9oz. £800-1,200 Peter Muller-Monk, was born in Germany in 1904, and after being a pupil of Bruno Paul in Berlin, he went to New York in 1926. He worked for Tiffany and Co for a year and then opened his own workshop in 1929. The first exhibition he took part in was in 1928 in the Chase Bank Building in 1928. After a significant part of the market for hand-made silver disappeared as a result of the economic crisis, he accepted the post of associate professor at the Carnegie Institute in Pittsburgh. He went on to become a leading industrial designer. Literature Krekel-Aalberse, A Art Nouveau and Art Deco Silver, Harry Adrams, 1989, page 121.

534

530. A Mappin & Webb electroplated ice-bucket designed by Keith Murray, model no.W28129, flaring cylindrical form with reeded foot and band to neck, with stepped, geometric rim, applied twin-handles, with internal draining tray, stamped marks to base 14cm. high £150-200 531. A Mappin & Webb electroplated metal cocktail shaker designed by Keith Murray, model no.W27731, flaring cylindrical form with reeded flaring foot and band to shoulder, with stepped cover, and internal strainer stamped marks, 24cm. high £300-400 532. A set of six Mappin & Webb electroplated cocktail glasses designed by Keith Murray, model no.W.28084, n stepped circular base, the flaring Conical stem supporting flaring conical bowl, stamped marks to base 11.5cm. high (6) £150-200 533. A Falcon Works silver fruit bowl by H.G. Murphy, flaring elliptical section, with reeded foot and rim, the side engraved with a panel of a tulip flower amidst scrolling foliage stamped marks, London 1936 37.5cm. wide, 9cm. high £800-1,200 Literature Paul Atterbury & John Benjamin Arts and Crafts to Art Deco The Jewellery and Silver of H.G. Murphy, Antique Collector’s Club, page 96 this actual piece illustrated.

535

534. An A E Jones silver chalice, model no.1254, the tapering cylindrical foot supporting reeded knop and flaring bowl, the knop with chased decoration stamped A E J mark, Birmingham 10.5cm. high £150-250 535. A silver chalice possible designed by R.E.Stone, the tapering foot supporting pierced knop and flaring bowl, the knop with chased Egyptian fan flower and foliage panels, the foot a frieze of Z motif stamped marks JF London 1918, 15cm. high £200-300 λ 536. An Art Deco silver and ivory mounted tea caddy by The Northern Goldsmith’s Company, the faceted, tapering body with hinged octagonal cover, surmounted with ivory conical finial, stamped The Northern Goldsmith’s Company to base, stamped Birmingham 1932 to cover and base, hallmarks rubbed to side of caddy 12cm. high £150-250

Provenance Elizabeth Nicolson silver

536

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537. A Cohr electroplated metal coffee pot and cover, with ebony handle and finial, a Walker & Hall stainless steel sugar basin and milkjug designed by David Mellor and a stainless steel hot-water pot and cover stamped marks, 20cm. high (4) £100-200 538. A silver bowl and serving spoon by Patricia Gould, hammered foliate form with wavy rim on wirework foot, with asymmetric hammered spoon stamped marks, PVG London 1983 bowl 8.5cm. diam. £100-200

537 538

539. An Art Nouveau silver and enamel twin photo frame in the manner of William Hutton, cast in low relief with stylised flowers enamelled purple and green, with wooden back and easel support stamped Sterling 6.5cm. high, 11.5cm wide £200-400 540. A small Jean Puiforcat silver plaque of St Christopher, rectangular, cast in low relief with figures, inscribed Pierre Grandjean Rue Beethoven, stamped marks, 5.8cm. wide. £100-200 541. A set of six Keswick School of Industrial Arts silver teaspoons, with squared stems and rounded terminals, hammered bowls, in original fitted presentation case, stamped marks, Chester 1917 11.5cm. long. £300-500

540 539

Literature Judy Rudoe Decorative Arts 1850-1950 A Catalogue of the British Museum Collection, British Museum, page 213 catalogue number 132 for an identical set illustrated. 542. A Roberts & Dore ltd silver 1937 Coronation spoon, in original presentation fitted box, stamped marks, Sheffield 1936, 11cm. long £50-100 543. A pair of silver spoons in the manner of William Burges, the pierced shoulder with fleur de lys and shield motif engraved NM monogram, long tapering stem with scrolled leaf terminal, stamped marks, London 1885, 21cm. long. £200-300

541

544. A Stratton enamelled metal compact, circular with hinged cover, enamelled with Egyptianesque panel in black and orange, a Lucien Lelong white enamelled compact and two other enamelled compacts, and two early plastic boxes stamped marks 8cm. diam. (6) £100-150

543

545. A Flora Danica silver gilt brooch by Eggert Denmark, by Orla and Grethe Eggert, modelled as a leaf, and another larger stamped marks, largest 6cm. wide £50-100 546. A silver and enamel pendant necklace by Alastair Norman Grant, disk form with wirework circles, enamelled in shades of purple and buff, stamped marks, Edinburgh 1972 6.5cm. long £100-150

542

547. A Lapponia silver bangle, the graduated curved band applied with a pair of courting swans, with original silver fabric drawstring pouch stamped marks, 6.5cn wide. £200-300

547

106

544

545

546

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548. An Art Nouveau Gourdel Vales & Co silver and enamel pendant, the sinuous wirework form with hammered finish, enamelled blue and green teardrop panel stamped maker and Birmingham hall marks, 3.5cm. high £150-200

549. An Art Nouveau silver and enamel pendant necklace, stylised foliate form with drop, enamelled in shades of blue, purple and green, stamped makers mark, Birmingham 1909, 5cm long. £200-300

548 549

550. A James Fenton silver and enamel pendant necklace, circular form with domed turquoise and green domed roundel, the rim enamelled with blue dash border, green enamel drop, the link chain with blue enamelled panels, stamped marks, Birmingham 1910, 2.3cm. diam. £200-300

551. An Art Nouveau Marples & Beasley silver and enamel pendant, cast in low relief and pierced decoration, enamelled in blue and green, stamped maker and hallmarks 4cm. high £150-200

551 552. A James Fenton silver and enamel link bracelet, the swollen rectangular links alternately enamelled green and blue stamped marks, Birmingham 1908 18cm. diam (approx). £200-300

550

553. A Murrle Bennett silver and enamel bracelet, rectangular link bracelet with lozenge shape panel enamelled in green and blue stamped MB mark, 19cm. long (approx) £200-300

552 554. An unusual silver pendant probably Murrle Bennett, the frame cast and pierced to form MB monogram for Murrle Bennett, set with two green chrysoprase stones unmarked, 4.5cm. long £200-300

553

555. A Liberty & Co Cymric silver and enamel pendant, circular cast in low relief with stylised flowerhead, set with abalone shell centre, enamelled green and blue, on later chain stamped Cymric Liberty hallmark, Birmingham 1903 3.3cm. diam. £200-300

554

555

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556. A Murrle Bennett silver and enamel bar brooch designed by Archibald Knox, cast in low relief with stylised foliate design, enamelled red, yellow, green and blue stamped markers mark, Silver 3.5cm. wide £200-300 Literature Victor Arwas Liberty Style, Parco, page 74, catalogue number J.XX.

557. A Liberty & Co silver and enamel pendant designed by Archibald Knox, cast in low relief with stylised honesty seedheads, enamelled in shades of green, blue and orange stamped L C & C Ld mark & silver 3.5cm. high £600-800

556

Literature Stephen A Martin, Archibald Knox, ARTMEDIA, page 270 for two buckles with similar design elements.

558. An Art Nouveau silver and plique a jour enamel pendant necklace by Carl Herman, pierced wirework frame of scrolling foliage with green and blue enamel cells, set with topaz stones, with blister pearl drop stamped marks, 5cm. long £500-1,000 Provenance Lily Odell, who travelled on The Titanic from Southampton to Cobh, Ireland via Cherbourg on the maiden voyage of the ship. Lily travelled with her son master Jack Odell, aged 11 and Lily’s brothers Richard and Stanley and sister in law Kate Odell (ticket number 84) to Ireland where they had a motoring holiday. Kate Odell is credited with taking the last photograph of the ship as it left harbour. Thence by descent to her granddaughter (Jack Odell’s daughter).

557

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559. A pair of continental three branch Secessionist candelabra possibly W.M.F, cast in low relief with scrolling foliage panels, indistinct stamped marks to side of base 41cm. high £200-300

560. An Austrian Secessionist glass and electroplated metal claret jug, the tapering glass body enamelled with red geometric panels, unsigned 28.5cm. high £100-200

559

561. An Art Nouveau W.M.F. pewter tray, cast in relief with a figure rising from a lily pad, a serpent on the rim, a W.M.F cruet tray with glass bottles, two pewter dishes and an English Pewter Art Nouveau crumb scoop probably retailed by Liberty & Co stamped marks, 24.5cm. wide £150-200

560

562. An Art Nouveau W.M.F polished pewter card tray, cast in low relief and pierced with an Art Nouveau maiden before flowers on long sinuous stems, and a Christofle Gallia silver tray indistinct stamped factory marks, stamped 211, 22cm. diam. (2) £100-200

562 561

563. A pair of W.M.F electroplated tazza bases, each modelled with an Art Nouveau maiden rising from a domed turbulent base with berried foliage sprays stamped marks, glass bowls missing 33.5cm. high £250-350

564. A tall Kayserzinn polished pewter candlestick, amorphic form, with flaring drip pan and sconce, cast mark, 42cm. high £250-350

565. An Artus patinated metal double inkwell and pen tray cast from a model by Max Le Verrier, cast with three Pelican looking down from their perch at a worried frog, signed in the cast Artus 19cm. wide £100-200

563

564

The Artus signature is believed to be a pseudonym for Max Le Verrier.

566. A Continental Art Nouveau inkwell modelled as a grotesque bird, possibly Orivit, the hinged cover modelled as his head, with green ceramic liner, unsigned 11.5cm. high £200-300

565

566

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567. An Art Nouveau Orivit three piece tea set on a tray, model 2173-2175, cast in low relief with flowering foliage sprays, comprising teapot and cover, hot-water pot and cover and milk-jug, on a twin-handled tray stamped marks, tray 43cm. wide. £100-200

567

568

568. An Art Nouveau Kayserzinn pewter watering can designed by Albin Muller, with slender spout and over-slung handle, cast in low relief with scaly fish, and three Art Nouveau Kayserzinn trays cast marks, 22cm. high (4) £150-250 Literature Gerhard Dietrich & Eckard Wagner Kayserzinn, Arnoldsche, page 74 catalogue number 4205 for an example of this design illustrated.

569. A W.M.F electroplated metal five light candelabra, cast in low relief with eagle motif and Secessionist borders stamped marks to base rim 41cm. high £400-500

570

569

571

570. A Victor Silver Company electroplated figural candlestick, model no. 02538, modelled as an Art Nouveau maiden holding flower stems, two stems scrolling up to form the twin-branch sconces, stamped marks to base 22.5cm. high £150-250

571. Four W.M.F Secessionist candlesticks designed by Albin Muller, each on diamond shaped foot, cast in low relief with foliate roundel, and an Osiris pewter double inkwell and pen tray candlesticks unmarked, candlesticks 22cm. high, inkwell 36cm. wide (5) £150-200 Literature Paul Carter Robinson 20th Century Pewter Art Nouveau to Modern, Antique Collector’s Club, page 32 plate 1.53 for a comparable pair of these candlesticks illustrated.

572. An Art Nouveau Bitter & Gobbers pewter mantel clock, swollen square section on flaring base, with pointed top, the circular dial cast in low relief with Arabic numerals, set with abalone shell panel and three turquoise stones, unmarked 18cm.high £150-200 Literature Paul Carter Robinson 20th Century Pewter, Art Nouveau to Modernism, Antique Collectors Club, page 98 catalogue number 1.201 for a comparable clock with ceramic panel inset.

110

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573

575

574

573 detail 573. A Liberty & Co pewter box with enamel panel by Charles Fleetwood Varley, the hinged cover, with hammered finish, set with enamel panel of a fishing boat at full sail, cedar lined, stamped 083 16.5cm. wide £400-500

574. A Liberty & Co English Pewter tray designed by Archibald Knox, model no.0359, the pierced rim decorated with berried foliage stamped marks, 23.5cm. wide £50-100

576

577

575. A Liberty & Co English Pewter twinhandled tray designed by Archibald Knox, model no.043, the handles with heart terminals, hammered finish, another Liberty pewter tray no, 0287 and a patinated brass plate probably Scottish stamped marks, 47cm. wide £100-200

576. A Liberty & Co Tudric pewter and enamel inkwell designed by Archibald Knox, model no.0164, with hinged cover, cast in low relief with honesty on sinuous Art Nouveau stems, enamelled blue stamped marks, 14cm. diam. £150-200

577. A copper wall mirror probably retailed by Liberty & Co, oval, set with green enamel roundels unsigned 64.5cm. wide £100-200

578. A Liberty & Co Tudric Pewter clock, model no.0557, cast in low relief with stylised honesty, the circular copper dial with green and blue enamel roundel, Roman numerals, with hammered finish stamped marks, 19cm. high £1,500-2,000

END OF SALE

578

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British Art Pottery Wednesday 25th November Closing date for entries 30th September

A fine Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1895. Estimate: ÂŁ30,000 - ÂŁ50,000

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Dame Lucie Rie DBE A fine porcelain bottle vase, circa 1980. Provenance: Bought as a present from Liberty’s department store London for the present vendor. Estimate: £10,000 - £15,000

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

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Fine Silver & Objects of Vertu Wednesday 28th October 2015

ENQUIRIES Rupert Slingsby Tel: +44 (0)1722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers Tel: +44 (0)1722 424594 lucychalmers@woolleyandwallis.co.uk

A Victorian novelty silver dog’s head box, by E.H. Stockwell, London 1877, length 16cm. Estimate: £1,500 - £2,000

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Asian Art Tuesday 17th & Wednesday 18th November

Detail from a Japanese six-fold screen, Meiji 1868-1912, 182cm x 370cm. Estimate: £2,500 - £3,500

ENQUIRIES John Axford Tel: +44 (0)1722 424506 johnaxford@woolleyandwallis.co.uk

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English & European Ceramics & Glass Tuesday 24th November Closing date for entries 9th October

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

Three Thomas Webb & Co (Stourbridge) cameo glass scent bottles. Estimates between £800 - £3,000

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Paintings Part I – Fine Old Masters & 19th Century Part II – 20th Century & Contemporary Art Wednesday 9th December 2015 Closing date for entries 23rd October

ENQUIRIES Victor Fauvelle Tel: +44 (0)1722 4245503 victorfauvelle@woolleyandwallis.co.uk Jo Butler Tel: +44 (0)1722 4245592 jobutler@woolleyandwallis.co.uk

Dame Elisabeth Frink R.A. (1930 – 1993) Tribute head II Signed and dated ‘82 Pencil, 38 x 28cm Estimate: £4,000 - £6,000

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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3% + VAT charge for this service. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.

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

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

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

APS

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

Mailboxes

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

Pack & Send

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

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

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

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

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

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

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

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

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

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

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

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

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

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense 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 NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

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

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

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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

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

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

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

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

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

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

W MARLBOROUGH & SWINDON

CENTRAL CAR PARK

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WOOLLEY & WALLIS

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

AMESBURY & MARLBOROUGH

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CASTLE RD A345

LONDON, ANDOVER & WINCHESTER

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A345 Castle Rd

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

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

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WOOLLEY & WALLIS Salt Lane

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

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Registered in England No. 2998482

Salisbury Salerooms

CHIPPE

WOOLLEY & WALLIS

SCOTS LANE

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

R LANE

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A354 DORCHESTER WEYMOUTH & BLANDFORD

A338 BOURNMOUTH & RINGWOOD

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

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Qudos CASTLE STREET

VAT No: 631 9832 29 TESCO

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

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

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

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

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

20th Century Design

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 21st October 2015 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

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

Signature

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

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www.woolleyandwallis.co.uk

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AUCTION CALENDAR FURNITURE, WORKS OF ART & CLOCKS 7th October 7th January 2016 Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 28th October – Fine Silver & Objects of Vertu 19th & 20th January 2016 – Silver, Vertu, Coins & Medals Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 29th October 21st January 2016 Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk ASIAN ART 17th & 18th November John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 24th November Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 25th November – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk PAINTINGS 9th December –

Part I - Fine Old Masters & 19th Century Paintings Part II – 20th Century & Contemporary Art Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 9th February 2016 Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk

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