Woolley & Wallis by Jamm Design Ltd

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

Arts & Crafts

Wednesday 21st June 2017

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

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 329477

ARMS & ARMOUR, MEDALS & COINS AND MILITARIA Ned Cowell Gemma Bush

341469 341469

ASIAN ART John Axford MRICS ASFAV Alex Aguilar Doméracki Freya Yuan Marta Olszewska

424506 424583 424589 424591

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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

424509 424598

MARKETING Tamzin Corbett

424590

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Hollie Grubb

424500

SALEROOM MANAGER David Jordan

FURNITURE, WORKS OF ART & CLOCKS Mark Richards Jim Gale Suzy Becsy

411854 339161 411854

JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA Charlotte Glyde

424504 424595 424586

PAINTINGS Victor Fauvelle Jo Butler

424503 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Gemma Bush

339752 339752

424500

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

FRICS FRSA

COMPANY SECRETARY Natalie Misted FCCA ASSOCIATE DIRECTORS Janice Clift Clare Durham Jonathan Edwards FGAA Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • www.woolleyandwallis.co.uk

424599

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ARTS & CRAFTS

Wednesday 21st June 2017 at 10.30am VIEWING TIMES Highlights of the sale will be on view at our London Office, 2nd Floor, 17 Clifford Street, London W1S 3RQ Wednesday 7th June Thursday 8th June

2.00pm – 7.00pm 11.00am – 2.00pm

Salisbury (full view) Saturday 17th June Monday 19th June Tuesday 20th June Wednesday 21st June

10.00am – 1.00pm 10.00am – 4.00pm 10.00am – 4.00pm 9.00am – 10.30am

ENQUIRIES

COLLECTION OF LOTS

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

Zoe Smith 01722 424505 zs@woolleyandwallis.co.uk

Please note that all lots will be cleared from our Castle Street Saleroom on Friday 23rd June. Furniture will be removed to our Old Sarum warehouse for collection, with all remainder lots cleared to our Salt Lane office. Lots will be available for collection from Monday 26th June. Please contact the department to arrange collection in advance. Our Old Sarum Warehouse address details and map are at the back of this catalogue. All accounts to be settled prior to collection. ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a ‡ symbol which sell for more than €1000 are subject to the levy, payable by the bidder. Please refer to page 98 for full details. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 26.4% inc. VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 20th June. LIVE BIDDING

ILLUSTRATIONS Front cover: Lots 168, 169 & 240 Front end pages: Lot 334 detail Back cover: Lot 96 detail Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 20th June. Please note there is a 3% +VAT surcharge for using this service.

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

GLASS 1. A Gothic Revival brass hall lantern, tapering conical form with cylindrical cast clear glass shade unsigned, 38cm. high £150-200

2. A brass hall lantern, tapering square section with triangular terminal pierced and modelled with Glasgow School teardrop panels, unsigned, 40cm. high £200-300

1 3. A pair of Webb yellow glass candlesticks, circular section, the foot moulded and etched with water lily flowers, a decanter and stopper etched with fish swimming amongst waterweed and an amber flashed glass beaker vase, acid etched signature, 11.5cm. diam (candlesticks), 27.5cm. high (decanter), (4) £120-180

4. An English cameo glass vase possibly by Webb, clear glass cased in white and deep red, deeply cut and etched with fish swimming amidst waterweed, unsigned, 28cm. high £250-300

Literature British Decorative Arts, Christie’s King Street, 9th October 1992 page 64 lot 187 for a comparable vase illustrated.

5. A Richardson & Son enamelled glass bottle vase, pulled ovoid opaque glass body with waisted neck, painted with classical standing female figures, below a band of scrolling foliage in black, Richardson mark to base, 25cm. high £100-150

6. A collection of designs and promotional literature for The City Glass Company Glasgow, including designs for stained glass windows, botanical sketches and studies of saints, 75 x 48cm. (largest sheets) £200-400

7. A pair of Aesthetic Movement stained glass panels, circular, each painted with a scaly fish amongst waterweed, in leaded frame with frosted glass border, unsigned, panels 15cm. diam. (2) £150-250

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8. A James Powell & Sons Whitefriars flute wine glass the design attributed to Harry Powell, flaring form applied with eight sea green glass trails, 21cm. high £150-200 Literature Lesley Jackson Whitefriars Glass, The Art of James Powell & Sons, Richard Dennis Publications, page 60 figure 153 for a shorter version of this glass illustrated from Die Kunst, 1899. The John Scott Collection - James Powell & Sons Whitefriars Glass 1860-1960 The Fine Art Society, 2014, catalogue number 48 for identical example. 9. A James Powell & Sons Whitefriars embedded gold goblet vase designed by Harry Powell, the double knop stem with aventurine inclusions, on flaring foot, unsigned, repaired stem, 19cm. high £150-200 Literature Leslie Jackson Whitefriars Glass, The Art of James Powell & Sons, Richard Dennis Publications, page 113 plate 76 for an identical example. The John Scott Collection James Powell & Sons Whitefriars Glass 1860-1960 The Fine Art Society, 2014 catalogue number 60 for a comparable blue glass.

10. A James Powell & Sons Whitefriars sea green glass vase, swollen cylindrical form, with three applied trails and rigaree foot, 17.5cm. high £200-300 11. A Loetz iridescent glass vase, waisted, tapering cylindrical form with everted fluted rim, modelled with vertical ribs, green glass with iridescent surface unsigned, 16.5cm. high £120-180 12. An Art Nouveau Loetz glass vase with pewter mount by Van Houten, swollen and ribbed form the glass with a golden green iridescence, the twin-handled pewter mount with bud motif unmarked, 12.5cm. high, 18cm. wide. £150-200 13. A pair of gilt metal wall lights with Daum glass shades, the scrolling shade cast with holly leaves, supporting pink glass shades, shades signed Daum Nancy, 31cm. deep (2) £400-600 14. A Daum enamelled glass vase, compressed square section, cameo decorated and enamelled with lily stems, in colours on a mottled orange ground, Cameo Daum France signature to side, 14cm. square £200-300

14 13

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

CERAMICS

MARTIN BROTHERS POTTERS 15. A pair of Martin Brothers stoneware Aquatic beakers, dated 1888, flaring cylindrical form, incised with fish swimming past a crab and waterweed, in shades of blue and green on a buff ground, incised 988 Martin Bros London & Southall, professional restoration, 9.5cm. high, (2) £400-600 16. A Martin Brothers stoneware solifleur vase by Robert Wallace Martin, dated 1880, incised and impressed with simple flower head repeat, covered in a brown glaze incised marks, 16.5cm. high £200-250

17. A Martin Brothers stoneware ewer by Edwin & Walter Martin, dated 1892, waisted cylindrical form, incised with insects flying around exotic frilled orchids, glazed in shades of brown and green on a buff ground incised 2-1892 Martin Bros London & Southall, small chip to spout 22cm. high £500-1,000

18. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, shouldered form with ribbed corners, glazed pale mint-green over cream, and another smaller ovoid gourd covered in a matt cream glaze main vase incised 2, 8cm. high £120-180 19. An unusual stoneware double-sided sculpture probably by the Martin Brothers, one side carved with a smiling face, the other with a portrait of an old woman wearing a bonnet, unsigned, 11cm. high £200-400

Research suggests that this type of object was made at the studio as in house jokes, and were never meant for sale.

19 both sides

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20 both sides

21 20. A Martin Brothers stoneware dragon ewer by Edwin & Walter Martin, dated 1893, swollen form with streamlined strap handle, incised and painted with ferocious dragons fighting amongst scrolling foliage in shades of brown and buff highlighted in white incised 5-1893, Martin Brothers London & Southall, 24cm. high £1,500-2,000 Provenance Ceramic Design from 1860 Bonhams 21st September 2010 lot 24 Private collection 21. A tall Martin Brothers stoneware ewer by Edwin & Walter Martin, dated 1893, tapering cylindrical form, incised and painted with scrolling foliage design in green and grey on a buff ground incised 91893 Martin Bros London & Southall, 33.5cm. high £800-1,200

22 both sides

Provenance Ceramic Design from 1860 Bonhams 21st September 2010 lot 19. Private collection Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, 1978, page 58 figure VII (colour plate). 22. A Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1909, modelled with a smiling face, the reverse with a grimacing face, glazed brown and ochre, highlighted in white incised 1-1900 R W Martin & Bros London & Southall 16.6cm. high £1,200-1,800

23 two views

23. A small Martin Brothers stoneware spoon-warmer jug by Edwin & Walter Martin, modelled as an open-mouthed creature, with incised fur decoration, glazed buff, ochre and green, highlighted with blue, incised Martin London & Southall, minor professional restoration to spout, 10.5cm. high £2,200-2,800

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24. A Martin Brothers stoneware bird jar and cover sculpture by Robert Wallace Martin, dated 1884, modelled upright long slender beak, modelled with sideways cast glance, glazed brown and green with green flashes to wings and white highlights incised R W Martin London & Southall 1884 to head and R W Martin London to tail feathers, minor frit chips, 33cm. high ÂŁ20,000-25,000

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25. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1911, flask form with twin looped handles, with pushed out fish to either side, painted in green on a bright royal blue ground, incised 4 1911, Martin Bros London & Southall, 21.5cm. high ÂŁ1,000-1,500 Provenance Private collection

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26. A fine pair of Martin Brothers stoneware Aquatic vases by Edwin & Walter Martin, dated 1909, baluster form, incised and painted with grotesque fish, eels, jellyfish and a spider crab in green on a pale blue ground, with slip decorated highlights and slip decoration to the inside of the top rim, incised 5-1909 Martin Bros London & Southall, 29cm. high. ÂŁ6,000-10,000 Provenance Private collection Literature Holbrook Jackson Martinware, published by T P Magazine, one of these vases illustrated page 4

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A PRIVATE COLLECTION OF MARTINWARE

28 27

27. Boobies Boojums and Snarks a limited edition catalogue on the Martin Brothers, published by Jordan Volpe, in card slip case and box, Martinware by Holbrook Jackson, The Martin Brothers Potters by Malcolm Haslam and two other articles on the Martin Brothers, (5) £150-200 28. A Martin Brothers stoneware tankard by Edwin & Walter Martin, dated 1895, tapering cylindrical form, incised with a coat of arms inside elaborate scrolling foliage design, glazed brown on a buff ground incised 8-1895 Martin Bros London & Southall, 14cm. high £300-400 29. A rare Martin Brothers vase made at the Richmond Industrial Exhibition 1881 by Robert Wallace Martin, in the presence of Prince Leopold K.G, incised with scrolling foliage bands, in brown on a buff ground incised 11-5-81 R W Martin, London & Southall, firing crack to top rim, 18.5cm. high £150-250

30 29

30. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1878, slender, shouldered form, incised with a frieze of panelled stylised foliage to neck and body, in blue and brown on a buff ground, incised R W Martin London & Southall, 12-78, 27.5cm. high £300-500 31. A Martin Brothers stoneware jar and cover, the shouldered ovoid jar incised with a roundel inscribed CDH inside scrolling foliage, the cover with a border of foliage, in brown on a buff ground, incised Martin Bros London & Southall, 11.5cm. high £200-300 32. Ill Ware is Never Chear a Martin Brothers stoneware jug, dated 1881, shouldered square section, incised with inscription to neck date an C to body on a textured ground, glazed green and brown on buff, incised Martin London to base 24.5cm. high £200-300

33. A Martin Brothers stoneware wall vesta by Robert Wallace Martin, architectural form, incised with foliage panels, in blue and buff impressed R W Martin Southall mark, 15.5cm. high £200-300 34. A Martin Brothers stoneware beaker, flaring cylindrical form, incised with AJ monogram, in mushroom on a buff ground, between blue bands, and a London stoneware Judge inkwell incised R W Martin Southall to beaker, the judge with later etched RWM mark, judge restored, 11cm. high (2) £150-200

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35. An unusual Martin Brothers portrait plaque, hexagonal cast and carved with a smiling face, with circular ebonised wood frame incised Martin Bros London, chip to back rim, 5.5cm. wide £250-350

36. A Martin Brothers Face mug designed by Robert Wallace Martin, modelled and incised with a scowling face, glazed blue, incised R W Martin & Bros Southall, 12.5cm. high £500-800

38 37. A Martin Brothers stoneware Dragon vase by Edwin & Walter Martin, dated 1900, shouldered form incised with ferocious dragons fighting, a fly watching on, amongst bubbles, in brown, highlighted in black and white on a buff ground incised 10-1900 Martin Bros London & Southall, professionally restored neck, 26cm. high £2,000-3,000

38. A Martin Brothers Aquatic stoneware mug, the handle modelled as an eel, the body incised and modelled with three large fish before shoal of smaller creatures, glazed blue and green, and an original paper receipt unsigned, 9cm. high (2) £800-1,200 The original receipt from R.W. Martin & Brothers is dated 10th June 1929. it lists amongst other items 2 fish grotesque mugs priced at £6- 6 0. to the purchaser R W Baxter.

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39. An early Martin Brothers stoneware urn, incised with a frieze of fleur-de-lys to the foot, the flaring bowl with incised columns, glazed blue on a buff ground with brown spotting, impressed RWMartin mark, restored, 24cm. high £150-200

40. An early Martin Brothers stoneware jug by Robert Wallace Martin, dated 1876, cylindrical form, incised with a band of flowering scrolling foliage, the handle with simple leaf repeat in blue on a pale blue ground, the neck in brown incised R W Martin Southall 9-1876, minor glaze frits to neck rim, 21cm. high £200-300

41. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1875, flaring form with inverted rim, modelled to the side with an owl mask, incised with a medieval fisherman, unhooking his catch, glazed in blue, green and brown on a buff ground, with incised plaque to the side ‘Martin London’, incised E32 RWMartin London 5-1875, professional restoration to top rim, 16cm high £200-300

41 front and back

42. A Martin Brothers stoneware jug, shouldered form, incised with birds roosting on a tree bough, in brown on a buff textured ground, highlighted with white incised Martin Bros London & Southall, minor restoration to top rim, 12cm. high £150-250

43. A Martin Brothers stoneware jug by Robert Wallace Martin, shouldered form, incised with thistle flowers on scrolling ground, in mushroom, green and blue on a brown ground incised 13-10-80 R W Martin London & Southall, 18.5cm. high £400-600

44. A Martin Brothers stoneware vase by Robert Wallace Martin, twin-handled, shouldered form, incised with stiff-leaf foliage in blue and mushroom on a buff ground, the handles modelled incised R W Martin London 6-1876, 21cm. £150-200

45. A Martin Brothers stoneware bowl by Robert Wallace Martin, dated 1886, low waisted form, incised with stylised foliate band below impressed flowerhead design in blue and brown on a buff ground incised 8-1886 R W Martin & Bros London & Southall, professional restoration to top rim, 23cm. diam. £250-300

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46 46. A Martin Brothers stoneware wall plate by Edwin & Walter Martin, dated 1893, incised with a radiating foliate design to the well, the rim with a frieze of scrolling foliage, in green and brown on a buff ground, incised 7-1893 Martin Bros London & Southall 15cm. diam £150-200

47. A Martin Brothers stoneware gourd vase by Robert Wallace Martin, tapering square section with vertical ribs, glazed olive green and buff incised R W Martin Bros Southall, 23.5cm. high £200-300

48. A Martin Brothers stoneware gourd vase, ovoid with twisted neck, incised decoration, covered in a royal blue glaze, incised Martinware Southall to base, 25.5cm. high £500-800

49. A Martin Brothers stoneware vase, ovoid with waisted cylindrical neck glazed mottled aubergine on buff ground, and two other Martin Brothers stoneware vases, incised Martin Bros London, 15.5cm. high (3) £200-300

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50. An unusual pottery charger probably by John Pearson, painted with a manned galleon at full sail with large fish leaping from the choppy waters, in white, the rim with a frieze of heraldic grotesque creatures in black and white on a brown ground, the reverse with a painted scroll and foliage design, unsigned, 36cm. diam £200-300 51. A John Pearson pottery bowl, flaring form, painted to the rim with a frieze of large grotesque fish the well a pool of tadpoles, in shades of green and blue highlighted in silver on a white ground, the exterior with a border of overlapping green circles and a painted pelican bird motif, painted JP monogram, 31cm. diam £400-500

WILLIAM DE MORGAN

52. A large William De Morgan vase, shouldered form with everted top rim, painted with palmette of leaves on scrolling foliate ground, the shoulder with classical dolphin frieze, in ruby, pink and golden lustre on a cream ground unmarked, painted fish roundel to base, neck off and re-stuck, 46cm. high £150-250 53. A large William De Morgan bowl, painted with a frieze of displaying peacocks, in ruby and golden lustre unmarked, restored 33cm. diam £150-250 54. A William De Morgan footed bowl by Charles Passenger, painted to the exterior with scaly fish swimming in turbulent water, painted in ruby on a white ground, the interior with carnation stems, painted mark CP monogram, wear to interior, 29cm. diam £300-500 Provenance British Art Pottery 5th December 2007 Woolley and Wallis, lot 641. 55. A large William De Morgan bowl by Fred Passenger, painted to the exterior with large scaly fish swimming in turbulent water, in ruby on a white ground. the interior with radiating flower stems, painted marks, and artist monogram, smashed and repaired, 34cm. diam. £200-300

Provenance 1st December 2005, Christie’s South Kensington lot 37.

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56. A ruby lustre charger in the manner of William De Morgan, painted to the well with a flaming castle roundel, the rim with a band of radiating leaf panels, in ruby lustre on a white ground, the reverse with scale panels, unsigned, 35cm. diam £500-800

57. A ruby lustre charger in the manner of William De Morgan, painted to the well with an eagle perched on the before flowers and a starry night sky, in ruby lustre, highlighted in gilt, the reverse with flowerhead roundels, unsigned 30.5cm. diam. £400-500

58 58. A William De Morgan twin-handled vase, the shouldered body painted with exotic flowers and foliage in ruby, red and copper lustre on a cream ground, unsigned, 31cm. high £1,000-1,500

59. A large William De Morgan twin-handled vase by Fred Passenger, the shouldered, footed vase with flaring rim and applied handles, painted with stylised flowers and foliage in ruby and pink lustre on a golden ground, impressed Tulip mark, painted FP monogram, professional restoration, 37.5cm. high £300-500 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 240 plate 265 for a comparable vase illustrated, decorated in the Persian palette with similar flowers, from the Handley Read collection.

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60. A William De Morgan Persian vase by Joe Juster, shouldered form, painted with scaly fish swimming in turbulent waters, in turquoise and blue impressed Sands End mark, painted JJ monogram, chips to top rim, 20cm. high £800-1,200

61. A William De Morgan single-handled vase by Fred Passenger, tapering cylindrical form on applied foot, with applied strap handle, painted with a frieze of cranes in dark blue on a turquoise blue ground, impressed mark and painted FR monogram, professional restoration, 22.5cm. high £300-500 Provenance William De Morgan Woolley and Wallis Auctioneers, 5th December 2007 lot 659.

62. A large William De Morgan Persian vase, shouldered form with knopped neck, painted with stylised carnation flowers, in turquoise, blue, green and aubergine on a white ground, impressed tulip vase mark to base, 35cm. high £6,000-10,000 Literature The William E Wiltshire Collection, Sotheby’s London 18th November 1991 lot 68 for a comparable design on a smaller vase.

63. A William De Morgan triple lustre vase, swollen form with flaring neck rim, painted with an exotic crane bird amidst scrolling foliage borders with mythical grotesque beasts, in blue, red and golden lustre on a white ground, unsigned, 30cm. high £3,000-4,000

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64. A William De Morgan BBB four tile panel. painted in shades of turquoise, aubergine and green on a white ground, inside turquoise and green spacer tile borders, framed, various stamped marks, damages, 68 x 25.5cm £300-500

65. A William De Morgan early Fulham Period Galleon tile, painted with a green galleon at full sail, a dolphin leaping in a calm sea, in green on a white ground impressed mark, 15.5cm. square £800-1,200

Literature Tiles by William De Morgan The Jon Catleugh Collection, Page 58 cat. 219 for a similar tile illustrated.

66. A large William De Morgan Chelsea Period Persian tile, decorated in a variation of the Four Inch Raspberrys pattern, in shades of blue and green on a white ground, impressed mark, hairline crack from rim, 20cm. square. £200-300 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 142 catalogue number 538 for the original drawing illustrated

67. A small William De Morgan Eagle tile, on Carter’s Poole blank, painted in ruby lustre with a bird amidst foliate panels, on a white ground, impressed Carter’s mark, wear to lustre 10.5cm. square £150-200

68. A William De Morgan Sands End pottery tile, painted with two large scaly fish, in ruby on a white ground impressed marks, glaze chips, 16cm. square £200-300 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 126 catalogue number 963 for an original drawing for a similar tile design.

69. Eight modern Kenneth Clark tiles, after designs by William De Morgan, decorated with animals , birds, galleons and flowers,in ruby lustre on a cream ground, printed marks 15.5cm. square £150-250

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TILES FROM THE COLLECTION OF RICHARD & HILARY MYERS 70. A large encaustic tile probably designed by A.W.N. Pugin, decorated to the well with a lion emblem roundel, inside fleur de lys, and a Minton’s encaustic tile designed by A.W.N. Pugin, decorated with a simple flower head inside scrolling vine border in red, black and buff, main tile unmarked, 2nd tile stamped marks, chips, 21.5cm. square (2) £300-500 Provenance From the tile collection of Richard & Hilary Myers.

70 71. A Worcester Encaustic Tile Works panel, four tile foliate design flanked with mitre, heraldic and geometric tiles, framed, impressed marks, 64 x 49cm £200-300 Provenance From the tile collection of Richard & Hilary Myers. 72. A Mintons Medieval Revival encaustic tile, decorated in yellow with a king seated on a throne, another similar and a mounted Crusader knight tile, a Worcester Encaustic Tile Works advertising tile depicting a castle, and a collection of encaustic tiles, various impressed marks, damages 15cm. square, (a lot) £150-250 Provenance From the tile collection of Richard & Hilary Myers. 73. A Martin Brothers stoneware six tile panel by Robert Wallace Martin, incised with classical figures and dolphin in scrolling foliage, glazed ochre and olive green, in later wooden frame incised R W Martin London & Southall, 10-1895 to vase, minor chips, 90 x 15.5cm £500-1,000

Provenance From the tile collection of Richard & Hilary Myers. 74. Three Martin Brothers stoneware tiles, each incised with a ferocious dragon amidst scrolling foliage, glazed in shades of brown, green and black, unsigned, chips to edges, 15cm. square, (3) £500-1,000

Provenance From the tile collection of Richard & Hilary Myers.

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75. A William De Morgan Sands End pottery three tile panel, painted with a Tudor Rose repeat, in shades of green, aubergine and yellow on a white ground, impressed marks, chips, 15.5cm. square (3) Provenance From the tile collection of Richard & Hilary Myers £150-200

76. A William De Morgan Merton Abbey BBB tile, painted in shades of yellow, blue and green on a white ground, and three other William De Morgan tiles, impressed marks, one tile in half and re-stuck, 15.5cm. square, (4) £150-200 Provenance From the tile collection of Richard & Hilary Myers

77. Persian Diaper two Dutch tin-glaze tiles decorated and retailed by Morris & Co, painted with a scrolling foliate repeat in blue and green on a white ground, four tinglazed Scroll pattern tiles, a Tulips and Carnations four tile panel, and a collection of tiles, paper exhibition labels to the main two tiles, various makers marks, damages, 13cm. square. (a lot) £150-250

Exhibited Morris & Company Tiles, William Morris Gallery, 14th September 1996 - 5th January 1997, exhibition number 139. Persian Diaper was copied from 16th-century Isnik tiles. They were used in the Tapestry Room and Panelled Room fireplaces at Kelmscott Manor. Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 140 figure 243 for the Persian Diaper, page 119 figure 208-211 for the Scroll pattern illustrated. Provenance From the tile collection of Richard & Hilary Myers.

78. Fantastic Ducks a William De Morgan pencil on tracing paper drawing, mounted with a similar Berries and Leaves drawing, in common mount and oak frame, and two corresponding William De Morgan tiles decorated in the Fantastic Ducks and Berries and Leaves pattern, impressed marks to tiles, 49 x 39cm (framed panel), (3) £500-800

Provenance From the tile collection of Richard & Hilary Myers

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82 79. Three Maw & Co tiles, each painted in ruby lustre with a flower and foliage design, on cream ground, and eight other tiles, impressed marks, 15.5cm. square (11) £150-250 Provenance From the tile collection of Richard & Hilary Myers. 80. A William De Morgan Flying Leaf tile on Wedgwood bank, painted with a scroll foliate design in ruby lustre on a cream ground, and two other ruby lustre tiles, impressed marks, 15cm. square (3) £150-200 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 134 catalogue number 778. Provenance From the tile collection of Richard & Hilary Myers. 81. A Maw & Co three tile panel, painted with flower stems in ruby lustre on a cream ground, inside olive green spacer tiles, framed, and a framed two tile panel, impressed marks to reverse, 57 x 26.5cm. (2) £150-200 Provenance From the tile collection of Richard & Hilary Myers. 82. A pair of Maw & Co tiles, painted with flowers and foliage in a golden yellow and red design on cream, set inside brown spacer, in oak wooden frame, impressed marks, 39 x 24cm £150-200 Provenance From the tile collection of Richard & Hilary Myers. 83. A Maw & Co tile panel designed by Lewis F Day, each tile decorated with a grotesque animal repeat, glazed ruby lustre on a cream ground, in oak frame, 111 x 49.5cm. £1,000-1,500 Provenance From the tile collection of Richard & Hilary Myers. Literature Joan Maria Hansen Lewis Foreman Day (1845-1910), Antique Collectors’ Club, page 181 plate 6.22 for these tile designs illustrated.

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TILES 84. A Minton & Hollins two tile Nursery Rhyme panel designed by Walter Crane, painted with the maid hanging out her washing, in monochrome blue, impressed marks, minor chips and paint loss, 15.5 x 31cm. (2) £200-300 Literature Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 126 fig. 225 for this design illustrated. These tiles were used to decorate a fireplace in the “Crane Bar” at The Tabbard Inn. 85. A Minton & Hollins two tile Nursery Rhyme panel designed by Walter Crane, painted with a maid going to milk, in colours impressed marks, minor glaze chips and paint loss, 15.5 x 31cm. (2) £200-300 Literature Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 126 fig. 226 for this design illustrated. 86. A two tile panel of a minstrel the design attributed to E.W. Godwin, painted in colours with a minstrel playing a violin, in later wood frame, stamped mark, old restoration, 40 x 19.5cm £300-500

87. An Aesthetic Movement two tile panel by G.E Cook, painted with a maiden picking blossom from a tree bough, in red and yellow on a white ground, framed signed G E Cook, damages 20cm. square £150-250 88. A Minton’s six tile panel in the manner of Henry Stacy Marks, painted with a medieval court scene, the king seated centrally on his throne, flanked with jesters, musicians and courtesans, in colours, framed impressed marks, one tile repaired, minor chips, 15cm. square tiles £250-350 89. ‘The Frolic Bacchus and The Libation Bacchus two tile panels by Thomas Henry Thomas, rectangular, painted in colours, in ebonised wood frame, original paper label from Howell & James 1880 exhibition, title, 31 x 15.5cm. (plaques), (2) £600-1,000 Exhibited Howell & James Art Pottery Exhibition, 1880 Thomas Henry Thomas (1839-1915) was one of the founders of the National Museum of Wales and also a member of the Cambrian Academy. Born in Pontypool, he studied at the Royal Academy Schools, travelled to both Paris and Rome, returning to London in 1861 working as a painter and illustrator. He returned to Cardiff in 1866, inheriting his father’s house in 1880 which became a centre of intellectual debate. These are the only recorded examples of ceramic panels by the artist

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90. A large Minton Classical Figures with Musical Instruments tile designed by John Moyr Smith, square printed in shades of blue, buff and brown on a white ground with a man playing a tambourine, six Minton tiles designed by John Moyr Smith, comprising Morte D’Arthur, Geriant, The Smith, Elaine, Excalibur, another Minton tile similar and another large Minton Hollins & Co tile decorated with a medieval hunter with his faithful friend, printed facsimile signature, minor frits, 20.5cm. square, (9) £150-200 Literature Annamarie Stapleton John Moyr Smith 1839-1912, Richard Dennis Publications, page 60 for tiles from this series illustrated. 91. Two Minton’s Hollins & Co Bird Series tiles the design attributed to E.W.Godwin, dust pressed tiles, printed in blue with waterbirds on a riverbank, Two Minton’s tiles painted with a bird flying before a bough, two Minton’s tiles with a swallow before passion and lily flowers and six other tiles impressed marks, 15.5cm. square (12) 150-200

90 part

92. Four William De Morgan style Persian tiles, painted with stylised flowers in shades of blue, purple and green on a white ground impressed indistinct roundel mark to one, 15.5cm. square (4) £150-200 93. A Maw & Co tile designed by C.F.A Voysey, tubeline decorated with a bird perched on a fruiting bough, in green, pink and blue on a cream ground, a tubelined tile decorated with an Art Nouveau flower stem, a tile decorated in the manner of Moyr Smith with two anthropomorphic dogs, two William De Morgan turquoise spacer tiles and a collection of tiles by various markers, Voysey tile moulded factory marks, reduced to one side, 15.5 x 14cm. (a lot) £150-250

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Literature Karen Livingstone C,.F.A Voysey Arts and Crafts Designer, V&A, page 286 plate 375 for the four tile panel illustrated. 94. Morris Dance three large tiles, printed in black with medieval scenes, comprising The Two Foreigners, Hobby Horse and Maid Marian The Lover, framed, 20cm. square (each tile) £150-250 95. Three Medieval Musician tiles the design attributed to Edward Hammond by Minton or Copeland, each decorated with a seated musician, in shades of blue and yellow, set in an oak tray-frame, damages 52cm. wide, 15.5cm. square (each tile). £150-200 Literature Terrence A Lockett Collecting Victorian Tiles, ACC Books, page 300 for a comparable original tile design signed by Hammond illustrated

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96. ‘Either my Eyesight Fails or You Look’st Pale’ a W.B. Simpson forty-four tile panel, painted with the romantic liaison of Romeo and Juliet on the balcony from Act III scene V, in colours unsigned, losses and damages, 62cm wide, 169cm long (44) £300-500

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98 97

97. A rare Alfred G Hopkins Lambeth stoneware vase, dated 1928, modelled as a gourd, glazed in celadon and rust colours incised marks, 18cm. high £120-180

DOULTON WARE

98. A collection of Royal Doulton miniature salt-glaze stoneware items, comprising two unusual Willow pattern jugs, three graduated jugs, three tygs, a beaker, and a mug, fourteen tiny jugs, two mugs, three bottles and a blue ewer possibly by various factories, four graduated Doulton saltglaze stoneware Harvest jugs and a Royal Doulton Kingsware tobacco jar designed by Charles Noke, various marks, minor £150-250 damages, 18cm. high (largest jug) (35) 99. A Doulton Lambeth Aesthetic Movement stoneware vase by Florence Barlow, ovoid pate sur pate painted with panels of wild birds perched on a bough, with stylised flower and scrolling foliage slip decoration, in green and brown on a buff ground impressed marks, incised artist monogram, professional restoration to the foot rim, 24.5cm. high £400-600

99 100

100. A pair of Royal Doulton stoneware vases by Florence Barlow, slender, shouldered cylindrical form with everted rim, pate sur pate decorated with panels of ducks, with tubelined Art Nouveau floral border, in shades of green, white, blue and brown on a buff ground impressed marks, incised monogram, 35.5cm. high £600-800 101. A Royal Doulton Art Nouveau stoneware vase by Eliza Simmance, baluster form, painted with panels of flowers on sinuous stems, in green, lavender, brown and blue on a mottled buff ground, impressed marks incised monogram, 36cm. high £300-500 102. An Art Nouveau Royal Doulton vase by Mark V Marshall, baluster form, tubeline decorated with scrolling foliage in green, sand and blue on a streaked green ground impressed marks, incised MVM monogram, 34cm. high £300-500 103. Reflections of Childhood a Doulton Lambeth stoneware garden figure of a young girl, modelled resting on a rock with leg outstretched and another Doulton stoneware figure of a girl standing and leaning forward, impressed marks to second figure, £400-600 losses and patination, 46cm. high (2)

101

102

Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 194 for a comparable figure illustrated, circa 1932. 104. A Critical Essay on the Life and Works of George Tinworth by Edmund Gosse, published in 1883 by the Fine Arts Society, a rare book on George Tinworth, illustrated in black and white £120-180

103

104

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105. The Fable of the Cat and Sparrows a rare Doulton Lambeth menu holder by George Tinworth, modelled as a cat with a captured bird in his mouth, another bird perched on his back, glazed in shades of green, ochre, blue and brown impressed marks, incised GT monogram, minor professional restoration, 9.5cm. high £800-1,200

105

106. He Found Nothing But Leaves a Doulton Lambeth terracotta plaque by George Tinworth, incised in low relief, ebonised wood frame, incised GT monogram, chip to rim, 21cm square £200-300

107. A Doulton Lambeth stoneware model of a mouse musician by George Tinworth, dated 1885, modelled playing a flute, on stepped square base with carved foliate detail, glazed tan and blue, and a Charles II pipe tamper, impressed factory marks, incised GT monogram, restored ears, 10.5cm.high, (2) £150-200

106

107

108. An Art Nouveau Doulton Lambeth Faience vase by Margaret E. Thompson, slender, shouldered cylindrical form painted with four medieval maidens in a formal garden setting, painted in colours impressed marks, painted monogram, small bruise to base rim, 34cm. high £1,500-2,000 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 159 for a selection of comparable vases.

108

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109. An early Doulton Lambeth stoneware plate by Hannah Barlow, circular, incised with a cow tethered to a post and grazing, two small birds in the foreground, inside a pate sur pate foliate border, in green and black on a buff ground impressed marks, incised monogram to front and back, 20cm. diam £200-300

109 110

110. A Doulton Lambeth stoneware plate by Hannah and Florence Barlow, dated 1885, fluted rim, incised with three deer standing amidst grasses, inside beadwork and incised scrolling foliage border, in green and brown on a buff ground impressed and incised marks, professional restoration to rim, 17.5cm. diam £200-300

111. A tall Doulton Lambeth stoneware vase by Hannah Barlow, shouldered form with waisted cylindrical neck, incised with a frieze of grazing and resting sheep by a riverside landscape, inside slip decorated panels of scrollwork, in brown and green, highlighted with white on a buff ground impressed marks, incised monogram, 43cm. high £500-800

112 111 112. A Doulton Lambeth stoneware vase by Hannah Barlow, flaring, footed form with collar rim, incised with a frieze of donkeys and sheep resting and grazing in a field, between bands of incised stylised foliage, glazed brown, green and blue on a buff ground impressed and incised marks, incised monogram, 19.5cm. high £300-500

113. A pair of Doulton Lambeth stoneware vases by Hannah Barlow, baluster form, incised with a herd of deer resting whilst two stag’s rut, inside scrolling foliate slip borders, glazed in shades of brown, green and blue on a buff ground, impressed and incised marks, 34cm. high, (2) £600-800

113

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114. A Royal Doulton Titanium Ware vase, shouldered, square section, covered in an experimental clouded pale celadon glaze, and a Royal Doulton Titanium vase glazed deep blue over flambe red printed factory marks, 15cm. high, (2) £200-300

115. A Royal Doulton Sung pedestal dish probably designed by Charles Noke, circular form, covered in an experimental speckled turquoise glaze over purple and lavender, painted Sung mark to base, 8.5cm. diam. £150-200

115 114

116. A Royal Doulton Flambe vase by Charles Noke, shouldered cylindrical form, painted with grape vine to the shoulder in blue, purple and lavender on a flambe red ground printed factory mark, painted Noke signature, 14cm. high £300-500

116

117

117. A Royal Doulton Flambe vase, cylindrical modelled in low relief with geometric design glazed graduated red flambe to blue-purple, printed factory mark, 17cm. high £120-150

118. A Royal Doulton porcelain vase by Arthur Eaton, shouldered, swollen cylindrical form, finely painted with a spider’s web hanging from stylised honesty stems, in pale green on a white ground, the rim highlighted in gilt, printed factory mark, painted signature A Eaton to side of vase, 20cm. high £500-800

118

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119. A Royal Doulton Sung vase by Charles Noke, shouldered, swollen form and everted rim, veined blue, purple and lavender on a flambe red ground printed factory mark, painted Sung and Noke signature, 26.5cm. high £200-300

120. A Royal Doulton Sung vase by Charles Noke, swollen form with everted neck, flambe red graduating to veined blue and purple, 26cm. high £200-300

119

120

121. A Royal Doulton Sung vase by Charles Noke, shouldered cylindrical form, flambe red graduating to blue, turquoise and purple with veins, printed factory mark, painted Sung and Noke signature, 27.5cm. high £200-300

122. A Royal Doulton Sung vase by Charles Noke, shouldered cylindrical form with everted rim, flambe red graduating to blue, lavender and purple with streaks, printed factory mark, painted Sung mark, 27.5cm. high £200-300

121

122

123. A Royal Doulton Sung vase designed by Charles Noke, ovoid with flaring rim, decorated with a veined experimental glaze, in blue, turquoise, purple and red flambe printed factory mark, Sung and Noke signature to base, 16.5cm. high £120-150

124. A Royal Doulton Flambe vase, ovoid with everted rim, veined and smoked in blue orange and red flambe printed factory mark, painted Monogram, 17.5cm. high £200-300

123

124

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BERNARD MOORE 125. A Bernard Moore Flambe solifleur vase, painted with fish diving amidst air bubbles, in white highlighted in gilt on a dark grey over flambe ground BM mark to base, 10.5cm. high £150-250 126. A Bernard Moore Flambe solifleur vase, shouldered form, enamelled with a shoal of fish in turquoise, highlighted in gilt on a mottled bright red and orange ground, BM mark to base, 13cm. high £250-350 Literature Aileen Dawson, Bernard Moore Master Potter 18501935, Richard Dennis Publications, page 60 figure 37 for a comparable design illustrated. 127. A Bernard Moore Flambe vase by Cicely Jackson, ovoid with narrow everted rim, painted with a shoal of scaly fish in ruby flambe on a tan ground, Bernard Moore mark, painted artist monogram, small chip to top rim, 10cm. high £150-200

125

126

Literature Aileen Dawson Bernard Moore Master Potter 1850-1935, Richard Dennis Publications, page 60 figure 37 for a comparable vase illustrated. 128. A Bernard Moore Flambe vase, compressed ovoid form with flaring neck, painted with entwined flowers and scrolling foliage in ruby flambe on a mushroom ground painted Bernard Moore mark, professionally restored neck, 23cm. high. £150-200 129. A large Bernard Moore Flambe jardiniere, shouldered, ovoid form, painted with a two ferocious dragons, above scrolling foliage, in ruby flambe on a mushroom brown ground, internally decorated with scrolling foliage band, painted Bernard Moore mark and HL artist monogram, 26.5cm. high £1,500-2,000

127

130. A Bernard Moore Flambe vase, compressed form with cylindrical neck, painted with a frieze of prowling leopards, the neck with a tall band of stylised foliage in red flambe painted Bernard Moore mark and artist £200-300 monogram, hairline to base, 27cm. high 131. A Bernard Moore Flambe pot-pourri jar and pierced cover, shouldered form, painted with scrolling flowers and foliage in ruby flambe, the pierced cover with simple foliate design Bernard Moore mark, BM £600-800 mark to cover, 21cm. high

129

128

130

131

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132. An Aesthetic Movement Minton’s plate, painted with a maiden walking in billowing dress walking amongst tall bamboo grasses, in pink on a white ground, impressed marks, date mark for 1880, 21cm. diam £120-180 133. Medmenham Tiles an advertising tile designed and modelled by Conrad Dressler, modelled in low relief with a frog about to catch a fly, glazed in colours and inscribed Art Pavements and Decorations Ltd London, impressed marks to reverse, minor glaze £200-300 chips to corners 13 x 10cm.

133

134. A Minton’s Pottery Beer set jug and tray designed by Henry Stacy Marks, printed with portrait roundels and bands of stylised flowers and foliage, in colours on a white ground, impressed marks, 38.5cm. wide (tray), 21cm. high (jug) (2) £150-200

132

135. A Gothic Revival pottery charger, painted with radiating folliage and central inscription, in colours, highlighted in gilt on a blue ground impressed mark, 34cm. diam. £100-150

134

136. A Minton’s Aesthetic Movement fan box and cover, modelled in relief, painted with a panel of prunus, in colours on a turquoise ground, highlighted in gilt, the sides with panels of flowers and foliage printed regd diamond, 24cm. wide £150-200

135

137. A Minton’s Aesthetic Movement garden seat, barrel form, modelled in low relief with trellis panels, printed with prunus boughs in black on a turquoise ground, impressed marks, 47cm. high £300-400 138. A Minton’s pottery Medieval revival shallow tazza, after a Castel Durante protoype, painted to the well with two cherubs in a dolphin carriage, the rim with classical roundels and figures in scrolling foliage printed and impressed marks, £150-200 26.5cm. diam

136

139. A terracotta bowl by William Fishley Holland, flaring form, the interior impressed with leaves, glazed green incised signature 29cm. diam £120-180

137

138

139

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140. A Minton porcelain vase designed by Dr Christopher Dresser, twin-aperture form with over-slung handle, printed and painted with geometric flower and foliage in colours on an unusual platinum ground, highlighted in gilt, impressed number to base, 16cm. high £300-500

141. An Old Hall moon-flask in the manner of Dr Christopher Dresser, flattened disc form with applied pierced handles, printed and enamelled with a butterfly and abstract flowers and foliage in coral red and green on a white ground, highlighted in gilt, printed factory mark, 25cm. high £100-200

140 142. A Minton’s Aesthetic Movement vase, compressed form on four feet, printed in black with panels of ibex and foliage in black on a turquoise ground impressed marks, 15cm. high £150-250

141

143. A Linthorpe Pottery plate designed by Dr Christopher Dresser, impressed with a bird before stylised flowers in colours with a petrol lustre finish, impressed mark and facsimile signature, 27cm. diam £250-350 Literature Michael Whiteway Christopher Dresser A Design Revolution, Victoria & Albert Museum, page 168 catalogue number 224 for a comparable plate illustrated.

142

144. A rare Ault Persian pottery ewer and cover designed by Dr Christopher Dresser, the disk body with central aperture, cast with a frieze of formal foliage, glazed green graduating to brown, unmarked, chip to foot rim, 32cm. high £300-500

143

Literature Dresser, New Century Exhibition catalogue, 1999, catalogue number C.141 for a comparable ewer illustrated.

145. A rare Linthorpe vase designed by Dr Christopher Dresser, the tube vase with central pierced foliate roundel, glazed brown with running olive and white streaked glaze, indistinct impressed marks, 22cm. high £800-1,200 Literature Michael Whiteway Christopher Dresser, Skira, page 144 plate 163 for a comparable vase. British Art Pottery 21st November 2007 lot 35, Woolley and Wallis for a comparable vase.

144

145

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146. A pair of Baron Barnstaple grotesque candlesticks designed by Blanche Vulliamy, modelled a grotesque frog like creature, glazed purple and turquoise, incised Baron Barnstaple, 14cm. high (2) £150-250 147. A C.H. Brannum Barum dragon chamberstick, modelled seated and offering up a flowerhead sconce, glazed blue, impressed marks, 17.5cm. high £150-200 148. A C.H. Brannum Barum grotesque dragon candlestick, modelled rearing up, glazed blue, impressed marks, restored, 29.5cm. high £150-200

146

Literature C.H. Brannum Barum Ware, New Century, 1991, page 14 plate 21 for a comparable candlestick illustrated.

147

149. A C.H. Brannum Barum Cicada wall pocket, dated 1891, modelled as an insect, glazed blue, white and buff incised C.H. Brannum Barum 1891, restored, 20cm. wide. £150-200

149

150. A Della Robbia five tile panel probably by Marianne de Caluwe, modelled in low relief with a vine growing from a twin-handled jardiniere, glazed in shades of blue, green, yellow and brown, on a white ground, incised numbers to reverse, damages, 97cm. long £300-500 151. A pair of Wileman & Co Foley Faience chambersticks possibly designed by Walter Slater, tall, tapering cylindrical form with knopped stem and flaring, fluted sconce and applied handle, covered in a pale green lustre glaze, printed factory marks, paper price label, 51cm. high, (2) £150-200

148

Literature Chris Watkins, William Harvey & Robert Senft Shelley Potteries, Barrie & Jenkins,page 61 colour plate V for a twin-handled candlestick attributed to Walter Slater. 152. A Royal Stanley Ware Jacobean pattern teapot and stand, an en-suite biscuit barrel and cover, printed and painted with a grape design in colours, and a collection of twenty one other items similar, three Royal Doulton Series Ware items and nine various Maling pottery items printed factory marks, 17.5cm. high (biscuit barrel) (36) £150-250

151

150

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153. A Ruskin Pottery vase and cover designed by William Howson-Taylor, dated 1910, compressed, shouldered form, the cover with pointed finial, covered in a streaked blue glaze impressed marks, 16.5cm. high £100-200

154. A rare Wileman & Co Foley China Intarsio wash basin and ewer designed by Frederick Rhead, pattern no.3266, printed with a flying stork before stylised scrolling wave, in colours on a green ground, printed factory mark, wash basin restored, ewer 32.5cm. high, basin 46cm. wide. (2) £500-800

153

Literature Chris Watkins, William Harvey & Robert Senft Shelley Potteries, Barrie & Jenkins, page 57 colour plate I for a comparable ewer illustrated.

154

155. A Mintons Secessionist vase designed by Leon Solon and John Wadsworth, waisted, shouldered cylindrical form, slip decorated with Art Nouveau flowers in yellow, salmon pink, green and turquoise on a deep blue ground printed Minton’s mark, 26cm. high £120-180

156. Seven Minton Secessionist plates designed by Leon Solon and John Wadsworth, slip decorated with Secessionist flower stems in green, salmon pink and turquoise and sand, impressed marks, 23cm. diam. (7) £500-800 Literature Paul Atterbury & Maureen Batkin The Dictionary of Minton, Antique Collector’s Club, page 356 for a similar plate illustrated in the 1902.

155 156

157. A Sunflower Pottery ewer by Sir Edmund Elton, the tapering cylindrical body with knopped stem, the knop with a band of raised roundel decoration, covered in a crackled golden lustre glaze over olive green painted Elton signature to base, 29cm. high £200-300

158. A Sunflower Pottery tall ewer by Sir Edmund Elton, tapering cylindrical form with swollen bands and a band of raised roundel decoration, covered in a crackled golden lustre glaze over olive green painted Elton mark to base, 37cm. high £200-300

157

158

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159

159. A Fulham Pottery mug by Vicky Walton, with designs in the manner of Quentin Bell, painted with columns of circles in yellow, turquoise and blue bordered with lavender, and two other Fulham Pottery mugs similar, incised VW monogram to two, minor damages, 8.5cm. high, (3) £300-350 160. A Fulham Pottery plate by Quentin Bell, painted to the well with a radiating flame design, in orange and red on a blue ground incised Fulham mark, Quentin Bell and VW monogram, 21cm. diam £300-500 161. An Omega Workshops teapot by Vanessa Bell, painted with stylised foliage in blue and aubergine on a buff ground, painted VB monogram, missing cover and body cracks, 11.5cm. high £300-500 Provenance Frances (Fanny) Garnett 162. ‘Virginia Woolf’ a Fulham Pottery portrait plate by Quentin Bell, marking the centennial of her birth, painted in red, blue, black and white, highlighted in gilt to the rim with inscription Virginia Woolf 1882-1982 incised Fulham Pottery Quentin Bell, no.3, 21cm. diam £800-1,200 This portrait plate is no.3 in a limited edition of three plates of which one is in the collection at Charleston Farmhouse (CHA/C286a).

160

Provenance Eileen Dougall, worked at Charleston Farmhouse where the plate was purchased, by descent to her son.

161

162

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163

COMPTON POTTERS ARTS GUILD

164

163. A Compton Potters Arts Guild pendant, circular cast in low relief with a female classical figure holding a lamp, glazed in shades of red, unsigned, 5cm. wide £150-250 164. Sure and Steadfast a Compton Potters Arts Guild pendant necklace, cast in low relief with St George killing the dragon, in colours another of St Cecilia playing an organ and two other Compton pendants unmarked, 5.5cm. high, (4) £400-500 Literature Hilary Calvert Compton Pottery, Watts Gallery, page 31 for a comparable example of St George illustrated and seven other Compton pendants.

165

165. Archangel Michael Killing the Seven Headed Dragon a Compton Potters Arts Guild wall plaque, rectangular, modelled in low relief and painted in green and red on a black ground, and another Compton plaque entitled Gloria in Excelsis and another depicting a saint and three children, impressed marks to two, 21 x 11.5cm (3) £350-450 Literature Hilary Calvert Compton Pottery, Watts Gallery, page 29 for the Archangel Michael panel illustrated, this plaque is based on a 15th Century wooden Rood Screen in St Helen’s Church Ranworth, Norfolk.

166

166. A Compton Potters Arts Guild wall plaque of a knight on horseback, rectangular, cast in low relief, and painted in colours, another paperweight wall plaque of a female saint playing pipes and another plaque of Gloria in Excelsis, impressed wheel mark to all three 15 x 13.5cm (main plaque), (3) £350-450 167. Saint Christopher a Compton Potters Arts Guild large figure, painted in colours, impressed wheel mark, 35cm. high £300-500 168. A Compton Potters Arts Guild figure of St George, modelled standing about to pull his sword from its sheath, painted in colours impressed Compton wheel mark, minor chips, 30cm. high £300-500 Literature Hilary Calvert Compton Pottery, Watts Gallery, page 35 for a comparable figure illustrated. 169. St Michael a Compton Potters Arts Guild figure, modelled standing resting on a flaming sword, painted in colours, impressed wheel mark, 12.5cm. high £300-500 Literature Hilary Calvert Compton Pottery, Watts Gallery, page 28 for a comparable example illustrated

167

168

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A PRIVATE COLLECTION OF BURMANTOFTS FAIENCE 170. A Burmantofts Faience lustre wall plaque by Joseph Walmsley, painted with a scaly fish to the well, the rim with a border of stylised foliage in golden and ruby lustre glazes impressed marks, painted JW monogram, 36cm. diam £150-250

171. A Burmantofts Faience Anglo-Persian vase by Leonard King, model no. DSG 117, tapering cylindrical form, painted with swimming scaly fish amongst waterweed, in shades of turquoise, blue, aubergine and green on a white ground, impressed and painted marks, chips, 24cm. high £150-200

170

172. A Burmantofts Faience AngloPersian vase by Leonard King, model no.D.139, slender, shouldered form painted with scaly fish amongst flowering waterweed and scrolling turbulent water in turquoise, blue, green, aubergine and yellow on a white ground, impressed marks, painted LK monogram, glaze loss and rim frits, 17.5cm. high £150-200

172 171

173. A Burmantofts Faience AngloPersian jardiniere designed by Leonard King, painted with stylised flowers and foliage, in shades of blue, turquoise, aubergine and green on a white ground impressed marks, painted LK monogram, riveted crack to body, 28cm. high £800-1,200

174. A large Burmantofts Faience AngloPersian jardiniere by Leonard King, model no.42, tapering cylindrical form, painted with stylised flowers and foliage in shades of turquoise, blue, green, aubergine and brown on a cream ground, impressed marks, painted LK monogram, 42 Design, professional restoration, 32cm. high £1,500-2,000

173

174

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175. A rare Burmantofts Faience lustre vase by Leonard King, model no.157, shouldered form, painted with a frieze of large owls, spaced with scrolling foliage and smaller perched owls, light red on a cream ground, impressed marks, painted LK and LGB monograms, 37cm. high £1,500-2,000 The owl is one of the symbols on the Leeds city coat of arms and thus had a significant iconographical link to the Burmantofts company.

175

176. A Burmantofts Faience AngloPersian bottle vase by Leonard King, model no. 20, painted with a frieze of scaly fish in turquoise, blue, green and aubergine on a white ground, impressed and painted marks, painted LK and design 80, minor glaze frits, professional restoration to base of vase, 41cm. high £600-800

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177. A Burmantofts Faience AngloPersian vase by Leonard King, model no.7, painted with scaly fish panels between bands of stylised prunus flowers, in shades of turquoise, blue, green and aubergine on a white ground, highlighted with yellow, impressed marks, painted LK monogram and Dsg-131, 22cm. high £300-500

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MOORCROFT 178. Blue Poppy an unusual James Macintyre twin-handled tray dish designed by William Moorcroft, flaring rectangular form with twin loop handles, tubeline decorated with stems of blue poppy flowers, in blue and green on a white ground, printed factory marks, painted green signature, professional restoration, 22cm. wide £400-600 179. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with waisted neck, painted in shades of pink, purple and ochre on a blue ground impressed marks, painted green signature, 21cm. high £200-300

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180. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form with collar rim, painted in shades of pink, purple and ochre on a blue ground, impressed marks, painted blue signature, 16.5cm. high £150-250 181. ‘Pomegranate’ a near pair of Moorcroft Pottery vases designed by William Moorcroft, compressed form, painted in shades of pink, purple, ochre and green on a blue ground impressed marks, painted signatures, professional restoration to top rim of one, 8.5cm. high (2) £200-300

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182. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered baluster form, painted in shades of pink, purple, ochre and green on a blue ground, and a Moorcroft Pottery ‘Pomegranate’ solifleur vase, impressed marks, 9cm. high (2) £150-200 183. ‘Springflowers’ a Moorcroft Pottery box and cover, circular section painted in shades of purple, pink, yellow, blue and green on a blue ground, two Magnolia pattern vases, two Aquilegia pattern pieces and two Anemone pattern pieces of Moorcroft, impressed marks, 14cm. diam. (7) £150-250

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184. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, painted in shades of pink, purple, ochre and green on a blue ground, two Moorcroft pin dishes, a cover and a Royal Stanley Pomegranate pattern vase, impressed marks, main vase missing cover, 11.5cm. high, (5) £150-200

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185. ‘Spanish’ a Moorcroft Pottery twin-handled vase designed by William Moorcroft, waisted cylindrical form, painted in shades of pink, purple, red and green on a mottled sand and green ground impressed Burslem mark and painted green signature, minor over-painting to base rim, 26.5cm. high £800-1,200 186. ‘Moonlit Blue’ a pair of Moorcroft Pottery vases designed by William Moorcroft, compressed ovoid body with flaring cylindrical neck, painted in shades of blue and green impressed marks, painted green signature, 18.5cm. high, (2) £1,500-2,000 187. King George V and Queen Mary 1910 a Moorcroft Pottery commemorative beaker vase designed by William Moorcroft, flaring cylindrical form, tubeline decorated with symbols of the Empire, glazed blue on cream ground impressed marks, painted signature, 20.5cm. high £400-600 Literature William Moorcroft & Walter Moorcroft Richard Dennis Gallery exhibition catalogue, 1973, page 111 catalogue number 412 for a comparable vase.

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188. ‘Finches’ a modern Moorcroft Pottery vase designed by Sally Tuffin, compressed form with cylindrical neck, painted in shades of pink, purple, green and yellow on a blue ground impressed marks, painted WM monogram and second mark, 20cm. high £120-180 189. A tall pair of Dennis Chinaworks candlesticks designed by Sally Tuffin, dated 2013, privately commissioned, tubeline decorated with William De Morgan deer, inscribed Hand, Head Heart, in platinum resist, green and blue, and platinum glazed drip trays, impressed and painted marks, Trial 1, 38cm. high (2) £1,000-1,500 190. Time Flies a Dennis Chinaworks vase designed by Sally Tuffin, dated 2013, tubeline decorated with Voysey birds on a foliate ground, in turquoise and green highlighted with platinum, impressed and painted marks, No.4, 23.5cm. high £150-200

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PILKINGTON’S LANCASTRIAN 191. A Pilkington’s Lancastrian vase, shouldered ribbed form with collar rim, covered in a aventurine glaze, another square section vase, and three other early vases with experimental glazes, impressed marks, 14.5cm. high (5) £200-300

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192. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1935, shape no.201, ovoid with collar rim, modelled and painted with Art Nouveau foliate stems in blue and turquoise on a matt silver-grey ground, another Pilkington’s vase modelled in low relief with Galleons at sail, glazed grey and five other vases impressed and incised factory marks, 18cm. high, (7) £200-300 193. A Pilkington’s Lancastrian vase, dated 1911, footed, shouldered form cast fluted decoration, covered in a curdled blue glaze, another similar with a sky blue glaze and a collection of eleven other Pilkington’s blue and turquoise pieces, impressed marks, 23.5cm. high, (13) £200-300

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194. A Pilkington’s Lancastrian vase, dated 1910, shape no.2834, swollen, shouldered form with everted rim, modelled in low relief with foliate motif, glazed streaked sang de boeuf glaze, two slender Pilkington’s Lancastrian vases covered in a streaked and curdled blue glaze and a collection of twenty-one other Pilkington’s items impressed marks, 17cm. high (24) £200-300 195. A Pilkington’s Lancastrian vase, dated 1913, shouldered ovoid form covered in a matt olive green glaze, another Pilkington’s vase decorated in a curdled blue glaze and a large collection of Pilkington’s experimental glaze items impressed marks, 13cm. high, (36) £200-300

195

196. A Pilkington’s Lancastrian vase, dated 1909, shouldered urn form with two scroll handles, the body with vertical moulded columns, covered in a streaked turquoise glaze, another similar with a matt blue glaze, another Pilkington vase covered in a curdled blue glaze and eight other Pilkington’s vases impressed mark, impressed IX date mark, 13cm. high (11) £200-300

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197. A Pilkington’s Lancastrian vase by William S Mycock, dated 1916, tapering cylindrical section, with twin-loop handles, painted with scrolling foliage border to the rim, in golden lustre on an amber/yellow ground, impressed marks, painted artist cipher and date code, 13cm. high £300-500

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198. A Pilkington’s Royal Lancastrian bowl by Richard Joyce, painted to the well with a flower and radiating foliage, in blue, red and golden lustre impressed marks, painted artist cipher, small nick to the rim, 11cm. diam £250-350 199. A Pilkington’s Royal Lancastrian vase by Richard Joyce, shouldered form, painted with a trellis of stylised flower heads in ruby and golden lustre on a streaked ruby and golden lustre ground, impressed and painted marks concealed by paper retail and collection labels, 14.5cm. high £700-1,000 200. A Pilkington’s Royal Lancastrian vase by Gladys Rogers, slender, swollen cylindrical form, painted with columns of heart-shaped foliage in golden lustre on a red and orange lustre ground, impressed marks, painted artist cipher, professional restoration to top rim, 18.5cm. high £400-600 201. A Pilkington’s Royal Lancastrian vase by Gladys Rogers, compressed ovoid form with everted rim, painted with berried foliage sprays in ruby and golden lustre impressed marks, painted artist cipher, 7.5cm. high £250-300 202. A Pilkington’s Lancastrian vase by William S Mycock, dated 1912, compressed form with collar rim, painted with flowers and foliage in pink and red lustre impressed factory marks, painted artist cipher and date code, 13cm. high £300-500

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203. A Pilkington Lancastrian singlehandled vase by Richard Joyce, dated 1914, ovoid with loop handle, painted with fish swimming amongst waterweed, in golden lustre on a deep blue/brown ground impressed marks, painted cipher and date mark, 20cm. high £1,000-1,200

204 203

204. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1919, shape no.2445, shouldered form, painted with fish amongst waterweed in flambe red on a lime green ground, impressed marks, painted artist cipher and date code mark, 13cm. high £300-500

205. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1927, ovoid with collar rim, painted with palmette panels, in ruby, pink and blue, outlined in golden lustre, impressed marks, painted artist cipher and date 18cm. high £1,000-1,500

205

206 206. A Pilkington’s Lancastrian vase by William S Mycock, dated 1909, shape no.2796, ribbed ovoid body with cylindrical neck, painted with carnation flowers on scrolling stems, in ruby and golden lustre on a pale lemon yellow ground, impressed marks, painted cipher and date code mark, 19cm. high £800-1,200

207. A Pilkington’s Royal Lancastrian wall plaque by William S Mycock, dated 1926, circular, painted with flower sprays in ruby, blue and golden lustre impressed marks, painted artist cipher and date , paper price label, 29.5cm. diam £500-600

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208. A large Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1909, shouldered form, painted with heraldic lion passant in gold on a red lustre ground, impressed marks, painted artist cipher and date code, 37cm. high £3,000-5,000 Provenance Private collection.

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209. A monumental Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1913, possible made for an exhibition, shouldered form, painted with panels of young ladies walking in a woodland landscape, in blue, brown, green and golden lustre on an orange lustre ground impressed marks and painted artist cipher and date code, 48cm. high £3,000-5,000 Provenance Edward Fielden Pilkington, thence by descent It is possible that the vase was commissioned by Charles Pilkington (founder of the Pilkington company) and given to his son Edward Fielden Pilkington

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211 210

CONTINENTAL CERAMICS 210. Die Kranken Pflegen (The Care of Sick) a large Villeroy & Boch wall charger, printed and enamelled in colours, and another similar, printed factory mark, hairline and rim chips, 51cm. diam. (2) £400-600 211. A Pair of Aesthetic Movement plates in the manner of Felix Bracquemond, printed and enamelled with an exotic bird below flowering vine foliage stem, in colours on a cream ground, printed Chinese style character signature to back, 25.5cm. diam. £150-200 212. A Merkelbach & Remy salt-glaze stoneware jug, swollen cylindrical form, cast in low relief with Secessionist design, with polished pewter hinged cover, glazed blue and green on a celadon ground impressed marks, 35cm. high £200-300

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212

Literature Erlebach/Schimanski Westerwald Steinzug, Die Neue Ara 1900-1930, Jugendstil und Werkbund, page 108 for a comparable example illustrated. 213. An Ernest Wahliss Art Nouveau chamberstick, model no.4694, modelled as a maiden holding up a Calla lily sconce above her head, seated on a flower strewn dish, in colours impressed and printed marks, 18cm. wide £120-150

215

215. An Art Nouveau Amphora Pottery bowl, model no.4106, modelled in relief to the rim with a dragon, glazed in green and blue highlighted in gilt, a loop-handled bowl decorated with a maiden portrait and a Royal Doulton Kingsware jug designed by Charles Noke, impressed marks, 28cm. wide. (3) £200-300

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214. A Turn Royal Vienna pottery Secessionist vase designed by Paul Dachsel, model no.9872, slender, urn form, modelled in low relief with pendulous flower panels, glazed in white and green matt glazes, highlighted in gilt, impressed and printed marks, 29cm. high £200-300

216. A Zsolnay Pecs reticulated vase, shouldered form, cast with a cockerel and chickens before trees, eosin glazed in colours on a ruby red ground, and a Zsolnay Pecs eosin dish modelled as a vulture perched on a snake, covered in a lustrous glaze printed factory marks, 13cm. high (2) £150-250

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218 217

217. A Haviland & Co Limoges barbotine stoneware three vase garniture, the pair of vases impasto decorated with parrots perched on a flowering bough, the central vase with three aperture, painted with a chicken and a duck feeding, impressed marks, painted monogram to foot of one vase, minor damages, 41.5cm. high, (3) £500-1,000

218. A Luneville vase probably manufactured by Keller & Guerin, ovoid with silver mounts, the body glazed with moths flying in ruby and silver lustre, the silver mount to the neck cast with flowers and foliage, impressed Luneville mark to base, stamped mark to silver mount, 13.5cm. high £150-200

219 219. A large Cantagalli Pottery Iznik vase and cover, swollen body with applied lip handles, and domed cover, painted with flowers and foliage in turquoise, blue, aubergine and iron red on a white ground, painted cockerel mark, 46cm. high £300-500

220. A large Clement Massier ovoid vase by M Alexandy, painted with rose flowers in yellow and pink, the neck with geometric frieze highlighted in gilt, impressed and painted marks to base, signed by the artist to the side 31.5cm. high £1,000-1,500

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WORKS ON PAPER & TEXTILES 221. The Decorative Arts Society Journal, sixteen volumes, comprising, 11,14,15,1722, 24, 25, 27,28,30,31,36, 40, (16) £50-100

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222. A collection of reference books and catalogues relating to Arts and Crafts designers, including: William Morris, Charles Rennie Mackintosh and Dr Christopher Dresser, (a lot) £100-150

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223. The Studio thirteen volumes, bound in green, comprising volumes 14-16 and 32£150-250 41, (13)

224. The Studio a modern General Index volumes 1 to 42, green boards embossed with gilt £150-250

225. The Studio volumes 1-100, in one hundred bound volumes, including volumes 1 and 2 cover designed by C F A Voysey, (1893), (100) £1,500-2,500

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226. Deutsche Kunst October 1929 and October 1930, with covers designed by E Pfeifer, Architecture 1925 editions Albert Levy and six other contemporary volumes £150-200 on design, (9)

227. Deutsche Kunst und Dekoration a lithographic printed cover designed by Margaret Macdonald Mackintosh, framed signed in the print, 24.5 x 17cm £200-300

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227

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228. Jessie Bayes (1876-1970) Sister Moon and Brother Wind an illuminated triptych, the carved wood frame with gilded decoration and gilt metal furniture, signed J Bayes 46cm. high £1,500-2,000 Provenance Private collection Literature The Studio 1914 ‘Jessie Bayes Painter and Craftswoman’ Adeste Fideles a comparable triptych of gilded mahogany painted in tempera by Jessie Bayes, illustrated page 265.

229. George Frederick Watts OM RA (1817-1904) Hope, 1885-1886 a sepia toned print from the painting probably published by Frederick Hollyer, in original oak frame, unsigned 48 x 36cm £150-200

228 closed and open

Several printed versions of Watt’s Hope were produced and he developed a working relationship in his lifetime with Frederick Hollyer who reproduced other paintings for him to sell to a growing mass market. Literature Mark Bills & Barbara Bryant G.F. Watts Victorian Visionary, Yale, page 298 cat. no.95 for a comparable example.

230. William Howson Taylor (1876-1935) Blue Poppies watercolour on paper, framed signed W H Taylor lower right 58 x 56cm £300-500

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231. James Egan (1847-1918) Angels, watercolour and silver highlighter, framed unsigned 65 x 23.5cm. (3) £1,500-2,000 James Egan is best known for his series of stained glass windows made between 1890 and 1899 for Hambleton church, Rutland. This was a commission instigated by and in collaboration with the architect John T. Lee, with whom Egan worked on a number of occasions. Egan was born in Cheapside, London and by 1871 was employed as a glass-painter. He worked for Morris & Co as a glass-painter, leaving in the early 1880s to set up a short-lived partnership with Frederick Fletcher. He continued to work for Morris & Co. It has been suggested these watercolours are possibly designs for a painted altar-piece or mural decoration. Woolley and Wallis would like to thank Peter Cormack MBE for his help in cataloguing this lot.

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232. The Psalms of David illuminated by Owen Jones, an illuminated manuscript with tooled leather cover titled The Victoria Psalter, with metal clasps, 106 chromolithographed pages on stiff card, published by Day & Sons 1862, 43.5 x 32.5cm £150-200

232 233. Philadelphia International 1776-1876 an advertising paper fan, on bamboo sticks, printed in colours to both sides, stamped regd mark, June 8th 1875, 27cm. long. £50-100

234. Violet Brunton (1878-1951), as Victor du Lac Prometheus four watercolours on paper, framed signed VduL to lower margin on three, 23.5 x 14.5cm. (4) £500-600

233 235. Rafaela Kikiewicz Art Nouveau design for fruit bowl, (Entwurf fugeine fruchtschale) pencil, watercolour and white highlighter on paper, framed monogrammed in pencil lower right, title lower left 48 x 35cm. (image) £250-350

236. Cecil Aldin (1870-1935) A Likely Spot, The First, and In The Open, 1900 three original chromolithographic prints, wooden mounts and frames, printed Cecil Aldin signatures to images, 60 x 29cm (images) (3) £300-500

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237. The Common Book of Prayer a tan morocco leather bound prayer book with binding designed by William Burges, the brown leather binding set with five gilt metal English Rose studs set with semiprecious stones and gilt metal clasps enamelled with the coat of arms of Lord and Lady Ripon, the metalwork by Jes Barkentin, silk end papers, 19 x 15cm £6,000-8,000 Provenance Lord & Lady Ripon Studley Royal and St Mary’s church were built for the Ripons between 1871 and 1878. Designed by William Burges Pevsner called it Burges’s “ecclesiastical masterpiece”. Designs for this binding are held at the RIBA library in Burges’ Orfevrerie Domenstique album. A comparable prayer book designed by Burges for Sir Alexander James Beresford Beresford Hope is held in the National Museum Cardiff.

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238. A Glasgow School silk embroidered panel mounted in an oak string box, attributed to Maud Mills, the rectangular panel decorated with a peacock before a flowering tree decorated with Glasgow rose motif, unsigned, 49cm. high £200-300 Provenance Lady Ottoline Morrell, thence by Descent

238

239 239. A portrait in silk on linen by Mrs Hyde-Thomas, depicting an Edwardian lady standing in a study, framed, paper label to reverse 34 x 24cm (image) £200-400

240 240. ‘Flower Garden’ a Morris & Co jacquard woven silk panel designed by William Morris, blue and copper red on a blue ground, 137 x 72cm £800-900 Literature Linda Parry William Morris Textiles Crescent, page 152 plate 31 for another colour way of this design. This silk was designed by William Morris in 1879 for the collection of Laurence William Hodson (1846-1933) to refurbish Compton Hall between 1895-6.

241. Poems Chosen Out Of The Works of Samuel Taylor Coleridge published by William Morris, 1896, The Kelmscott Press, edited by F.S. Ellis, Limited Edition of 300 copies printed on paper, original vellum binding, yap edges with original silk ties, 21cm x 15cm £1,400-1,800

241

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242 242. The Story of Beowulf by William Morris and A.J. Wyatt, 1895, published by The Kelmscott Press, Limited Edition of 300 copies printed on paper, black and red Troy type text, original vellum binding, yap edges with original silk ties, 29.5cm x 22cm. £2,000-3,000

242 detail

243 243. The Story of The Glittering Plain or The Land of Living Men by William Morris, 1894, published by The Kelmscott Press, Limited Edition of 250 copies printed on paper ornamented with twenty three pictures by Walter Crane, black and red Troy type text, original vellum binding, yap edges with original silk ties, 29.5cm x 22cm. £1,500-2,000 Literature Linda Parry William Morris page 329 O.23 for a comparable example illustrated.

243 detail

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244. A silk embroidered panel the design attributed to May Morris, decorated with four flowers inside scrolling foliage, framed, 52 x 49cm £300-400

245. A pair of Aesthetic Movement silk embroidered and painted panels, depicting classical musician figures in a formal garden setting, framed, embroidered monogram, 45 x 31cm. (2) £300-500

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245

246. Flora an embroidered silk panel, with velvet border, framed 64 x 21.5 (panel) £150-200

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247

247. The Daisy Chain a Glasgow School embroidery panel in oak easel back frame, the panel with a maiden kneeling before another maiden, inscribed to the base of the panel, the easel back oak frame carved with sunflower roundels, unsigned, 91cm. high £600-800

248. A Secessionist embroidery and textile wall hanging, on olive green mount, embroidered with a flock of seagulls flying above patchwork poppy flower stems with leather flowers, unsigned, 169 x 79cm. £150-200

248

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FURNITURE 249. An ebonised wood fire screen in the manner of J.P. Seddon, on angled feet, the uprights with simple flowerhead decoration, with pegged joints, set with square panel with embroidered and painted floral panel, unsigned, 96cm. high, 68cm. wide £300-500

250. A polished steel firescreen the designed attributed to John Williams, the rectangular panel hammered in low relief with a stylised tree with vertical foliage and berry fronds, in patinated iron frame unsigned, 85cm. high, 69cm. wide £400-600

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250

251. A cast iron fireplace designed to C.F.A Voysey, probably made by George Wright Ltd, cast with a panel of four crows standing on freshly ploughed furrows, later silver paint, cast foundry numbers to reverse, 102cm. high, 99cm. wide £2,000-3,000

252. A polished steel fender designed by Sir Robert Lorimer, swollen form with articulated panels and turned finials, £800-1,200 unsigned, 71cm. wide Literature Christopher Hussey The Work of Sir Roberty Lorimer, Country Life, page 111 plate a for a comparable fender made by Thomas Hadden. Provenance Latchmoor House, New Forest

251

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253. An Aesthetic Movement mahogany stickstand, with metal drip tray, rectangular form with turned uprights and rod and ball dividers, 71cm. high, 62cm. wide, 24cm. deep £200-300

254. A Collinson & Lock low chair, with turned back and legs, the flaring back splats with carved flowerhead panels, front legs with casters, 79cm. high £120-180

253 254

255. A pair of William Birch oak chairs, with turned front legs and back supports, three curved splats, 99cm. high (2) £150-200

256. A J.S. Henry mahogany piano stool, with flaring scrolled arms, inset with four Art Nouveau foliate panels in marquetry and abalone shell, the hinged seat with velvet upholstery, unsigned, 74cm. high, 73cm. wide. £150-200

255 256 257. A large oak wall mirror the design attributed to A.W.N Pugin, probably made by Gillows, rectangular with simple crenulated mantel, each corner with carved Tudor rose motif, 150 x 86cm £800-1,200

258. A Coalbrookdale Aesthetic Movement cast iron stickstand designed by Dr Christopher Dresser, the domed back, cast with stylised foliate panels, the central column with foliate handle terminal, supporting double-loop, with drop in tray unsigned, 99cm. high £600-1,000

257

258

Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 113 catalogue number 149-50 for a hallstand version illustrated.

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259. A rare gessoed wood wall mirror probably designed by Edgar Wood, rectangular form with stepped mantel, modelled in low relief with chevron panels, with golden patination, unsigned, 49 x 30cm. £500-800 Edgar Wood (1860-1935) designed this mirror circa 1914-1916 its chevron designs relate to the shop fronts of Middleton shops designed in 1908. RIBA hold the original watercolour designs for five related mirror’s of varying sizes which were exhibited at Partnership in Style Edgar Wood & J Henry Sellers, Manchester City Art Gallery 16th October-16th November 1975. (F.42). Literature Gerald and Celia Larner, The Glasgow Style, plate 159 for three chairs with comparable design.

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260. A Glasgow School mahogany high-back chair the design attributed to E.A. Taylor, probably made by Wylie & Lochhead, the back with tapering square supports and splat with cut-out heart motif, with curved arms, 132cm. high £400-600

261. A Shapland & Petter tile backed umbrella stand, model no.114, the back set with stamped Art Nouveau patinated copper panel above tile back, metal drip pan, stamped mark to back, 128cm. high, 72cm. wide £150-250 Literature Daryl Bennett Shapland & Petter Ltd of Barnstaple, Museum of Barnstaple, page 84, catalogue number 5.37 for a comparable stick stand with tile and copper back.

262. A Shapland & Petter oak hall stand, model no.R117/109, pierced, curved back-splats set with circular mirror, and two turquoise ceramic medallions, inlaid with marquetry flower stems, stamped marks, 197cm. high, 66cm. wide £300-500 Literature Daryl Bennett Shapland & Petter Ltd of Barnstaple, Museum of Barnstaple, page 50 for an original advertising photograph of a similar stand with circular mirror back

263. A Guthrie & Wells green painted wardrobe in the style of Charles Rennie Mackintosh, architectural form, the tapering rectangular section with over-hanging mantle with hinged panels, the front set with leaded glass windows, single hinged door, with patinated metal furniture 192cm. high, 147.5cm. wide, 52.5cm. deep £500-800 This wardrobe is fitted with identical brass furniture to several early pieces of furniture designed by Charles Rennie Mackintosh including a green stained Cypress dressing table manufactured by Guthrie & Wells in 1895 and purchased by William Davidson. It, and a wash stand also stained green with brass handles are held in the Glasgow School of Art collection. Literature Roger Billcliffe Charles Rennie Mackintosh The Complete Furniture, Furniture Drawings & Interior Designs John Murray, page 33 these examples illustrated.

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266 265

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264. A P.E. Gane oak wall cabinet, rectangular with leaded glazed doors between two open shelves, the lower with cut-out pipe rack, swollen overhanging mantle, inlaid with fruitwood and ebonised wood diaper bands, applied metal label to inside of door,, 74 cm wide, 96cm high £200-300 265. A Stanley Webb Davies oak armchair by Ernest John Oldcorn (1894-1968), dated 1953, with flaring, carved arm rests, drop in leather seat carved monogram, date and makers cipher, 92cm. high £800-1,200

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Literature A E Bradshaw Handmade Woodwork of The Twentieth Century, Jarrold & Sons, page 38 for a comparable chair illustrated. Hugh Wright Stanley Webb Davies 1894-1978 page 63 for a comparable chair illustrated. 266. A walnut desk cabinet designed by Peter Waals, rectangular with drawer below hinged panel cupboard, internally fitted with single shelf, ebony handles, with dove-tail joints, unsigned, 45.5cm. high, 32cm wide, 18cm. deep £500-800 267. A modern Cotswold School cabinet, rectangular section, on tapering square legs, with chip carved panel decoration, each end with hinged doors, 58cm x 38cm, 52cm. high £150-200 268. A modern Cotswold School mahogany cabinet, on castors, rectangular section with panelled doors and open back, £150-200 62.5cm x 41cm, 53cm high

269

269. An English Walnut box and cover inlaid with mother of pearl probably by Ernest Gimson, rectangular with hinged cover, dove-tail joints, the cover with inlaid hexagonal panels and square mother of pearl panels, unmarked, 19.5 x 14cm. £300-500

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270. A Cotswold school walnut cabinet on stand by Alfred James, dated 1927-28, serpentine legs supporting twin drawers, the cabinet with four small drawers and central drop front compartment below glazed cabinets, stamped to base A James 1927-28, 133cm. high, 70cm. wide, (2) £300-500 Alfred James (1844-1936) inherited the lordship of Edgeworth Manor near Stroud on the Death of his brother Albert in 1914. He was a supporter of Peter Waals and assisted Waals in setting up his own workshop after Ernest Gimson’s death in 1919. A talented craftsman in his own right he made a small amount of furniture for his own use - probably under the guidance of Peter Waals.

271. A cherry dressing table and mirror designed by Edward Barnsley, three drawer construction, with carved wood handles, the hinged mirror with holly and ebony banding stamped mark, 113cm. wide, 147 high, 51cm. deep £1,200-1,800

272. A Robert Mouseman Thompson oak ashtray, modelled as a horseshoe, with carved mouse signature, 12.5cm. wide £150-200

270

273. A set of six Robert Mouseman Thompson oak chairs, with leather pad seats, each carved with mouse signature, 65cm. high (6) £1,200-1,800 Provenance St George’s Hospital Chapel, London

271

273 272

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274 275

274. A continental Secessionist limed and ebonised oak extending dining table and six chairs, the round top table with one leaf, on solid tapering legs and floor height stretcher, 125cm diam. (closed), 79cm. high. 96cm. high (chairs) (7) £1,200-1,500 275. A continental Secessionist limed and ebonised oak sideboard, rectangular form with enclosing mantle, mirror back with two hinged door compartment under drawers, with silvered metal furniture, £1,200-1,500 166cm. high, 125cm. wide 276. A J.A.S Shoolbred oak sideboard, twin hinged cupboard with internal shelf, above drawers, patinated metal furniture, stamped mark to drawer, 117cm high, 122 wide, 49cm. deep £500-1,000

276

277

Provenance 20th Century Design 10th September 2014, Woolley and Wallis lot 1633. 277. A pair of Dutch pine chairs, flaring splat form with angled plank seat 85cm. high. (2) £150-200 278. A Gustav Stickley oak rocking chair, with three slat backs, woven cane seat, 85cm. high £200-300 Literature John Andrews Arts and Crafts furniture, ACC books, page 265 plate 293 for a comparable rocking chair with vertical back slats

279. A continental Secessionist oak armchair, with rattan seat, the back inlaid with pewter and ivory Secessionist flower design, 79cm. high £200-300 279

278

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280. A large and impressive Art Nouveau mahogany display vitrine and stand in the manner of Emile Galle, the mirrored cabinet carved with foliate bud terminals, with silver fittings, later glass shelves, the base carved with similar foliate stems and two sliding shelves, 136cm. wide, 241 cm high £2,000-3,000 Provenance Private collection.

280

281. A cast iron fireplace the design attributed to Charles Robert Ashbee and made at the Guild of Handicrafts, cast with a frieze of Art Nouveau tulip flowers, flanked with cast dove corbels supporting a shelf, the upper section with similar cast doves and central copper mounted circular mirror, with fire basket, 202cm. high. £3,000-5,000 Literature Style & Spirit Paul Reeves & the House Beautiful, Christie’s South Kensington, 12th June 2013, lot 627 for an identical fireplace illustrated. The Best of British Designs from the 19th and 20th Century, Paul Reeves/Sotheby’s selling exhibition,14-20 March 2008 page 118 catalogue number PR98 for a comparable fireplace.

281

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284 283

282

METALWARE 282. A W.M.F Secessionist electroplated table mirror, rectangular section with easel back, cast in low relief with panels of stylised butterfly and a central foliate roundel, and a WMF electroplated card tray stamped marks, 27.5cm. high (mirror), tray 25cm. wide (2) £150-200

285

283. An Osiris Secessionist pewter easel backed mirror, model no 021, swollen rectangular form, set with a mother of pearl £150-200 elliptical panel, 48.5cm. high

286

284. A set of four Orivit Secessionist pewter napkin rings the design attributed to Peter Behrens, model no.1430, each cast in low relief with geometric design and set with green glass stone, and three Liberty & Co Tudric pewter napkin rings probably designed by Oliver Baker, stamped marks, 6cm. wide. (7) £150-200 285. A Ferdinand Barbedienne silvered metal bowl, cast with two pulled scroll terminal handles, the body in low relief with ears of corn above flower border, and a Hukin & Heath silver footed bowl, with textured decoration and fluted rim, stamped mark to foot rim, 13cm. wide, (2) £150-250

287

288

286. A pair of Art Nouveau W.M.F electroplated candlesticks, modelled with a man and woman standing and supporting a large crocus flower bud sconce, on cast base of scrolling sinuous foliage stamped marks, 19cm. high (2) £150-200 287. A Christofle polished pewter vase, slender, shouldered from, cast with simple blackberry flower and foliage panels, on a red veined marble base 32.5cm. high £200-300

289

290

291

288. A Continental brass and glass Secessionist punch bowl and cover with glass ladle, the patinated brass frame with pierced square decoration and applied twin handles, the fitted glass body with polished circle and line design to neck, unsigned, 35cm. high (3) £120-180

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292

289. A Ferdinand Barbedienne bronze panel, rectangular, cast relief with a female water carrier, on red velvet mount, signed to the base rim, 45cm. high £200-300 290. An Art Nouveau patinated bronze model of a naked maiden cast from a model by Alfred E Lewis (active 1893-1901), modelled leaning forward her hand raised to her mouth, signed to the base, 47cm. high £200-300 291. Alfred Gilbert (1854-1934) Anteros, cast 1893-96 patinated bronze unsigned 8.5cm. high

£300-500

293

Literature Alfred Gilbert, Royal Academy of Arts, 1986 page 114 cat. no.20 for a signed example illustrated

292. A Christofle & Cie gilt metal mounted enamel coupe the design attributed to Emile Reiber, shallow form enamelled with a bird perched on a blossom bough before a riverscape and mountain, the exterior enamelled blue, the metal cast with three shaped panels with articulated loop handles, etched makers mark to side and number to one foot, 27cm. wide £300-500 A photograph of this piece exists in the Christofle archive Album 25 figure 40.

293. A Hukin & Heath electroplated sweetmeat dish designed by Dr Christopher Dresser, model no.2223, twin compartment with rolled rims, set with central loop handle, stamped factory marks, 17cm. wide £120-180

294. A Benham & Froud copper and brass kettle and cover designed by Dr Christopher Dresser, flaring square section with over-slung brass handle, the body with pierced foot, unsigned, 21cm. high £2,000-3,000 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 174 catalogue number 236 for a comparable example illustrated.

294

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295. A polished and patinated bronze casket, rectangular section, the hinged cover set with sphinx finial, the body with cast patinated panels of classical bust roundels inside foliate borders, internally furnished with blue silk lining unsigned, 20cm. wide £150-200 296. A pair of Gothic Revival fire dogs, pierced and cast with tracery design and flower finial, the tops with stylised flower terminal, unmarked, 20cm. long (2) £120-180

295 open & closed

297. An Aesthetic Movement oak mantel clock in the style of Lewis F Day, rectangular form with domed mantel, set with enamelled panels of stylised fruiting foliage, circular dial with Arabic numerals, 31cm. high £150-200 298. A brass hall lantern, the pierced domed top supporting a cylindrical frosted glass shade, unsigned, 39cm. high £150-200 299. A polished brass hall lantern, the pierced dome with fleur de lys motif, with pink frosted glass cylindrical shade unsigned, 32cm. high £120-180

296 297

300. A Barnard Bishop and Barnard cast bronze panel designed by Thomas Jeckyll, rectangular form, cast in low relief with prunus blossom and geometric diagonal stripes with Japanese mon, in later ebonised wood frame, 53 x 21cm. £200-300 Literature Susan Weber Soros and Catherine Arbuthnott, Thomas Jeckyll, Architect and Designer 1827-1881, Yale, page 215 fig. 6-39 for an original illustration of this design, 1884. 301. A pair of ebonised wood picture frames, rectangular, carved with a frieze of berried foliage, 64 x 54cm. (2) £150-250

298

299

300

301

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302. A patinated bronze wall sconce in the manner of Edward Spencer, the scrolled shield back supporting three short sconces, unsigned, 61cm. long £200-300

303. A pair of patinated bronze candlesticks in the manner of the Artificers Guild, swollen cylindrical stem cast with a broad band of overlapping foliage, below a narrow frieze of circles, flanked with three scrolling butress, on circular base, unmarked, 30cm. high, (2) £250-350

303 302 304. A brass and wrought iron firescreen, the shaped brass panel stamped with a displaying peacock, set with two turquoise ceramic roundels, unmarked, 67cm. high £200-300

305. A pair of W J Pittard Sparkford burnished steel firedogs, on tripod feet, the twisted stem with foliate panels and flaring dresset basket tops, stamped with diaper and dot panel, stamped marks, 62cm. high (2) £300-400

305 304 306. A patinated metal hall lantern, flaring square section, with rivet decoration, set with four streaked green glass panel shades, unmarked, 33cm. high £200-300

307. An Art Nouveau brass ceiling light with pink vaseline shade, the openwork light decorated with sinuous entwined stems, set with cylindrical pink glass shade internally decorated with floriform motif, unsigned, 86cm. long, shade 22cm. high £500-800

306

307

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308. A Glasgow School brass clock the design attributed to Margaret Gilmour, the circular dial cast in low relief with interlinked Celtic dragon motif, arabic numerals, pendulum and two weights unsigned, 33.5cm. diam (4) £200-300

308

309. Time and Tide a brass wall clock designed by Peter Wylie Davidson, shield shape, stamped in low relief with a frieze of flying stylised birds, below circular dial with Arabic numerals, and a sailing vessel roundel, the pendulum with stamped similar sailing vessel panel and two weights, unsigned, 42 x 38cm (clock face), (4) £800-1,200

309

310. An Arthur Seaward Homespun pot and cover, cylindrical hammered form, inscribed There is no herb like it under the canopy of heaven, with rivet decoration, stamped mark, 12cm. high £150-200 311. A pair of Duchess of Sutherland Cripples Guild electroplated copper bowls, circular with deep rim, each cast to the well with fruiting grape vine, unsigned 30.5cm. diam (2) £120-180 312. A carved oak double inkwell and pentray in the manner of Arthur Simpson of Kendal, rectangular with two tapering wells with hinged covers, unsigned, 23.5cm. wide £120-180

311

310

313. A Miller patinated metal table lamp and reverse painted glass shade, the bell shaped shade painted with thatched cottages on a riverbank, cast marks to base, 39cm. high £150-200 314. A W.A.S. Benson copper and brass oil lamp, the copper reservoir on tripod foot with foliate feet and curved handle, with glass flume, stamped WAS Benson mark to foot, 19.5cm. high (2) £150-250

312

Literature Catalogue of Lighting & Hollow Ware Designs, W.A.S Benson plate 6 model no.426 illustrated. 315. A W.A.S Benson wrought iron table lamp, on arched tripod foot with foliate panels the central stem flanked with flaring foliate panels, with modern white shade unmarked 70cm. high (2) £300-500 Literature Ian Hamerton (editor) W.A.S Benson Arts and Crafts Luminary & Pioneer of Modern Design, ACC books, page 248 plate 4 oil lamp number 396 for a similar foot design illustrated.

313

314

315

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316. A large Newlyn Industrial Class copper pedestal bowl and rose, hammered with a frieze of three scaly fish, on hammered ground, stamped Newlyn to base 24.5cm. diam £300-400 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 108 for a comparable rose bowl.

317. A copper mounted wood book shelf in the manner of Newlyn, rectangular stamped with a sailing vessel before a rising sun, and a Newlyn copper bed pan hammered in relief with a medieval sailing vessel, main item unmarked 30cm. wide. (2) £120-180

316

318. A Newlyn Industrial Class copper tray, twin-handled elliptical form, with pierced rail, repousse hammered with a frieze of fish swimming amidst waterweed and scallop shells, stamped Newlyn, 56.5cm. wide £300-400

317

319. A rare Newlyn Industrial Class copper easel back photo frame, rectangular, hammered in relief with four scaly fish and a scallop shell, stamped Newlyn, 39.5 x 26cm £350-450 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 60 for a comparable frame.

320. A rare Newlyn Industrial Class repousse hammered wall mirror, square, hammered in high relief with Cornish apples and foliage, with central circular bevelled mirror, stamped Newlyn 52.5cm. square £1,000-1,500 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 75 for a rectangular frame with similar apple decoration.

318

319

321. A Newlyn Industrial Class copper tea caddy, oval section, hammered in relief with three ships sailing at full sail at sea, the cover with two scallop shells, stamped Newlyn to base, 12.5cm. high £250-350 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 56 for a comparable caddy with fish decoration.

320

321

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322. A Glasgow School patinated copper wall mirror possibly designed by E.A. Taylor, rectangular, hammered to each corner with a heart shaped foliate motif, on hammered ground, indistinct stamped marks AH 821 to the back rim, 54.5 x 44.5cm £400-600 323. A Keswick School of Industrial Arts hammered copper vase designed by Thomas Maryon, flaring cylindrical form, repousse hammered with a band of hearts and diamonds, stamped KSIA diamond, 19.5cm. high £60-100

322

323

Literature Ian Bruce The Loving Eye and Skilful Hand, The Keswick School of Industrial Arts, page 57 plate 40 for an identical vase illustrated at the Home Arts and Industries Exhibition 1900. 324. A copper mounted wooden menu frame, probably Cornish, hammered in relief with inscription Catering Houses Ltd Menu, on hammered ground, with later photocopied menu unsigned, 40cm. high £150-200 325. A repousse hammered patinated copper bowl in the manner of John Pearson, the well hammered with a roundel of a lizard about to attach a beetle, the rim with four Japanese mask panels, and stud border, unsigned, 28cm. diam £150-200

325 326. A patinated copper wall mirror attributed to John Pearson, oval, hammered in relief with a simple foliate spray and set with four turquoise glazed ceramic roundels, unsigned, 44cm. wide £350-450

324

327. A repousse hammered copper wall charger by W T Flower, dated 1899, decorated to the well with a sailing vessel on a rough sea, the rim with a frieze of leaping scaly fish etched marks to reverse, 59cm. diam £150-200

326

327

JOHN PEARSON 328. A John Pearson repousse copper firescreen, shaped as a flag, hammered in relief with sailing vessel, the sail with a radiating sun motif, on flaring feet, £150-200 unsigned, 79cm. high 329. A John Pearson repousse copper coal box, dated 1901, the hinged cover hammered in relief with two birds flanking a flowerhead, stamped JP 1901 to back panel, 35.5cm. wide £250-350

328

329

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330 331 330. A John Pearson repousse copper wall charger probably made at the Guild of Handicrafts, dated 1890, the well decorated with four radiating phoenix, the rim with a frieze of fruiting vine, stamped J Pearson 1890, 267, 38.5cm. diam £1,000-1,500 John Pearson was one of the four founding members of the Guild of Handicrafts (in 1888), it is recorded that he left the guild in 1892 which would suggest this charger was produced by Pearson whilst at the Guild of Handicrafts.

332

331. A large John Pearson repousse copper wall charger, dated 1897, the well decorated with a stylised blossom tree before a rising sun, the rim with a band of flowerhead decoration, stamped J Pearson, 1897, 51.5cm. diam £1,000-1,500 332. A John Pearson patinated repousse copper charger dated 1898, circular, hammered in relief with Adam & Eve below a flowering tree, titled Spring Time, etched J Pearson 1898, numbered 2401, 31cm. diam £800-1,200 333. A John Pearson repousse copper wall charger, dated 1892, the well hammered in relief with two birds perched on a floral bough, the rim with a frieze of flowers and foliage, etched JP 1892, 38.5cm. diam £500-1,000 334. A John Pearson rare repousse silver plate, dated 1894, hammered in relief to the rim with a band of scaly Classical dolphin fish amongst scrolling waterweed, etched J Pearson 1894, stamped JP roundel, London 1894 hallmarks, 26cm. diam £2,000-3,000 Provenance Arts and Crafts, Woolley and Wallis, 1st June 2006 lot 761. Private collection. 335. A large John Pearson repousse copper overmantel, in oak frame, the central rectangular panel hammered in relief with a castle in a landscape with winding path, flanked by two rectangular panels of owls perched amongst oak leaf and acorn sprays, indistinct marks to reverse, 117 x 68cm. (central panel 47 x 56cm) £1,800-2,200

333

334

335

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A PRIVATE COLLECTION OF JEWELLERY 336. A George Hunt silver and abalone shell brooch, square section with central abalone shell roundel, hammered finish with strapwork and rivet decoration, stamped mark Birmingham 1906, 4cm. square £150-200 Literature George Edward Hunt The Silent World of an Arts and Crafts Jeweller Bonhams November-December 2006, page 15 catalogue number 12 for a comparable example. 337. A George Hunt silver and enamel Mermaid clip brooch, dated 1933, tapering rectangular section enamel, inside wirework frame set with blister pearls, stamped mark, signed G Hunt 1933 to reverse of enamel, 7cm. high £1,500-2,000

336

Literature George Edward Hunt The Silent World of an Arts and Crafts Jeweller Bonhams November-December 2006, page 35 catalogue number 67 for a comparable enamel. 338. A George Hunt silver and blister pearl bar brooch, slender rectangular bar with Celtic wire knot and applied abelone shell stamped George Huint shield mark, 10cm. long £200-300 339. A Bernard Instone silver and turquoise brooch, circular form pierced and cast with radiating foliate panels, the centre set with turquoise stone, indistinct marks, 4.5cm. diam £150-200 Literature Elyse Zorn Karlin, Jewelry & Metalwork in the Arts and Crafts Tradition, page 73 for a comparable example.

337

338

339

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340. A silver pendant necklace the design attributed to Sybil Dunlop, pierced wirework frame set with amethyst, moonstones and other stones, unmarked, 8cm. wide £500-1,000

341. A silver mounted circular brooch in the manner of the Artificers Guild, cast with a frieze of foliage and rope twist borders, set with six sapphire stones, unmarked, 3.5cm diam £500-800

341

340

342. A turquoise mounted silver ring in the manner of the Artificers Guild, cast with grapevine decoration set with large turquoise stone, another set with chrysoprase stone and another smaller ring unsigned (3) £800-1,200

342 343 343. A silver and moonstone bracelet double chain in the manner of the Artifiicers Guild, set with cast roundel panels and three moonstones, unmarked, 19cm. long £400-600

344. A silver brooch the design attributed to Edith Linnell, wirework foliage cluster set with amethyst, emeralds and other stones, a circular brooch with cornelian and chrysoprase and another, unmarked, 5.5cm. wide (3) £500-1,000

345 344 345. A silver and opal flower stem brooch in the manner of Edith Linnell, another larger, another circular brooch cast with foliate border set with rubies and a pair of clip earrings, unmarked, (5) £500-1,000

346. A silver and chrysoprase bar brooch by Edith Linnell, with central pierced and cast foliate panel set with two stones and a seed pearl, in original presentation case, another similar and a silver mounted multi stone bar brooch, case marked Edith Linnell Art Jeweller, 8cm. wide (3) £500-1,000

346

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347. A silver moonstone and lapis pendant necklace in the manner of the Artificers Guild, the pierced cast diamond shaped border decorated with flowers and foliage, set with four small moonstones, around a central lapis stone, with lapis stone drop, unsigned, 8cm. long £700-1,000 348. A silver mounted enamel brooch in the style of George Hunt, asymmetric foliate form with central enamel roundel of a woman in profile, a silver and chrysoprase Celtic cross pendant, with enamelled blue and green back, and a silver and lapis pendant necklace and integrated chain in the manner of Sibyl Dunlop, unsigned, 6cm. wide (3) £600-1,000 349. A silver pendant necklace in the manner of Amy Sandheim, pierced and cast with central cruciform pendant motif with trefoil terminals, set with amethyst and chrysoprase stones, the link chain with pierced panels and stones, another similar, three other necklaces, a pair of earrings and a star shaped brooch set with abalone and moonstone cabouchon, unsigned 6.5cm. long (6) £500-1,000

347

348

Amy Sandheim advertised her work as ‘Artistic and Peasant Jewellery’ in the Arts and Crafts traditions of William Morris and Charles Robert Ashbee. Born in 1883 she was a prominent contributor to a second wave of artist jewellers and her work has similarities with that of her close associates Dorrie Nossiter and Sybil Dunlop 350. A Bernard Instone silver amethyst and pearl brooch, pierced and cast as a stylised foliate panel, a silver and moonstone flower stem brooch attributed to Bernard Instone, another similar, a turquoise mounted brooch, ring and earring set, two other pairs of clip earrings, a topaz and enamel necklace and seven other brooches in the manner of Bernard Instone stamped marks, 4cm. wide (19) £1,200-1,800 351. A Murrle Bennett silver and amethyst necklace, a silver bar brooch the design attributed to Bernard Cuzner, a silver and enamel heart shaped pendant by John Baker Bennett, a silver and blister pearl shell brooch by E. Minns set with three carnelian stones, a multi stone ring and a Guild of Handicrafts silver and enamel brooch, stamped marks, (6) £500-1,000 Literature Minns executed designs by Edward Spencer for the Artificers Guild 352. A silver and amethyst ring the design attributed to Bernard Instone, cruciform shape, pierced and cast with flowers and foliage, set with central stone, another similar set with central purple stone and another similar, one stamped silver, (3) £400-600

349

351

350 352

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353. A silver and opal pendant necklace the design attributed to Rhoda Wager, pierced and cast frame of simple ivy leaves, on fancy link chain, two brooches similar, and another yellow metal pendant necklace, unmarked 4cm. long (4) £1,000-1,500 Rhoda Wager (1875-1953) was born in London and studied at the Glasgow School of Art from 1897 to 1903 before migrating to Australia. It is recorded that her work was exhibited at the New South Wales Society of Arts and Crafts in 1914.

354. A gem set clip brooch probably by Dorrie Nossiter, a wirework frame set with foliate panels, seed pearls and assorted coloured stones, three kilt pins set with moonstones, another clip brooch set with moonstones and four bar brooches, unmarked, 6cm. wide (9) £1,000-1,500

355. A silver and opal ring the design attributed to Rhoda Wager, simple foliate frame with central opal stone, and another smaller unmarked, (2) £600-1,000

354 353

356

355

356. A silver and opal ring the design attributed to Kate Eadie, silver pierced and cast with rope twist border and foliage shoulder with elliptical central stone and another smaller with amethyst stone, (2) £800-1,200

VARIOUS JEWELLERY 357. An 18 carat gold link necklace by John Paul Cooper, quatrefoil link panels, stamped to clasp JPC 18, 41cm. long £1,200-1,500 Literature Natasha Kuzmanovic John Paul Cooper Designer and Craftsman of the Arts and Crafts Movement, Sutton, page 95 plate 62 for two comparable examples of 18 carat gold necklaces.

357

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358. A wirework pendant necklace, set with central square amethyst stone, flanked with mother of pearl and garnet panels, with garnet drop and chain link, unsigned, 4.5cm. long. £150-200

358

359

359. A German silver and enamel pendant necklace, circular cast in low relief with fruiting vine, set with round green enamel panel, with abelone shell drop and chain link, stamped 900, 7cm. long £150-200

360. A cast silvered bronze pendant by Raymond Pelletier (1907-1958, octagonal, cast in low relief with a winged cherub feeding fruiting vine to a young fawn signed in the cast, 4.5cm. wide £150-200

361. A Charles Horner silver and enamel pendant, pierced entrelac motif enamelled blue and green, hanging from a small enamelled circular panel, stamped marks, Chester, 3cm. wide £180-220

360

361

362. A Gourdel Vales & Co silver and enamel pendant, trilobed form, cast in low relief with foliate borders, enamelled green and blue, with natural pearly slender drop, indistinct marks under enamel, 5cm. long £150-200

363. A Smith & Ewen silver and enamel pendant, pierced square section, cast in low relief and enamelled with simple flower head design in green, blue and red stamped marks, Birmingham 1909, 4.5cm. long £150-200

363 362

364. A Smith & Ewen Art Nouveau silver and enamel pendant, shield shape cast in low relief with simple foliate panels, enamel royal blue, with simple shield drop, stamped marks, Birmingham 1909, 4cm. long, £150-200

365. A silver pendant necklace attributed to Murrle Bennett & Co, hammered, articulated shield shape set with central moonstone, with similar moonstone drop and two moonstones mounted on the chain, 4.5cm. long £200-300 Literature Liberty & His Rivals, page 257 figure 20. for a comparable form.

364

365

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366 366. A Gladys & Charles Mumford silver brooch, crescent form, with wirework leaves and foliage, set with central malachite stone, another Mumford silver brooch modelled as bunch of flowers and foliage and a ring, ring stamped 925, 7.5cm. wide. (3) £150-200

367

368

Gladys and Charles Mumford had a workshop in Falmouth Cornwall where they retailed their jewellery designs until it closed in 1963. There work was sold at both Liberty’s of Regent Street and also onboard the QE2. 367. A Gladys & Charles Mumford silver brooch, circular wirework form with foliate panels and scroll S, another similar and three other brooches stamped silver, 3.5cm, wide, (5) £150-200 368. A Gladys & Charles Mumford silver link bracelet, scrolling wirework links with single leaf design, a pair of en suite clip earrings and a brooch similar stamped silver 19.5cm. long (bracelet) (4) £150-200

370 369

369. A silver and enamel brooch after a design by Archibald Knox, probably J B Bennett & Co, circular, cast in low relief with foliate panels, enamelled green and blue, stamped J B B & Co, Silver, 2.5cm. diam £120-180 370. A Liberty & Co Cymric silver and enamel belt buckle, diamond shaped, cast in low relief with a Butterfly motif, enamelled green, blue and red stamped marks, £200-300 Birmingham 1903, 8cm. wide Literature The Art Nouveau Buckle, Christie’s South Kensington, 27th November 2007, page 23 lot 98 for a comparable example. 371. A set of four H.G. Murphy Falcon Works silver napkin rings, in presentation box, each circular with different cast bands, stamped marks, London 1929 4.5cm. diam. £500-1,000 Literature Paul Atterbury & John Benjamin The Jewellery and Silver of H.G. Murphy, Antique Collector’s Club, page 106 for a comparable set of 6 napkin rings from the 1930s illustrated.

371

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SILVER 372. An R.E. Stone silver porringer made for The Goldsmiths & Silversmiths Company, with cast faceted triangular handles, hammered finish, stamped marks, London 1938, 16cm. wide £200-300 373. An R.E. Stone silver quaich, the shallow fluted bowl with cast berried foliage handles, stamped marks, London 1936 13.5cm. wide £100-150

372

373

374. An R.E. Stone silver mug retailed by Wilson & Gill, flaring cylindrical form with stepped handle, stamped marks, London 1935, 9.5cm. high, 155 grams £200-300 375. A William Hutton & Sons silver bowl designed by Kate Harris, the shallow hammered bowl on for strap work feet, set with simple copper rivets, stamped marks, London 1902, 12cm. diam £300-350 376. A pair of James Fenton silver salts and serving spoons, circular with pierced Celtic knot handles, in fitted presentation box, Birmingham 1909, spoon 1910, 7cm. wide. (4) £100-150

375 374

377. An Art Nouveau James Fenton silver and enamel seven piece cruet set, comprising, two open salts, a pepper pot and cover, a mustard pot and hinged cover and three serving spoons, each enamelled with a stylised flower stem in blue, the pots on cast foliate feet, stamped marks, Birmingham 1905, pepper 7.5cm. high (7) £400-500 378. An A.E. Jones silver pepper pot, footed, hammered form with three applied strap handle, the domed, pierced cover with a central stylised flower stamped marks, Chester 1914, 5.5cm. high £80-120

376

377

378

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379. A William Hutton & Sons silver and enamel pedestal bowl, retailed by Connell, triangular section, the broad rim cast with cut-out heart motif, set with three honesty roundels with blue and green enamel, on tripod foot, stamped marks, London 1905, 11cm. wide, 102gram £300-350

379 two views 380. A Liberty &Co Cymric silver pedestal bowl, set with three turquoise cabouchon, stamped marks, Birmingham 1905, 11cm. diam. £300-400

381. A set of six Liberty & Co Cymric silver teaspoons, each cast entrelac panel, and foliate terminal, in fitted case, stamped marks, Cymric, Birmingham 1902, 11cm. long. £150-200

380 381 382. A Liberty & Co silver and enamel sovereign case designed by Archibald Knox, circular with hinged cover, cast with a scrolling honesty stem enamelled in red, blue and green stamped marks, Birmingham 1905, 4cm. high £250-350

383. An A.E. Jones silver pedestal dish, on open circular foot, four strap columns supporting shallow bowl cast with Tudor rose frieze, stamped marks, Birmingham 1929, 10cm. diam £200-300

382

383

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384. An A.E. Jones silvered copper cigarette box and cover, rectangular form, with hinged cover, cast in low relief with strapwork decoration and central Ruskin pottery stone, the sides with smaller roundels, one with MW monogram, cedar lined, unsigned, 19cm. wide £200-250 385. A silvered copper casket and cover probably by A.E. Jones, the hinged cover cast with strapwork decoration and set with green and blue enamel roundel, the side set with smaller blue enamel roundel, cedar lined, unsigned, 20cm. wide £200-250

384

385

386. An A.E. Jones copper cigarette box and cover, rectangular section the hinged cover cast with strapwork design set with green and blue enamel roundel, cedar lined, unsigned, 15cm. wide £150-200

386

387

387. An A.E. Jones brass cigar box and cover, with overhanging hinged cover, the cover cast with foliate hinges set with Ruskin pottery stones, the box on strapwork feet, hammered finish, unsigned, 20cm. wide £200-300 Literature Kenneth Crisp Jones The Silversmiths of Birmingham and their Marks 1750-1980, this design illustrated page 181. 388. A Bernard Instone small silver quaich, cast with two thistle flower handles, stamped marks, Birmingham 1928, 9.5cm. wide. £150-200 389. A James Fenton silver quaich, the Celtic loop handles set with Scottish agate panels, stamped marks, Birmingham 1913, 8cm. wide £150-200

388

389

390. A pair of A.E. Jones silver baskets, model no.782, elliptical form with over-slung handle, cast with simple flowerhead design, on hammered ground, stamped marks, Birmingham 1932, 13cm. wide. (2) £300-400

391. An A.E Jones silver sauce boat, model no.1136, with hinged cover, the cover set with ivory finial, hammered finish, with scroll handle, stamped marks Birmingham 1934, 18.5cm. wide £250-350 392. An A.E. Jones silver sauce boat, on three feet, hammered finish, stamped marks, Birmingham 1920, 16.5cm. wide, 134 grams £100-150

390

391

392

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393. An A.E. Jones silver coffee pot, model no.712, tapering cylindrical form with simple cast entwined rose band, hammered finish, the hinged domed cover with wooden finial, fruitwood harp handle, stamped marks, Windermere, Birmingham 1919, 19cm. high, 309 grams £200-300

394. A pair of Charles Edwards silver cafe au lait pots, each swollen hammered form on three flaring feet, the hinged cover set with ebonised wood finial, the ebonised wood handle with elaborate foliate mounts stamped marks, London 1911, 18cm. high, (2) £300-400

393

394

395. A Scottish silver coupe on domed foot, supported on three cast stems, hammered finish, stamped marks, Glasgow 1905, 12.5cm. high, 300grams £200-250

396. A small Mappin & Webb silver tazza, domed hammered foot, with three curved supports to hammered bowl, stamped marks, London 1905, 5cm. high, 50 grams £100-150

397. An A.E. Jones silver Celtic basin, raised on four bun feet the pierced Celtic border foot supporting flaring hammered bowl with similar pierced band, stamped marks, Birmingham 1929, 12.5cm. wide, 150 grams £300-400

395

396

398. An A.E. Jones silver Celtic cream jug, hammered, shouldered form, on pierced cast trellis band and bun feet, the handle with flowerhead panel, stamped marks, Birmingham 1924, 7cm. high, 120 grams £100-150

397

398

399

400

399. A Charles Edwards silver sugar caster. tapering cylindrical form on three flaring feet, cast with simple Art Nouveau flower stem motif, the pierced domed cover with central foliate finial, stamped marks, London 1904, 19cm. high, 280grams £200-300

400. A Moss Morris silver cup, the swollen base cast with lobed design, flaring hammered neck with three applied strap handles, stamped marks, London 1902, 11cm. high, 6 troyes ounces £250-350

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401. A Charles Boyton silver wine taster, the circular shallow bowl with applied cast flower handle, stamped marks, London 1939, Charles Boyton facsimile signature, 10cm. wide £150-200 402. A Henry Williamson silver and enamel napkin ring, cast in low relief with an Art Nouveau flower stem, enamelled in shades of blue, stamped marks,Birmingham 1905, 5cm. diam £80-120

401

402

403. A George Edwards & Son silver tazza, on domed foot, tripod scroll supports, the bowl and base with hammered finish, stamped marks, Glasgow 1905, 8.5cm. high £100-150 404. An A.E. Jones silver cauldron, based on an Iron Age cauldron found at Glastonbury Tor, ovoid with stamped domed roundel band, stamped marks, Birmingham 1934, 11cm. diam. 207 grams £150-200 405. An Art Nouveau John Round & Sons silver chalice, the shallow domed foot supporting a tripod wirework stem and bowl, the bowl and foot with hammered finish, stamped marks, Sheffield 1909, 11cm. high £150-200

403

404

406. An A.E. Jones silver twin-handled dish, model no.679, the circular bowl with stamped dimple band, with pierced twin strap handles, stamped marks, Birmingham 1915, 19cm. wide £150-200 407. A William Hutton silver double inkwell possibly designed by Kate Harris, rectangular form with hinged, overhanging cover, set with large strapwork hinges, on four cast feet with pen hooks to the front, two clear glass inkwells inside, and two later dip pens, stamped marks, London 1902, 16cm. wide (3) £400-500

405 406

407 two views

408. A Deakin & Francis silver box and cover, rectangular with strap hinges and feet, the hinged cover set with Ruskin ceramic stone, hammered finish, stamped marks, Birmingham 1904, 11.5cm. wide £500-600

408

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409. An A.E. Jones silver tea caddy and cover, cylindrical form, with rope twist border, the hinged cover, slightly domed and cast with simple foliate panel, on three leaf capped feet, stamped marks, Birmingham 1912, 9.5cm. high, 136grams. £250-350

409

410. An R.E Stone silver porringer retailed by Wilson & Gill, elliptical shallow bowl set with two cast crown handles, stamped marks, London 1934, 15.5cm. wide £150-200

410

411. A Charles Boyton silver and ivory cup and cover, the domed base supporting slender, flaring cylindrical stem, cast with foliate bands, flaring bowl with cast handles set with ivory pads, the shallow cover with carved faceted ivory finial, stamped marks, London 1936, Charles Boyton facsimile signature 28cm. high (2) £1,000-1,500

411

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412. A Charles Edwards silver milk-jug and sugar basin, hammered, swollen form applied with cast foliate handles on tripod feet, stamped marks CE London 1910, 13cm wide (sugar basin) £100-200 413. A Moss Morris silver milk-jug and sugar basin, waisted cylindrical form with applied cast foliate handles, hammered finish, stamped marks, London 1903, 8cm high (jug), 139 grams. (2) £200-300

412

413

414. An A.E. Jones silver butter dish with clear glass liner, the hammered, twin-handled bowl on four short legs, an A.E.Jones silver salt and spoon, stamped marks, Birmingham 1934, 12.5cm. wide (3) £200-300 415. An A.E. Jones silver cruet set, comprising salt with glass liner, pepper pot and mustard pot with hinged cover and matched Levi & Salaman serving spoon, each cast with a pierced foliate border stamped marks, Cruet Birmingham 1931, pepper 7.5cm. high (4) £100-150 416. An A.E. Jones silver mustard pot and serving spoon, the pot on three feet, with simple rope twist band, hammered finish, with blue glass liner, the spoon with twisted stem and ball finial, stamped marks, Birmingham 1928, 6cm. high (2) £100-150

414

417. A George Connell silver footed bowl, probably manufactured by A.E. Jones, model no.913, modelled as a bowl on carved wood stand, cast in low relief to the rim with hanging bunches of grapes, stamped marks, Birmingham 1926, 23cm. wide, 26 troyes ounces £500-800

415

419. An A.E. Jones silver twin-handled porringer, model no.501, the shallow bowl with two pulled wirework handles with ball finial, hammered finish, stamped marks, Birmingham 1923, 19cm. wide, 85 grams £300-350

416

417

418

418. A Connell silver reproduction of the Winchester Bushel bowl, on three hooved feet, the twin-handled bowl with cast lion , rose shield and port cullis motif inscribed Henricus Septimus Dei Gracia Rex d Anglae et Francie, hammered finished, stamped marks, Birmingham 1917, 15cm. wide. 313 grams £150-200

Literature Alan Crawford By Hammer & Hand Birmingham Museums & Art Gallery, 1984 page 112 plate 91 for a comparable example.

419

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420. A Charles Edwards silver bud vase, footed, flaring cylindrical form with applied wirework handles, hammered finish, stamped marks, London 1903, 16cm. high, 128 grams £100-150

421. An A.E. Jones silver footed bowl, model no.837, the hammered bowl with rope twist border to rim, applied with cast acanthus leaf handles, topped with George V portrait, stamped marks, Birmingham 1922, 14cm. wide £150-200

422. An A.E. Jones silver pedestal bowl, tapering cylindrical foot supporting flaring bowl with pierced rim and scroll hands with foliate centres, stamped marks, Birmingham 1923, 26cm. wide, 17.5cm. high, 462grams £300-400

420

421

423. An A.E. Jones silver footed bowl, model no.796, twin-handled form with cast flower motif, the elliptical bowl with pierced rim, hammered finish, on four satyr feet, stamped marks, Birmingham 1920, 26cm. wide £350-450

422 424. An A.E. Jones silver rose vase, swollen cylindrical form, cast with a band of stylised flowerheads, rope twist rim, hammered finish stamped marks, Birmingham 1914, 8.5cm. high £100-150

423

425. An Elkington & Co silver mug, barrel shape with cast strapwork decoration, applied angular handle, stamped marks, London 1905, 7.5cm. high, 6 troyes ounces £250-300

426. An A. E Jones silver cup, footed form the flaring bowl cast after the antique with ivy vine on textured ground, with loop handles, stamped marks, Birmingham 1928, 10cm. high, 222 grams £100-150

424

425

427. A Jacques & Bartholomew silver chamberstick retailed by Pearce & Sons, circular, tapering form with applied scrolled handle, hammered finish, stamped marks, London 1902, 9./5cm. high, 13cm. diam. £250-300

426

427

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428. A Keith & Co silver communion set, the paten engraved with the Lamb of God, the chalice with hexafoil base, knopped stem flanked with columns, and flaring bowl, in oak travelling case stamped Keith & Co London 1870, 17cm. high (2) £300-500 429. A Barkentin & Krall silver ciborium probably designed by Carl Krall, on hexafoil foot set with alternate pink and amber stones with small seed pearls, the pierced and knopped stem with cast foliate knop set with stones, the shallow domed cover set with pierced hexafoil frieze and cruciform finial set with rubies, stamped Krall marks, London 1887, 21.5cm. high (2) £600-800

428 429

430. A John Hardman & Co silver-gilt chalice the design attributed to John Hardman Powell, the hexafoil base cast with flowerhead panels set with central garnets, the cylindrical neck engraved with floral diaper work, the knop engraved with leaves and set with garnets and foil-backed quartz stones, the flaring bowl with grape vine border to the base, stamped marks, Birmingham 1866, 17cm. high £200-300 431. A John Keith silver-gilt chalice, the hexafoil foot set with two borders of carnelian stones, below engraved diaper borders to the hexagonal stem. the knop set with lapis stones, the bowl with simple engraved band stamped marks, JK London £200-300 1854, 13.5cm. high Literature Victorian Church Art, V & A, London, 1971, page 26 cat. no. C11 for a John Keith chalice after a design by Butterfield and William

431

432. A John Hardman & Company silver travelling communion set, the elliptical case cast in low relief with fleur de lys and berried foliage design, containing silver gilt cup and cover, stamped marks, Birmingham 1868, 11cm. wide (3) £200-300

430

432

432 detail

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433. An Art Nouveau William Hutton & Sons Ltd silver vase the design attributed to Kate Harris, retailed by Connell, with blue glass liner, the vase constructed with four hammered foliate panels riveted to a central collar, stamped marks, London datemark rubbed,, blue glass liner broken, 13.5cm. high £400-600 434. A modern George Hart silver and green glass decanter, originally designed by Charles Robert Ashbee, ovoid glass with cylindrical neck, hammered silver neck, the domed stopper with wirework finial set with chrysoprase, stamped marks, London 1989, 25cm. high £500-1,000 435. An Omar Ramsden silver pedestal bowl, simple form with two applied rope borders, stamped marks London 1934, and etched Omar Ramsden Me Fecit, 12cm. diam. 8cm. high £600-900 436. An Omar Ramsden silver and enamel cigarette box and cover, rectangular section, the hinged cover with wirework man-of-war in a rough sea, against a blue enamel panel, with rope-twist borders, hammered finish, with engraved inscription WHB to EFS 1927, cedar lined, sold with a copy of the exhibition catalogue, engraved Omar Ramsden Me Fecit to base, stamped marks, London 1926, 10.5 x 9.5cm. (2) £3,000-5,000

433 434

Exhibited Omar Ramsden 1873-1973 Centenary Exhibition of Silver, City Museum & Art Gallery Birmingham 1973, catalogue number 58. Provenance Important Silver, Christie’s King Street, 25th November 2008 lot 155

435

436 two views

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437. A James Dixon & Sons electroplated candlestick, tapering square base with rivet and strapwork decoration 22cm. high £120-180 438. An A.E. Jones silver box and cover, the hinged cover stamped in low relief with Briar roses and inscribed Gather Ye Roses While Ye May - Old Time is Still Flying with laurel leaf frieze border to cover and base rim, stamped marks, Birmingham 1906 11.5cm. wide £350-450

439. A Japoniste mixed metal mounted ivory paperknife, the shaped metal panel modelled in low relief a newt and beetle beside bullrush, on hammered ground unsigned, 24cm. wide £200-300 440. A Bernard Instone silver and enamel spoon, the flaring stem enamelled with a floral entrelac motif in colours, in presentation case, stamped marks, Birmingham 1927, 12.5cm. long £120-180 441. An H.G. Murphy Falcon Works silver and citrine preserve spoon, with reeded stem, the cast foliate terminal set with a citrine, stamped marks, London 1933, 13.5cm. long £250-350

437

439

438

441 440

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LIBERTY & CO 442. A large Liberty & Co Anglo-Moorish sideboard, with arched compartments, mirror back and carved wood door, 212 cm high, 186cm wide, 50cm. deep. £500-1,000 Provenance Private collection of Anglo-Moorish furniture 443. An Anglo-Moorish stool probably retailed by Liberty & Co, square section, square section legs with turned feet, pierced undercarriage set with mashrabiya panels and turned columns, padded seat, unsigned, 47cm. high, 40cm. wide £150-250 Literature Barbara Morris Liberty Design, Chartwell Books, page 100 for a Saracenic Smoking room line drawing from the Liberty Handbook of Sketches, containing a similar stool or low table 444. An Anglo-Moorish mahogany bookcase with cupboard probably retailed by Liberty & Co, three domed carved arches and carved mantle, and an AngloMoorish armchair set with mashrabiya panels, 154cm. high, 107cm wide, 30.5cm. deep, (bookcase), 86cm. high (chair) (2) £150-250 Literature Daryl Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 76 figure 3.27 for a comparable cabinet with Moorish arches. Provenance Private collection of Anglo-Moorish furniture

442

445. A Liberty & Co oak corner cupboard, architectural form, the panelled door below glazed door upper compartment, with patinated metal furniture, applied ivorine label, 197cm. high, 83cm. wide. £800-1,200 Literature Daryl Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 272 figure 7.63 for a comparable corner cabinet glazed to both compartments

443

444

445

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446. An Anglo-Moorish side table, possibly retailed by Liberty & Co. octagonal section with carved top and sides decorated with mashrabiya panels, inlaid with bone, 51cm. high £100-150 Provenance Private collection of Anglo-Moorish furniture 447. An Anglo-Moorish occasional table probably retailed by Liberty & Co, decagonal section on ten arched legs, set with marquetry geometric borders and mother of pearl, unsigned, losses to top, 65cm. high, 61cm. diam. £300-500

446

448. An Anglo-Moorish round table probably retailed by Liberty & Co, the circular top on six turned legs linked with mashrabiya panels, 57cm. high, 71cm diam. £100-150 Literature Daryl Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 29 figure 1.26 for a comparable table illustrated in the Yuletide Gifts catalogue, 1913.

447

Provenance Private collection of Anglo-Moorish furniture 449. A Liberty & Co Anglo-Moorish mahogany occasional table, the hexagonal top with crenulated arched panels, and Star of David stretcher, 72cm. high, 84cm. wide £150-200 Literature Barbara Morris Liberty Design, Chartwell Books, page 107 for a comparable table illustrated

448

450. A Liberty & Co oak firescreen with embroidered panel, the rectangular panel embroidered with flowers in scrolling foliage in green and white silk, applied ivorine label, 81.5cm. high, 59cm. wide £120-180

449

451. A Liberty & Co oak shelf unit, three shelves on shaped back and curved corner shelves, applied ivorine label, 77cm. wide £200-300

450

451

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452. A large Anglo-Moorish wall mirror probably retailed by Liberty & Co, in two sections, the lower section with shelf, set with mashrabiya panels, and inlaid with mother of pearl flower panels and central star motif, 200cm. high, 79cm. wide. (2) £120-180 Provenance Private collection of Anglo-Moorish furniture

453. An Anglo-Moorish corner cabinet probably retailed by Liberty & Co, with carved decoration set with mashrabiya and mother of pearl flowerhead panels, 175cm. wide, 65cm. high, 40cm. deep £150-200 Literature Daryl Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 169 figure 5.25 for a comparable corner cupboard illustrated in the Liberty & Co Yuletide Gifts catalogue, 1897, reproduced Provenance Private collection of Anglo-Moorish furniture

454. A Liberty & Co Anglo-Moorish mahogany table, octagonal section, on six turned and flaring legs and Star of David stretcher, with Moorish arch undercarriage, 67cm. high, £300-500 56cm. wide

452

Literature Daryl Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 34 figure 1.35 for a comparable table. Barbara Morris Liberty Design, Chartwell Books, page 106 for a comparable table illustrated. Provenance Private collection of Anglo-Moorish furniture

455. A large Liberty & Co patinated copper wall mirror designed by Archibald Knox, shaped rectangular form, stamped in relief with a Celtic knot panel and rivet band decoration, applied ivorine label, 90 x 62cm. £1,500-2,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA page 229 for a portrait version of this mirror illustrated Victor Arwas Art Nouveau in Britain from Mackintosh to Liberty. Papadakis page 131 for a comparible example

453

455

454

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456. A Liberty & Co pewter vase designed by Archibald Knox, bombe form on three loop feet, cast in low relief with sinuous berried foliage fronds, a pair of Liberty & Co Tudric pewter candlesticks model no.022 and a Liberty Tudric pewter covered jug, stamped marks, 10.5cm. high, (4) £150-250

456

457. A Liberty & Co Tudric Pewter vase, model no.0251, slender, swollen form, cast in low relief with a simple band of heartshaped foliage, a small Tudric Pewter jardiniere on four scroll feet designed by Archibald Knox, cast with foliate panels and a hot-water jug and hinged cover, stamped marks, 19cm. high. (3) £200-300 458. A large Liberty & Co Solkets English Pewter tray designed by Archibald Knox, elliptical section with two handles, cast in low relief with Art Nouveau foliate panels, on a hammered ground, stamped marks, 66cm. wide £400-600

457

This tray is larger than the standard tea set tray and is possibly a special commission for a larger tea service 459. A Liberty & Co Tudric Pewter tray designed by Archibald Knox, model no.042, with applied strap handles with rivet decoration, stamped marks, 47cm. wide £200-300

458

459

460. A Liberty & Co English Pewter footed bowl designed by Oliver Baker, model no.01128, on three strapwork feet, applied with simple turquoise stones to rim, hammered finish, stamped marks, 20cm. diam £120-180 461. A Liberty & Co Tudric Pewter footed bowl designed by Oliver Baker, model no.067, the simple bowl on four arched legs with flaring pad feet, set with four Lapis stones to the top, stamped marks, 33cm. wide £200-300

460

461

462

463

464

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465 466 two views

462. A Liberty & Co English Pewter and enamel pedestal bowl designed by Archibald Knox, model no.01161, on three winged feet, the domed foot cast in low relief with stylised honesty, enamelled blue and green, stamped marks, 26.5cm. high £500-600 463. A pair of Liberty & Co Tudric Pewter and enamel candlesticks designed by Archibald Knox, model no.0223, the shallow domed base cast in low relief with foliate roundels, enamelled in blue and green, streamlined tripod stem and bud sconce, stamped marks, 30cm. high (2) £500-800 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 221 for a comparable pair illustrated 464. A Liberty & Co English Pewter card tray designed by Archibald Knox, model no.1063, cast in low relief with stylised honesty, stamped marks £200-300 Literature Stephen A Martin, Archibald Knox, ARTMEDIA, page 203 for an example with enamels illustrated 465. A Liberty & Co Tudric Pewter cigarette box and cover, model no.0124, rectangular, hinged cover cast in low relief with heart motif, cedar lined, stamped marks, 16.5cm. wide £120-180 466. A Liberty & Co English Pewter and enamel box and cover by Charles Fleetwood Varley, the hinged cover set with rectangular panel of a clump of trees, in colours highlighted with aventurine, cedar lined, stamped marks, enamel signed Varley, 9cm. square £300-500

467

467. A rare Liberty & Co patinated copper wall mirror designed by Archibald Knox, rectangular form, stamped in relief with a stylised Cymric cat motif in a Celtic Knot, and rivet bands, applied ivorine label, 66.5 x 42.5cm £1,000-1,500 468. A Liberty & Co silver four piece tea service designed by Archibald Knox, model no. 5237, comprising tea pot and hinged cover, milk-jug and sugar basin and a pair of sugar tongs, hammered finish, the pot set with amethyst stone finial and wooden handle, stamped marks, Birmingham 1913, 17.5cm. high. 33 troy ounces. £2,000-3,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 200 for a comparable tea set illustrated

END OF SALE 468

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A PRIVATE COLLECTION OF BURMANTOFTS FAIENCE POTTERY Thursday 22nd June 2017

A selection of Burmantofts Faience mantel clocks included in the sale Estimates from £200 - £600

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

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DESIGN

Tuesday 17th October 2017 Entries close 11th August

‘Tennis’ a tall Clarice Cliff Bizarre Meiping vase Estimate: £6,000 - £8,000

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

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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.

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

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Pack & Send

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

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT on the first £500,000 of the hammer price and 14.4% inclusive of VAT thereafter.

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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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.

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

The following methods of payment may be made:

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

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

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

Debit cards: Delta, Switch, Connect

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.

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

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

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.

Royalties for Droit de Suite are as follows:

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. LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (††) 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.

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 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.

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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 26.4% inclusive of VAT on the first £500,000 and 14.4% thereafter inclusive of VAT at the appropriate rate. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (††) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders 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).

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. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

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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 26.4% inclusive of VAT on the first £500,000 and 14.4% thereafter inclusive of 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 a † or ††. 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 Amanda Lawrence 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.

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WOOLLEY & WALLIS

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

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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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 STREET TO SALT LANE PEDESTRIAN ROUTE DRIVING ROUTE TO SALT LANE DRIVING ROUTE TO CASTLE ST.

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Registered in England No. 2998482

Salisbury Salerooms

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WOOLLEY & WALLIS

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

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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.

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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

Arts & Crafts

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 21st June 2017 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.w o o lleyan d w allis.co .u k

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Auction Calendar PAINTINGS 7th June 2017 – Modern British & 20th Century Art 12th September 2017 – Old Masters, British & European Paintings Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk 20TH CENTURY DESIGN 21st June 2017 – Arts & Crafts 22nd June 2017 – A Private Collection of Burmantofts Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 5th July 2017 Mark Richards +44 (0) 1722 411854 • mr@woolleyandwallis.co.uk SILVER 18th & 19th July 2017 – Silver & Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 20th July 2017 – Jewellery & Watches Jonathan Edwards +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th September 2017 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 18th October 2017 Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk ASIAN ART 14th & 15th November 2017 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk ARMS & ARMOUR, MEDALS & COINS AND MILITARIA 22nd November 2017 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk

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