Woolley & Wallis

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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

British Art Pottery

Thursday 14th December 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

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Alex Aguilar Doméracki Freya Yuan-Richards Marta Olszewska

424506 424506 424583 424589 424591

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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

411854 339161 411854

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Gemma Bush

341469 341469

PAINTINGS Victor Fauvelle Jo Butler

424503 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Gemma Bush

339752 339752

WATCHES Adrian Hailwood

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

424509 424598

MARKETING Lyndsey Harvey Tamzin Corbett

424590 424590

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Hollie Grubb SALEROOM MANAGER David Jordan

424500

BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director COMPANY SECRETARY Natalie Milsted FCCA ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

07775 788500

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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

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424500

FRICS FRSA

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BRITISH ART POTTERY DESIGN

Thursday 14th December 2017 at 10.30am VIEWING Saturday 9th December Monday 11th December Tuesday 12th December Wednesday 13th December Thursday 14th December

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

ENQUIRIES

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street Saleroom on Friday 15th December.

Zoe Smith 01722 424505 zs@woolleyandwallis.co.uk

Furniture will be removed to our Old Sarum warehouse for collection. All remainder lots will be cleared to our Salt Lane office.

If you are collecting items on or after this date please contact the department to arrange in advance.

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 123 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 Wednesday 13th December.

LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 333 Front end pages: Lots 586-591 Back cover: Lot 342 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Wednesday 13th December.

Please note there is a 3% +VAT surcharge for using this service.

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THE TILE COLLECTION OF CAROLYN WRAIGHT 201. A Collection of tile reference books, catalogues and research material, including Tile Society and Decorative Arts Society journals, (a lot) £120-180 202

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Provenance The Tile collection of Carolyn Wraight.

202. ‘China Painting’ a book by Florence Lewis, published by Cassell & Company 1883, and The Baby’s Opera a book illustrated by Walter Crane, published by Frederick Warne & Co, ‘Here We Go Round the Mulberry Bush’ a lithographic print by Walter Crane and three others, (6) £100-150 Please see lot 207 for Doulton tiles painted by Florence Lewis.

Provenance The Tile collection of Carolyn Wraight.

203. An early Minton & Co Prosser’s patent tile, press moulded with a stylised floral panel in colours, five Minton’s encaustic tiles based on medieval designs for the Chapter House Westminster Abbey and a collection of various encaustic tiles, impressed Minton’s mark and Prosser’s patent mark, chips, 13cm. square £150-200 Provenance The Tile collection of Carolyn Wraight.

204 204. A Minton’s six tile repeat panel designed by A.W.N. Pugin, each printed with snowdrop flowers between flowerhead borders in yellow, white and sky blue, mounted on board, a Minton’s four tile panel designed by A.W.N. Pugin with fleur de lys design, mounted on board, 92cm. x 15.5cm. (snowdrop panel), (2) £150-250 Provenance The Tile collection of Carolyn Wraight.

Literature Minton Tiles 1835-1935 Stoke on Trent City Museum exhibition catalogue, used for the cover design and page 31 catalogue number 176 (snowdrop). Page 21 catalogue number 20 for one fleur de lys tile illustrated.

Hans van Lemmen and Bart Verbrugge Art Nouveau Tiles, Laurence King, page 18 for this design illustrated on a black ground.

205. A set of four Minton Hollins & Co tiles, each decorated with children and animals in panels, printed in blue on a cream ground, two Minton Village Life tiles designed by William Wise, a Wedgwood Little Red Riding Hood tile and seventeen other tiles, impressed marks, 15cm. square (24) £120-180

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Provenance The Tile collection of Carolyn Wraight.

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

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206. A good Doulton Lambeth stoneware two tile panel by Hannah Barlow, dated 1874, incised with horses grazing and resting in a grassland setting, in brown on a buff ground, framed, impressed mark, incised monogram, 22cm. square. £200-400 Provenance The Tile collection of Carolyn Wraight.

Literature Fired Earth 1000 Years of Tiles, TACS/Richard Dennis Publications, page 112 catalogue number 262 this actual panel illustrated.

207. A set of three large Doulton & Co tiles designed by Henry Stacey Marks, painted by Florence Lewis, titled Flesh, Fish and Fowl, painted with medieval figures in a farm landscape, in colours impressed Minton’s marks, painted Doulton & Co and painted artists signature and monograms, hairline to Flesh and minor chips, 22.5cm. square (3) £150-200

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Provenance The Tile collection of Carolyn Wraight.

208. Five W.T. Copeland Musicians tiles the design attributed to Henry Stacey Marks or Edward Hammond, printed in blue on a cream ground with medieval musicians, impressed Copeland 15.5cm. square, (5) £120-180 Provenance The Tile collection of Carolyn Wraight.

Literature Fired Earth 1000 Years of Tiles in Europe, TACS/Richard Dennis Publications, page 119 catalogue number 312 for one of these tiles illustrated.

209. Eight Wedgwood Months tiles designed by Helen J Miles, printed in sepia on a cream ground, comprising, January, April, May, July, August, September, October, December, impressed marks, 15cm. square (8) £120-180

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Provenance The Tile collection of Carolyn Wraight.

Literature Maureen Batkin Wedgwood Ceramics, Richard Dennis Publications, page 108 plate XLIII for a set of the polychrome tiles illustrated.

210. A set of twelve Wedgwood Midsummer Night’s Dream tiles designed by Helen J Miles, printed in brown on a cream ground, mounted on board, marks concealed, minor chips, 60.5 x 45.5cm. (panel) £150-250 Provenance The Tile collection of Carolyn Wraight.

Literature Maureen Batkin, Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 112 plate 245 for a comparable set illustrated.

Fired Earth 1000 Years of Tiles in Europe, TACS/Richard Dennis Publications, page 111 this actual tile panel illustrated.

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211. A W.T. Copeland Aesthetic Movement eight tile panel, the pointed tile panel painted with exotic birds perched amongst bamboo stems, one eying a wasp, another with a damsel-fly in its beak, in colours on a celadon blue ground, mounted on board, two tiles repaired, 63.5 x 30.5cm. £150-200 Provenance The Tile collection of Carolyn Wraight.

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212. A pair of Aesthetic Movement five tile panels probably Minton’s, each printed and painted with a passion-flower stem in a vase, in colours on a cream ground and another J & W Wade five tile panel decorated with finches perched on a blackberry stem, mounted on wood, and two dustpressed Art Nouveau tile panels similar, marks concealed, 76 x 15.5cm. (5) £120-180 Provenance The Tile collection of Carolyn Wraight.

213. A set of T & R Boote Seasons tiles in the manner of Kate Greenaway, four tiles, printed with figures in a seasonal landscape, inside geometric Japoniste panel border, in sepia on a cream ground, mounted, marks £150-200 concealed, 30cm. square Provenance The Tile collection of Carolyn Wraight.

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Literature Julian Barnard Victorian Ceramic Tiles CSK, page 101cat. no. 87 for a comparable tile.

214. A set of six Maw & Co Japanese Series tiles designed by Owen Gibbons, transfer printed in brown on a cream ground with Japanese figures in a domestic landscape, mounted on board marks concealed, 15.5cm. square £150-200 Provenance The Tile collection of Carolyn Wraight.

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215. Six Craven Dunnill Months tiles, printed in sepia on a cream ground, January to June, mounted, printed EC monogram and copyright to the front, back concealed, 90.5 x 15cm. £150-250 Provenance The Tile collection of Carolyn Wraight.

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

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216. A Gibbons Minton three tile panel probably by Owen Gibbons, decorated with a boat resting by a riverbank scene, in colours produced with a patent chromo-relievo intaglio design, unmarked, 15cm square (each tile), (3) £150-200 217

Provenance The Tile collection of Carolyn Wraight.

217. A large Minton’s Art Pottery Studio tile, painted with a white falcon, resting on a £120-180 rock outcrop, impressed and printed marks, 21cm. square Provenance The Tile collection of Carolyn Wraight.

218. A Minton’s three tile panel, printed in brown on a cream ground with a goddess and sleeping child, mounted on board, marks concealed, 46 x 15.5cm. £120-180 Provenance The Tile collection of Carolyn Wraight.

Literature Minton’s Tiles catalogue reproduced by Richard Dennis, page 6 cat. no. 1863.

219. A set of seven Minton Rustic Humours tiles, printed in brown and buff, comprising Terror, Humility, Greed, Rage, Industry, Idleness and Affection, impressed marks, 15.5cm. square (7) £200-400 Provenance The Tile collection of Carolyn Wraight.

Literature Terrence Lockett Collecting Victorian Tiles, Antique Collector’s Club, page 182-183 for three examples illustrated, catalogue number 280-282.

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220. A rare Maw & Co Mosaic tile, octagonal, moulded in low relief with a Roman female portrait, a set of Minton’s four Seasons tiles, modelled in low relief and glazed red, and a collection of tiles, impressed marks, 18cm. wide. (a lot) £120-180 Provenance The Tile collection of Carolyn Wraight.

221. A Minton’s four tile panel in the manner of A.W.N. Pugin, modelled in low relief with radiating flower stems and foliage with central sun roundel and Peace scroll, in colours, mounted on board, a Minton’s Art Pottery Studio tile of a medieval musician by Edward Hammond, a Minton’s Iznik tile, a tile panel in the style of Dr Christopher Dresser and four other tiles, marks concealed, 29.5cm, square (8) £120-180

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Provenance The Tile collection of Carolyn Wraight.

222. A Minton’s Aesop’s Fables twelve tile panel designed by John Moyr Smith, printed in blue on a white ground, with flanking border tiles, mounted on board, 69 x 46cm. £150-200

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Provenance The Tile collection of Carolyn Wraight.

223. A set of Twelve Minton’s Tennyson’s Idylls of the Kings tiles designed by John Moyr Smith, printed in brown and blue on a cream ground, mounted on board, a set of four Minton’s Season’s tiles designed by Moyr Smith and an Astronomy tile and three other tiles facsimile signature, 61 x 46cm. (main panel), (6) £120-180 Provenance The Tile collection of Carolyn Wraight.

Literature Annamarie Stapleton John Moyr Smith 18391912 A Victorian Designer, Richard Dennis Publications, page 74-75 for comparable tiles.

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

224. Three Minton’s Art Pottery Studio tiles by John Christian Henk, painted with frogs, a dragonfly, and a fish with a shrimp, in blue on a cream ground, and six various tiles printed and painted with animals, impressed and painted marks, 15cm. square (9) £120-180 Provenance The Tile collection of Carolyn Wraight.

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225. Five Minton’s China Works Country Pursuit tiles designed by William Wise, printed in sepia and black on a cream ground, three Village Life series tiles designed by William Wise, three Maw & Co Pastimes Series tiles designed by Owen Gibbons, and two Minton’s Views by L T Swetnam, impressed marks, facsimile signature Wise in the print, 15cm. square (13) £120-180 Provenance The Tile collection of Carolyn Wraight.

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226. A Wedgwood Fresco Birds or Game Subjects six tile panel, printed in sepia with game and game birds, mounted, marks concealed 45.5 x 30cm. £150-200 Provenance The Tile collection of Carolyn Wraight.

Literature Maureen Batkin Wedgwood Ceramics, Richard Dennis, page 113 plate 246 for comparable tiles illustrated.

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227. An Art Nouveau tile, modelled in low relief with a maiden wearing a rose in her long flowing hair, glazed mint green, a Maw & Co twin-tile panel of a peacock, two Carter’s tiles and a collection of tiles including Alan Caiger-Smith, unmarked, 15cm. square (a lot) £120-180 Provenance The Tile collection of Michael Blood The Tile collection of Carolyn Wraight.

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228. A Martin Brothers stoneware tile, moulded in low relief with panels of sunflowers, in brown and green on a buff ground, unsigned, 18cm. square £120-180 Provenance The Tile collection of Carolyn Wraight.

229. A Pilkington’s Lancastrian tile designed

by Lewis F Day, dust-pressed with a stylised flower and foliage, glazed in shades of yellow, green and mushroom on a brown ground, a Henry Richards Art Nouveau tile and a collection of Art Nouveau floral tiles, unsigned, minor chips, 15.5cm. square (a lot) £150-200 Provenance The Tile collection of Carolyn Wraight.

Literature Angela and Barry Corbett Pilkington’s Tiles 1891-2010, Pilkington’s Lancastrian Society, page 28 this design illustrated.

Catalogue Notes It is believed this design was exhibited at the 1901 Glasgow exhibition.

230. A Morris & Co Daisy tile designed by William Morris, on Dutch Delft blank, painted with clumps of daisy flowers in yellow on a white ground, a Cantagalli Hispano Moresque tile, modelled in low relief with Arabic script, a Thomas Elsley Sunflower tile, a Minton’s encaustic tile designed by A.W.N. Pugin and a collection of Art Nouveau tiles, unsigned, minor chips, £150-200 15.5cm. square (a lot) Provenance The Tile collection of Carolyn Wraight.

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Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis, page 16 for variations.

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

231 231. A William De Morgan Sand’s End Pottery BBB tile, painted in shades of aubergine, blue and green on a white ground, a William De Morgan KL Rose tile and a William De Morgan Mongolian tile the design attributed to Halsey Ricardo, impressed marks, crack to KL Rose, 15.5cm. square, (3) £150-200 Provenance The Tile collection of Carolyn Wraight.

232 232. A fine William De Morgan Sands End Pottery Galleon tile, painted with a sailing ship, at full sail, on a calm sea, in shades of blue, turquoise, yellow and brown, impressed mark, 15.5cm. square £1,000-1,500 Provenance The Tile collection of Carolyn Wraight.

233. A rare Pilkington’s Lancastrian Viking Ship tile designed by C.F.A. Voysey, dust-pressed with a sailing vessel, in shades of blue, brown, green and black on a cream ground impressed P mark, minor glaze frits to edges, 15.5cm. square £150-200 Provenance The Tile collection of Carolyn Wraight.

Literature Chris Blanchett 20th Century British Tiles, Schiffer Publishing, page 455 this actual tile illustrated.

Fired Earth 1000 Years of Tiles in Europe, TACS/Richard Dennis Publishing, page 113 catalogue number 270 for an example illustrated.

Karen Livingstone C.F.A Voysey Arts and Crafts Designer, V&A Publishing, page 292 for the original design illustrated and catalogue number 385 for comparable tiles illustrated.

Angela & Barry Corbett Pilkington’s Tiles 1891-2010, Pilkington Lancastrian Society, page 40 and also on the cover this design illustrated.

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234. A Pilkington’s Lancastrian Iznik four tile panel designed by John Chambers, painted with stylised flower columns in blue, turquoise and coral red on a white ground, mounted on board, marks concealed, chip to corner, 30cm. square £120-180 Provenance The Tile collection of Carolyn Wraight.

Literature Fired Earth 1000 Years of Tiles in Europe, TACS/Richard Dennis, page 113 catalogue number 276 these actual tiles illustrated.

Chris Blanchett 20th Century Decorative Tiles, Schiffer, page 455 for this actual tile panel illustrated.

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235. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with two doves before a dovecot, in colours on a cream ground, framed, marks concealed, 32cm. square £150-250 Provenance Dewhurst butchers, Tunbridge Wells The Tile collection of Carolyn Wraight Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 169 for the Farmyard Series of individual tiles illustrated.

236. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with a pig and piglet in a field, in colours on a cream ground, framed, marks concealed, 32cm. square £150-200 Provenance Dewhurst butchers, Tunbridge Wells The Tile collection of Carolyn Wraight

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Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 169 for the Farmyard Series of individual tiles illustrated.

237. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with three hens in a field, in colours on a cream ground, framed, marks concealed, 32cm. square £150-200 Provenance Dewhurst butchers, Tunbridge Wells The Tile collection of Carolyn Wraight Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 169 for the Farmyard Series of individual tiles illustrated.

238. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with a sheep and lamb in a landscape, in colours on a cream ground, framed, marks concealed, 32cm. square £150-200 Provenance Dewhurst butchers, Tunbridge Wells The Tile collection of Carolyn Wraight

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Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 169 for the Farmyard Series of individual tiles illustrated.

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

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239. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with a turkey in a landscape, in colours on a cream ground, framed, marks concealed, 32cm. square £150-200 Provenance Dewhurst butchers, Tunbridge Wells The Tile collection of Carolyn Wraight Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 169 for the Farmyard Series of individual tiles illustrated.

240. A Carter & Company Poole Pottery Farmyard Series four tile panel designed by E.E. Stickland, made for Dewhurst butchers, hand stencilled with a windmill in a landscape, in colours on a cream ground, framed, and another decorated with two haystacks in a landscape, marks concealed, 32cm. square (2) £150-200 Provenance Dewhurst butchers, Tunbridge Wells The Tile collection of Carolyn Wraight Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 169 for the Farmyard Series of individual tiles illustrated.

241. A Minton’s ten tile panel designed by William Wise, printed with a bull’s head and foliage swags in blue on a white ground, probably made for a Butcher’s shop, mounted on board 77 x 31cm. £150-200 Provenance The Tile collection of Carolyn Wraight.

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241 242. Ship Caroline a rare Campbell Tile Company lustre tile for Gray’s Pottery, printed in black on a white ground with a pink Sunderland lustre border, printed Clipper mark, 15.5cm. square £120-180 Provenance The Tile collection of Carolyn Wraight.

243. A modern four tile panel originally designed by Rafaello Bordalo Pinheiro, modelled in low relief with frogs seated on a lily pad, with watercress flower border, glazed in shades of green, white and yellow on a brown ground, another similar four tile panel with central water-lily flower, a Grasshopper four tile panel, a four tile cat panel, a Butterfly tile and four other tile panels, impressed marks, 26cm. square (frog panel), (9) £150-200 Provenance The Tile collection of Carolyn Wraight.

Literature Hans Van Lemmen Art Nouveau Tiles, Laurence King, page 148 for a comparable frog tile illustrated.

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A PRIVATE COLLECTION OF POOLE POTTERY 244. A Carter’s Poole Pottery lustre vase probably designed by Owen Carter, the ovoid, dimpled body supporting cylindrical neck, covered in a red lustre glaze, another Carter’s vase similar, a Carter’s shouldered vase and a small ribbed spherical vase, incised Carter’s Poole 1903, 20.5cm. high (4) £150-250 245. A Carter’s Poole Pottery vase probably designed by Owen Carter, dated 1903, shouldered form with everted rim, covered in a green and blue lustre glaze, incised Carter’s Poole, 1903, professional restoration to top rim, 36cm. high £300-500

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246. A Carter’s Poole Pottery lustre vase designed by Owen Carter, the swollen body with tapering modelled neck and everted rim, covered in a red lustre glaze, incised Carter’s Poole and indistinct date, 28.5cm. high £200-300 247. A Carter & Company Poole Pottery wall plate designed by Owen Carter, circular, moulded in low relief with a scroll design, covered in a ruby lustre glaze, and another Carter & Company wall plate glazed green lustre incised marks to red lustre wall plate, green wall plate dated 1906, 22.5cm. diam. (2) £200-300 Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 25 for a comparable example illustrated.

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248. A Carter’s Poole Pottery charger designed by Owen Carter, cast in relief and covered in a red lustre glaze incised Carter’s Poole 1903, chips to back rim, 46cm. diam. £250-350 Literature Leslie Hayward and Paul Atterbury, Poole Pottery Richard Dennis page 25 for a comparable smaller example.

249. A Carter’s Poole Pottery small wall charger designed by Owen Carter or James Radley Young, with fluted rim, modelled in relief with medallions, glazed red lustre, the foot rim pierced for hanging, impressed marks, 29cm. diam. £150-200

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Leslie Hayward and Paul Atterbury, Poole Pottery Richard Dennis Publications, page 25 for a comparable example illustrated.

250. A rare Carter & Company Poole Pottery lustre bowl decorated by Lily Gilham, flaring form, applied to the rim with a small terrapin and a lizard, covered in a red and golden lustre glaze fading to green, impressed Carter’s Poole mark, 27cm. diam. £300-500 Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 24 for a comparable vase and bowl with applied lizards.

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

251 251. A Carter’s Poole Pottery lustre vase designed by Owen Carter, swollen ovoid form with collar rim, covered in a red lustre glaze, indistinct impressed roundel mark to base, 16.5cm. high £120-180 252. A Carter’s Poole Pottery lustre vase probably designed by Owen Carter, dated 1904, slender, swollen cylindrical form covered in a rich red lustre with £300-500 lavender streaks, incised Carter’s Poole 1904, 38cm. high 253. A Carter’s Poole Pottery lustre vase designed by Owen Carter, dated 1904, the swollen, gadrooned body with waisted neck, covered in a bright red lustre glaze, incised Carter’s Poole 1904, flat chip to foot rim, 31cm. high £300-500 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 25 for a comparable example illustrated.

Jennifer Hawkins The Poole Potteries, Barrie & Jenkins, page 97 for an identical red lustre vase illustrated, also dated 1904.

254. A Carter’s Poole Pottery lustre vase designed by Owen Carter, dated 1905, tapering square section with swollen neck rim, covered in a rich red lustre glaze, incised Carter’s Poole 1905, professional restoration to base rim, 31.5cm. high £200-300

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255. A Carter’s Poole Pottery small lustre wall plate designed by Owen Carter or James Radley Young, circular, the rim with cast decoration, covered in a green lustre over red lustre glaze, the foot rim pierced for hanging, incised Carter’s mark, hairline to rim, 26cm. diam. £150-200 Literature Leslie Hayward and Paul Atterbury, Poole Pottery Richard Dennis Publications, page 25 for comparable lustre examples illustrated.

255 256. A Carter’s Poole Pottery lustre charger designed by Owen Carter, the rim cast with a simple shield motif, glazed green lustre incised C to reverse, 43cm. diam. £150-250

257. A Carter & Company Poole Pottery lustre candlestick designed

by Owen Carter, tapering square section, covered in a streaked green lustre glaze graduating to golden yellow, impressed factory mark, glaze £150-250 loss to base, 42cm. high 256

Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 25 for a comparable example illustrated.

258. A Carter’s Poole Pottery lustre vase designed by Owen Carter, swollen form with tapering cylindrical neck and everted rim, covered in a red lustre glaze graduating to streaked golden lustre incised Carter’s Poole 1906 to base, 28cm. high £250-300 Literature Leslie Hayward and Paul Atterbury, Poole Pottery Richard Dennis Publications, page 25 for an example glazed in green lustre illustrated.

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259. A Carter’s Poole Pottery lustre vase designed by Owen Carter, dated 1906, the swollen, gadrooned body with waisted neck, covered in a streaked green lustre glaze incised Carter’s 1906, restored, 32cm. high £300-500 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 25 for a comparable example illustrated 259

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

260 260. A rare Carter’s Poole Pottery lustre vase probably designed

by Owen Carter, ovoid with flaring neck and four bar handles, covered in a blue and green iridescent lustre glaze, unsigned, small chip to base rim, 19cm. high £150-200 261. No lot 262. A Carter’s Poole Pottery tall lustre vase designed by Owen Carter, dated 1906, waisted, cylindrical form, covered in a streaked green lustre glaze over ruby lustre, incised Carter’s Poole dated 1906, £800-1,200 46cm. high Provenance The Poole Pottery Archive, Christie’s South Kensington, 31st March 2004, lot 15.

Literature Jennifer Hawkins, The Poole Potteries, Barrie & Jenkins, page 97 for two comparable gadrooned lustre vases illustrated.

263. A rare Carter & Company Poole Pottery lustre bowl decorated by Lily Gilham, flaring form, applied to the rim with a dragonfly and a lizard, covered in a green streaked and lustrous glaze, £300-500 impressed factory mark, 25cm. diam.

Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 24 for a comparable vase and bowl with applied lizards.

262

264. A pair of Carter’s Poole lustre tall candlesticks designed by Owen Carter, dated 1906, tapering square section with flaring sconce, covered in a streaked green lustre glaze incised Carter’s Poole 1906 to inside base, 41cm. high, (2) £300-500 Provenance John Clarke Private collection.

Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 25 for a comparable example in a red lustre glaze.

263

264

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266

265. An early Carter’s Poole Pottery solifleur vase by Anne Hatchard, ovoid with slender neck painted with simple bands in purple and blue on a pale blue-white ground, another Carter’s solifleur vase painted with simple flower sprays and a black glazed vase impressed mark and painted monogram, chip to rim of black vase, 28cm. high, (3) £120-180

265

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis page 31 for comparable vases.

266. Carter’s Tiles Poole an advertising paperweight, modelled as a lion dormant holding a shield, inscribed Carter’s Tiles, the rectangular base inscribed Poole, Lustres Mosaics, Terra-cottas Faience, glazed pale green, cast marks in design, glaze chips, 12cm. wide. £120-180 Literature Jennifer Hawkins The Poole Potteries Barrie & Jenkins, page 36 for a comparable example illustrated.

Leslie Hayward and Paul Atterbury, Poole Pottery Richard Dennis Publications, page 28 for an example illustrated.

267. A rare early Carter’s Poole Pottery pot-pourri vase and cover probably designed by Owen Carter, pierced to the shoulder, covered in a green semi-lustrous glaze, impressed Carter’s Poole mark, repaired chip and small frit to cover rim, 29cm. high (2) £120-180 Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 29 for an example of this shape decorated by Joseph Roelants.

The Poole Potteries Victoria & Albert Museum, 1978 front cover for a comparable vase and cover.

268. An early Carter’s Poole Pottery vase, shouldered ovoid form painted with simple geometric bands in purple and green on an off white ground, three similar and three Poole Portuguese Stripe vases, impressed marks, 25cm. high (7) £120-180

267

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269

269. A rare Carter’s Poole Cherub paperweight, covered in a red lustre glaze, impressed Carter’s Poole mark 11cm. wide £150-200

270

270. A rare Carter Stabler & Adams Poole Pottery lustre candlestick designed by Harold Brownsword, modelled as a putti holding a garland of flowers, and octagonal sconce, covered in a red lustre glaze, impressed mark, professionally restored, 12.5cm. high £120-180 Literature Leslie Hayward and Paul Atterbury, Poole Pottery Richard Dennis Publications, page 52 for a polychrome example illustrated.

271. ‘Buster Boy’ a Carter Stabler & Adams Poole Pottery figure designed by Phoebe Stabler, glazed in colours, an Ashtead Pottery Buster Girl designed by Phoebe Stabler and an Ashtead Pottery Madonna figure, impressed marks, 18.5cm. high (3) £150-200 272. A Modernist Poole Pottery Everest Ware vase, flaring, ribbed form with inverted top rim, spray glazed with bands of grey, mushroom and cream on a black foot, another smaller and five other Poole Art Deco vases with experimental glazes, impressed marks, overpainting to foot rim, 15.5cm. high ( 7) £120-180

271

272

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273

273. A Poole Pottery Contemporary vase, pattern PQB, waisted shouldered form painted with panels in mushroom with mint green bands, another pattern PRP, a PRP pattern solifleur bottle vase and three Black Panther glazed vases, printed and painted marks, 19.5cm. high (6) £120-180

274 274. Two Poole Pottery Contemporary vases, pattern PLT, slender waisted cylindrical form painted with columns in pale blue, grey and turquoise, and two other Contemporary vases, printed and painted £120-180 marks, 20cm. high (4)

275

275. A Poole Pottery Contemporary Carafe vase, pattern YCS, painted with foliate columns, in colours on a white ground, two other Carafe vases and two Contemporary waisted vases printed and painted marks, 20cm. high (5) £120-180

276. A Poole Pottery Contemporary vase, pattern PSL, painted with lime green bands and columns of grey squares, Carter’s 1950s tile, a Troika Pottery cube vase and four other Poole items printed and painted £120-180 marks, 15cm. high (7)

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279

278

281

282

277. A Poole Pottery Studio vase, onion shaped, covered in a streaked green and blue glaze, two compressed vases similar and two Poole Pottery Atlantis pebble vases by Guy Sydenham, printed and impressed marks, 12cm. high (onion vase), (5) £120-180 278. A Poole Pottery Atlantis vase by Guy Sydenham ovoid with cylindrical neck, the body with incised vertical columns, covered in a speckled brown glaze, another similar with painted decoration by Alan White and a lamp base, £120-180 impressed and incised marks, 29cm. high (3) 279. A Poole Pottery Atlantis vase by Jennie Haigh, pulled ovoid form with offset flower hole, glazed speckled olive, another with incised decoration, two other Atlantis ovoid vases and two modern Poole vases impressed marks, 8cm. high (6) £120-180 280. A Guy Sydenham vase, ovoid with pulled rim, incised with panels of abstract decoration and applied suckers, glazed white and blue on a burnished ground, and four other Guy Sydenham vases, impressed marks, 20cm. high (5) £120-180 281. A Guy Sydenham bellarmine jug, modelled in low relief covered in a lustrous glaze, two smaller and four cruet bottles, main jug unsigned, 24.5cm. high (7) £120-180 282. A Poole Pottery Atlantis vase by Carol Kellett, ovoid with solifleur neck, incised with columns of fern decoration glazed oatmeal with turquoise highlights, another similar and a smaller pebble vase impressed and incised marks, 19cm. high (3) £120-180

283

283. A Poole Pottery Studio vase designed by Robert Jefferson, thrown by Guy Sydenham, swollen form with tapering neck and everted top rim, glazed white, resist decorated with black round panels painted with white enamel £800-1,200 abstract decoration, printed Poole Studio TV mark, 31cm. high Provenance Cottee’s Auctioneers, 14th November 2015 lot 313 Private collection.

Literature Poole Pottery in the 1960s Nicolaus Boston & New Century, 4-13 February 1993, page 19 catalogue 31 for a comparable vase by Robert Jefferson and Guy Sydenham.

284. A Poole Pottery Atlantis vase by Guy Sydenham, footed square section, incised with panels of stylised leaf motif, spray glazed , the interior orange, impressed marks, incised GS monogram, restored, 19.5cm. square £150-200 284

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MARTIN BROTHERS 285. The Collection of Martinware formed by Mr Frederick Nettlefold by Charles Beard, privately printed by Waterlow & Sons,, 1936, and two autotype photographs on wood of the Martin Brothers in their studio, framed (3) £400-600 285

Provenance A Private Collection of Martin Brothers Stoneware.

286. A Martin Brothers stoneware Squashed pot, dated 1893, twisted and collapsed form, covered in a black and brown glaze, and a small tile with painted decoration, incised marks, 10.5cm. high (2) £120-180 287. A Martin Brothers stoneware tile by Robert Wallace Martin, square, moulded with a simple leaf design glazed green and blue on an oatmeal ground, incised to side R W Martin, chips to back edge, 11cm. square £120-180 Provenance Arts and Crafts, Woolley and Wallis Auctioneers, 22nd June 2011 lot 97.

Private collection

286

288. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, waisted cylindrical form with vertical ribs, covered in a blue and green glaze, and another Martin Brothers stoneware vase glazed black, incised 3-1907 Martin Bros London& Southall, restored, 13cm. high (2) £120-180 289. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, swollen square section with everted rim, covered in a pitted green and blue glaze, the top rim aubergine and brown, incised marks, 6-1911, Martin Bros London & Southall £120-180

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290. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1904, modelled standing, forward facing with beak open, glazed in shades of blue, green and aubergine on a buff ground, on ebonised wood base, incised to head and base 12.3.1904 R W Martin & Bros London & Southall, 26cm. high ÂŁ8,000-12,000 Provenance A Private Collection of Martin Brothers Stoneware.

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291. 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 £150-200 292. A large Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1891, tapering ovoid form with everted rim, incised with columns of foliage in green and ochre incised 9-1891, Martin Bros London & Southall, professional restoration to the top rim, 23cm. high £250-350 293. 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 £300-400 294. A Martin Brother stoneware gourd vase

by Edwin & Walter Martin, dated 1893, ovoid with pushed in panels, incised decoration in brown, green and pale blue highlights incised Martin Brothers, London & Southall 5-1893, 20cm. high £300-400

291

292

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296 295

295. A Martin Brothers stoneware Dragon tray by Edwin & Walter Martin, dated 1907, shaped, rectangular form, incised to the well with a ferocious dragon on textured cloud ground, in ochre and brown on a pale blue ground incised 4-1907 Martin Bros London & Southall, paper price label for 10/6, 22.5cm. wide. £800-1,200 296. A Martin Brothers stoneware Aquatic miniature vase by Edwin & Walter Martin, dated 1911, ovoid incised with grotesque swimming fish, glazed blue and green, incised 11 £700-1,000 Martin Bros London, 5.5cm. high Provenance The Martin Brothers Potters, Richard Dennis Exhibition, number 602 or 572.

297. 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 £800-1,200

297

Provenance Ceramic Design from 1860 Bonhams 21st September 2010 lot 24 Private collection 298. A Martin Brothers stoneware vase with serpent handles by Edwin & Walter Martin, dated 1900, shouldered form applied with two loop handles, the body incised with gourd decoration, covered in a blue glaze with green highlights, incised 2-1900, Martin Bros London & Southall, 14.5cm. high £700-1,000

298

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299. A large Minton & Co earthenware serving platter designed by William S Coleman, printed and painted with a large pike fish swimming amidst waterweed and water-lilies, in colours on a white ground, impressed and printed marks, 54cm. wide. £150-250 300. Three Burmantoft’s Faience bottle vases, model no.454, ovoid with slender cylindrical solifleur neck, incised with simple foliate design, glazed, yellow, turquoise and green, a Bretby vase and a large raku sphere vase impressed marks, 27cm. high (5) £120-180 301. An unusual Aesthetic Movement Bretby Pottery lustre vase, model no.2098, waisted cylindrical form. moulded in relief with swallows swooping over water-lily pads, glazed red lustre, another Bretby Pottery Aesthetic Movement lustre vase and a pair of streaked pink lustre vases, impressed £150-200 marks, 35cm. high, (4)

299

302. A C.H. Brannam Barum pottery vase, swollen cylindrical form with everted, fluted top rim and applied loop handles, slip decorated with a scaly fish, another smaller painted with fish swimming on a vivid pink ground and another vase, impressed and incised marks, 30cm. high, (3) £120-180 303. A large C. H. Brannam Barnstaple pottery vase by James Dewdney, dated 1894, ovoid with cylindrical neck and everted rim, applied with three looped handles, incised and painted with scaly fish swimming amongst waterweed in brown, blue and yellow on a cream ground incised marks, date and JD monogram, restored 34cm. high £400-600

300

304. A C.H. Brannam Barnstaple pottery charger by William Baron, dated 1888, incised and painted in cream glaze with a bird perched amongst stylised foliage, the rim a stylised flower repeat, incised marks, monogram and date, 40cm. diam. £500-600

301

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306

305. A Minton’s Art Pottery wall plaque by William S Coleman, dated 1872, painted with a cherub releasing a blue butterfly, before prunus and oriental bamboo, in colours on a cream ground, impressed and printed marks to reverse, painted WSC monogram to front, painted signature and date to reverse, 34cm. diam. £1,000-2,000

306. An Aesthetic Movement Minton’s Pottery wall plaque by Antonin Boullemier, painted with a young maiden in a classical garden, a blue butterfly resting on her shoulder, in the distance a castle and seascape, painted in colours painted signature to base of column, 32.5cm. diam. £500-800 Literature Joan Jones Minton, Swan Hill Press page 235 for two comparable plaques 307. A Minton’s Pottery moonflask by William Wise, the disc body decorated with a maiden holding a pail next to a well, the reverse a cow grazing in a farmyard setting, inside foliage and geometric borders, the shoulder decorated with mistletoe, in colours impressed marks, signed to both sides, professional restoration to foot, 25cm. high £150-250

307 both sides

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308 309

308. A large Rye Pottery jug, naturalistically modelled as an oak tree trunk, with acorns and foliage, glazed green and brown unsigned, 14cm. high £150-200

309. A Rye Pottery jug, shouldered form, applied with cob nuts , glazed green on a brown ground, two vases similar, two miniature baskets, a lustre candlestick and a jug, incised Rye, 13.5cm. high (8) £120-180

310. A rare pair of Ault Persian pottery ewer and covers 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 of one, repaired spout to other, 32cm. high (4) £300-500 Literature Dresser, New Century Exhibition catalogue, 1999, catalogue number C.141 for a comparable ewer illustrated.

310

312

311. A Minton’s Secessionist vase designed

by Leon Solon and John Wadsworth, swollen cylindrical form, printed with a simple wild flower stem in yellow and olive on a streaked turquoise ground, and a Minton’s Secessionist square dish printed and impressed marks, hairline to rim of dish, 21cm. high (vase), (2) £120-180

311 312. A Minton’s Secessionist vase designed

by Leon Solon and John Wadsworth, model no.50, shouldered, cylindrical form, tubeline decorated with flower sprays in red and green on a white ground, above a blue band, impressed and printed marks, 32cm. high £200-300

313. An Art Nouveau Craven Dunnill wall charger, slip decorated with Secessionist flower stem flanked with sinuous foliage stems in yellow, red and green on a blue ground, printed factory mark, 38cm. diam. £250-300 313 mark

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314 314. A Compton Potter’s Art Guild Pilgrim Bottle flask, cast in low relief with inscribed roundel, glazed green, and two other Compton Pilgrim Bottle flasks glazed orange and pink, cast mark in design, 11cm. high (3) £150-200 315. A Compton Potter’s Art Guild plaque, decorated in low relief with a maiden holding rose flowers in her dress, glazed in colours, a Compton Madonna and Child plaque and a Compton Crucifixion plaque impressed mark to all, 19 x 12cm (largest) (3) £150-200 316 316. A Pair of Compton Potter’s Art Guild book ends, circular cast in low relief with a PreRaphaelite maiden holding an oil lantern, in colours, and a pair of book ends modelled as fruit, unsigned, 17cm. high (4) £150-200 317. A Compton Potter’s Art Guild toby jug, modelled seated holding a frothing pint, glazed in colours, another similar and a book end, unsigned, 19cm. high (3) £120-180 318. A Compton Potter’s Art Guild bowl, modelled in low relief with Classical dolphins, glazed in colours, another Compton square section bowl decorated with entrelac, a box and cover and two twin-handled vases, unsigned, one vase repaired, 24cm. diam, (dolphin bowl), (6) £120-180 319. A Pair of Compton Potter’s Art Guild book ends, circular each cast in relief with an archer, glazed in colours unsigned, 19cm. high (2) £120-180

319

317

318

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SUNFLOWER POTTERY BY SIR EDMUND ELTON 320. A Sunflower Pottery gourd ewer by Sir Edmund Elton, the compressed body with angled cylindrical spout and flanking handle, with applied slip decoration in tan on a streaked green and blue ground, painted Elton signature, professional restoration to top rim, 30.5cm. high £120-180

321

321. A small Sunflower Pottery vase by Sir Edmund Elton, swollen form with three pinched rims, slip decorated with simple flower repeat in red and blue on a streaked red and blue ground, painted Elton, minor glaze loss to top rim, 13cm. wide. £120-180 322. A Sunflower Pottery ewer by Sir Edmund Elton, ovoid with flaring knopped neck, and pinched top rim, slip decorated with fruiting and flowering bough in blue and green on a streaked green ground, and another Sunflower Pottery vase covered in an olive green glaze, painted Elton, minor glaze frits to main ewer, 23cm. high (2) £120-180

320

323. A Sunflower Pottery tobacco jar and cover by Sir Edmund Elton, ovoid with everted rim, applied with slip flowering bough in blue and brown on a green ground, and a Sunflower Pottery vase, painted Elton, 13cm. high (2) £150-200

322

323

324. A Sunflower Pottery ewer by Sir Edmund Elton, ovoid with pinched top rim, applied with slip flowering bough, on a streaked blue glaze, and another Sunflower Pottery vase, painted signature, restored handles on vase, 17.5cm. high (2) £150-200 325. A Sunflower Pottery vase designed by Sir Edmund Elton, ovoid with flaring cylindrical neck, slip decorated with foliage in blue and green on a streaked blue and green ground, another similar and a tall Sunflower pottery vase covered in a green and blue marbled glaze, painted marks, restored chip to top rim of small vase, 18.5cm. high, (3) £150-200

324

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326. A Sunflower Pottery jug by Sir Edmund Elton, shouldered form with pinched top rim and loop handle, covered in a platinum lustre over olive green, and another Sunflower Pottery jug decorated with golden lustre crackle glaze painted Elton signature, main jug professional restoration to top rim, 14cm. high, (2) £120-180

327

327. A rare Sunflower Pottery vase by Sir Edmund Elton, shouldered form on three modelled grotesque feet, covered in a crackled golden lustre glaze over olive green painted Elton signature, top rim reduced probably in the pottery, repair to feet, 41cm. high £200-300

328. A Sunflower Pottery vase designed by Sir Edmund Elton, swollen cylindrical form, cast to the base with cherub and cross panels, covered in a crackled golden glaze, painted Elton mark, £200-300 repaired chips to base rim, 24cm. high

328

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329. A Della Robbia Pottery vase by Jessie Sinclair, ovoid with loop handles, painted with angled foliate columns, in blue and white, highlighted in green on a brown ground, and another Della Robbia vase by James Hughes, incised marks and monogram and a painted monogram, restored, 10.5cm. high, (2) £150-250

329

330

330. A Della Robbia Pottery twinhandled vase by Ruth Bare, painted with a simple foliate cartouche in pinkred on a yellow ground, and a small Della Robbia dish by LW, painted marks, repaired handle, 26cm. high, (2) £120-180 331. A Carlo Manzoni charger by PF, dated 1897, incised with a putti playing a harp, inside geometric bands, in colours incised marks and monogram to back, restored, 45.5cm. diam. £200-300 331A. A large Della Robbia Florentine vase by Ruth Bare, the pear-shaped body with applied dolphin handles, incised and painted with Art Nouveau flowers and foliage, incised marks and artist RB monogram, restored top rim and handles, 34cm. high £800-1,200 Literature Della Robbia Pottery Birkenhead Williamson Art Gallery & Museum, figure 27 for a comparable vase.

331

331A

332. St George and the Dragon a Della Robbia five tile panel, modelled in low relief with a mounted St George slaying the dragon, flanking central banner inscribed Saint George for England, in shades of green and turquoise on a blue ground, incised marks to reverse, minor professional restoration, 25 x 113cm (panel), (5) £3,000-3,500 Literature A St George panel measuring 44.5 x 9 7/8inches was listed in the 1896 Della Robbia Ware catalogue (no.575)

332

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333. Gideon a fine Della Robbia two-tile panel designed by Ford Madox Brown, by Emily Margaret Wood, possibly dated 1898, modelled in low relief with Saint Gideon in full armour, on a scrolling vine ground, painted in colours, framed incised and painted marks, EMW monogram, incised 3/98, 70 x 42cm. (panel) £6,000-10,000 Literature Rob Higgins & Christopher Stolbert Robinson William De Morgan Arts and Crafts Potter Shire Library, page 62 this actual tile panel illustrated.

Charles Sewter The Stained Glass of William Morris & His Circle, Yale, catalogue number 75 for the original cartoon.

The Harrimann Judd Collection of British Art Pottery, Part 2, Sotheby’s New York October 6th 2001 lot 380 for the only other known example (now in the Delaware Art Museum) erroneously listed as a female knight.

Catalogue notes The panel has a paper label to the reverse stating that the figure is Archangel Michael designed by Ford Madox Brown for Morris & Co and made by his pupil Harold Rathbone at the Della Robbia Pottery. It is actually from Ford Madox Brown’s design of Gideon for a stained glass window by Morris & Co at St Martins on the Hill, Scarborough. The window depicts Joshua, St Michael and Gideon and was designed in 1862.

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335

334

336

334. The Elements four Copeland pottery Majolica tiles, each modelled in relief and glazed in colours inside a brown border, impressed Copeland, restored, 20.5cm. square, (4) £800-1,000

337

335. Five Wedgwood Ivanhoe plates designed by Thomas Allen, each printed with scenes in blue on a white ground, impressed marks printed Ivanhoe title to reverse, 26cm. diam. (5) £200-300 Literature Maureen Batkin Wedgwood Ceramics, Richard Dennis Publications, page 96 plate 202 for a comparable example illustrated.

336. Music a rare tile plaque designed by Sir George Frampton, modelled in low relief with a male classical portrait, glazed green signed in the cast George Frampton, minor glaze chips, 30.5 x 15.5cm. £300-400

337. A modern Motawi Tileworks tile after a design by Talwin Morris, square, modelled in low relief with two stylised birds, before stylised flower stems, in colours impressed marks, 20cm. square. £150-200

338. A Minton’s tile plaque by E Moira, dated 1875, retailed by Thomas Goode & Co, painted with a musketeer holding pike lance, in colours, with original ebonised wood frame, impressed mark, painted artist signature and date, 40.5 x 20cm. £300-500

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339. A pair of Minton & Hollins Medieval Revival four tile panels, depicting medieval hunters, one firing a crossbow the other offering up a spear, with hounds and a wild boar, two further hunters on horseback in the background, painted in colours impressed marks to reverse, damages, 77.5 x 23cm (each panel), (8) £500-1,000 340. A Copeland pottery tile plaque by J.P. Hewitt, dated 1878, rectangular painted with an Aesthetic Movement maiden picking blossom in a courtyard garden, in colours impressed marks, painted signature and date, light scratches and chips to corners, 41 x 20.5cm. £200-300 341. An Art Nouveau Doulton Lambeth two-tile plaque by Fanny Elliott, painted with a naked Venus holding a swirling scarf and standing on a scallop shell boat, escorted by a dolphin in the water and two white birds, in colours, in wooden frame, printed Doulton Lambeth mark and FE artist cipher, 20 x 19cm. £400-600 342. A rare Art Nouveau Minton’s plaque designed by Leon V Solon, dated 1898, tubeline decorated with a maiden holding a lily flower stem, painted in colours on a cream ground with gilt highlights, impressed marks and date code, minor chips to corners, 45.5 x 30.5cm. £1,000-1,500 Literature Joan Jones Minton, Swan Hill Press page 240 for a comparable example illustrated.

339

340

341

342

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343. A large pottery charger by John Pearson, welled, painted with radiating lizards and foliage, inside a border of lizards and frogs, in blue, black and purple on a white ground, painted monogram, repaired rim, 47cm. diam. £500-800

344 343 344. An Earthenware bowl by John Pearson, deep, conical form, painted with a sun rising behind an apple tree, its fruit dropped and lying on the ground, in colours and silver lustre, the exterior with simple geometric border, painted monogram, wear to paint, 31cm. diam. £250-350

345

345. Two Maw & Co Ruby lustre tiles, painted with floral designs, framed, a Minton & Co encaustic tile in the manner of A.W.N Pugin, decorated with stylised floral repeat in red, sand and blue, and a collection of tiles and spacer tiles impressed marks, 15cm. square (a lot) £120-180

WILLIAM DE MORGAN

346. A William De Morgan Sand’s End Pottery Partridge tile, painted in blue on a turquoise ground, impressed mark to reverse, minor over-painting, 15.5cm. square £1,000-1,200 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis page 130 cat. no. 969 this design illustrated.

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347. A William De Morgan shallow dish by Charles Passenger, painted with an eagle stretching its wings before a fruiting tree, in gold and ruby lustre on a white ground, the reverse with alternate gold and ruby bands, painted CP monogram, 25.5cm. diam. ÂŁ700-1,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis page 41 catalogue number 1255 for the original design.

347

348. A William De Morgan charger, painted with a heraldic lion regardant before foliage, the border a frieze of foliage, in ruby on a white ground, unsigned, museum repaired damages 44cm. diam. ÂŁ200-300 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis page 31 catalogue number 1250 for the original drawing for this design.

348

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349. A rare William De Morgan Galleon charger, painted to the well with a galleon at full sail, the border with a frieze of cherub Winds blowing the galleon, each with a dove, glazed in ruby and golden lustre on a white ground, the reverse with a scrolling foliate design in ruby, unsigned 44cm. diam. ÂŁ5,000-8,000 Provenance Private collection Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 63 catalogue number 1316 for the border original design illustrated.

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350. A William De Morgan Sands End Pottery six tile Persian Galleon tile panel possibly designed by Halsey Ricardo, painted with a sailing ship sailing past a rocky landscape on calm sea, in the foreground a large sea serpent, impressed marks, middle right tile restored, 46.5 x 31cm. ÂŁ5,000-10,000 Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 131 plate 188 for a comparable tile panel.

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352

DOULTON WARE 351. A Doulton Lambeth faience Indian garden seat, octagonal section, cast and pierced with Iznik decoration, glazed turquoise, blue and ochre painted BN monogram, minor chips, 47cm high £300-500

351

Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 196 for this range illustrated from an original Doulton catalogue.

353 mark

352. A Doulton Lambeth stoneware four piece jardiniere set, dated 1883, cast and modelled with flowers stems and central embossed circular flowerhead, in green and blue on a mustard ground, comprising two end jardiniere and two central jardinieres, impressed marks, losses and chips, 21cm. wide (each), 76cm. (total width) £200-400 (4) 353. An unusual Doulton Lambeth porcelain plaque by Florence Barlow, rectangular, painted with a robin perched on a snowy bough, in colours, in wooden frame, impressed mark, painted monogram and title Robin, 17x 12.5cm (panel) £200-300

353

354. A Doulton Lambeth stoneware Borogove grotesque by Mark V Marshall, dated 1881, the wild boar like creature incised with foliate decoration in brown, green and buff incised MVM 81 to base, professional restoration to two feet, 21cm. high £400-600 Literature Desmond Eyles & Louise Irvine, The Doulton Lambeth Wares, Richard Dennis, page 120 for an example of the Borogove illustrated.

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354

The Borogove creature was inspired by Lewis Carroll’s Alice Through the Looking Glass published in 1871. This creature bears a stronger resemblance to the Mome raths described by Humpty Dumpty as ‘a sort of green pig’.

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355 355. A Doulton Lambeth stoneware bear cruet set the design attributed to Mark V Marshall, with silver mounts by John Grinshell & Sons, dated 1899, comprising a bear pepper pot, seated bear with half barrel salt and seated bear with half barrel mustard pot with hinged cover and spoon, glazed brown, impressed marks, stamped hallmarks, J G & S, Birmingham 1899, 7cm. high (4) £600-1,000 356. A fine and tall Doulton Lambeth stoneware vase by Elisa Simmance, tapering, cylindrical form, slip decorated with fish swimming amongst waterweed, with applied air bubble and shells, glazed green and brown highlighted in white impressed mark, incised artist monogram, 49.5cm. high £500-800 357. A rare Doulton Lambeth stoneware vase by Hannah Barlow, dated 1878, baluster form, incised with a pride of resting lions, between foliate bands and applied florets, glazed green and blue on a buff ground, impressed factory mark, date and unusual incised monogram, incised monogram to side of vase also, 19.5cm. high £800-1,200 358. A Doulton Lambeth stoneware ewer by Hannah Barlow, slender, shouldered form, incised with a cat drinking from a bowl whilst three others watch on, between stiff-leaf bands, glazed blue, green £600-800 and brown on a buff ground, impressed factory marks, incised monogram, 25cm. high 359. A pair of Doulton Lambeth beakers by Hannah Barlow, dated 1881, flaring conical form, incised with dogs resting in a landscape, between applied geometric and incised foliage borders, glazed brown and blue on a buff ground, impressed marks and date, incised artist monogram, small nick to top rim of £150-200 one, 14cm. high, (2)

356

357

358

359

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360. A Doulton Lambeth stoneware Merry Musician salt by George Tinworth, modelled as a boy playing a tuba, glazed in brown, blue and buff, impressed Lambeth mark, 9cm. high £600-800 Literature Peter Rose George Tinworth Harrimann-Judd Collection, CDN Corporation, page 141 for two comparable salt cellar’s.

361. A Doulton Lambeth stoneware Mouse Musician solifleur vase by George Tinworth, modelled as two mice, one playing a tuba the other a trumpet, glazed in shades of blue, ochre and green impressed marks, minor chips to base rim, 13.5cm. high £700-900 360

Literature Peter Rose, George Tinworth Harrimann-Judd Collection, page 125 plate 98 for a menu holder entitled Cornet Blowers.

362. A Doulton Lambeth stoneware Mouse Musician menu holder

by George Tinworth, dated 1885, modelled as a mouse playing the harp whilst a young mouse plays a violin as a cello, glazed in shades of buff, green and blue impressed Doulton Lambeth mark date and incised GT monogram, minor restoration to ears of large mouse, 9cm. high £800-1,200 Provenance A private collection of George Tinworth Doulton Lambeth sculptures.

363. A rare Doulton Lambeth stoneware Mouse Musician group

by George Tinworth, modelled as a Mouse playing the piano, another sings whilst a young mouse plays the horn, glazed blue, buff brown and green, with indistinct incised title to base, impressed Doulton mark, professional restoration, 11.5cm. wide £1,000-1,500 Provenance A private collection of George Tinworth Doulton Lambeth sculptures.

361

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362

363

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363A 364 363A. A rare Doulton stoneware Queen chess piece by George Tinworth, modelled standing on a cushion wearing a cap and holding a book, glazed mushroom and coral red, impressed Doulton and incised GT monogram, 9.5cm. high £300-500 Provenance A private collection of George Tinworth Doulton Lambeth sculptures.

364. A rare Doulton stoneware King chess piece by George Tinworth, modelled standing on a cushion, wearing a crown and holding an orb and staff, glazed mushroom and coral red, impressed Doulton and GT monogram, 11cm. high £300-500

365

Literature Peter Rose George Tinworth - Harriman Judd Collection, Vol.1, CDN Corporation page 130 plates 117-119 for a comparable chess set illustrated.

Provenance A private collection of George Tinworth Doulton Lambeth sculptures.

365. A rare Doulton Lambeth stoneware Mouse Musicians figure group by George Tinworth, modelled as three grouped mice playing banjo, accordian and tambourine, glazed in green brown and blue, incised title, impressed Doulton Lambeth mark and GT monogram, minor professional restoration to ears, 9.5cm. high £1,500-2,000 Literature Peter Rose George Tinworth - Harriman Judd Collection, Vol.1, CDN Corporation page 128 plate 113 for a comparable example illustrated.

Provenance A private collection of George Tinworth Doulton Lambeth sculptures.

366. The Wheelwright a Doulton Lambeth stoneware mouse menu holder by George Tinworth, dated 1886, modelled as a Mouse fixing a broken cartwheel whilst a young mouse looks on, glazed green, ochre, brown and blue, incised title to base, impressed mark and date, incised GT monogram, paper label, professional restoration £800-1,200 to tree and ears, 9cm. high Provenance Doulton Pottery Exhibition part II, 1975, Richard Dennis Gallery, catalogue number 296.

A private collection of George Tinworth Doulton Lambeth sculptures.

Literature Peter Rose George Tinworth - Harriman Judd Collection, Vol.1, CDN Corporation page 125 plate 101 for a comparable Wheelwright menu holder illustrated.

366

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367. Playgoers a rare Doulton Lambeth stoneware mouse group by George Tinworth, modelled with a mouse orchestrating a Punch and Judy show, flanked by another mouse playing base drum and one holding a dish, three mice watch spellbound from in front whilst one peaks around the back of the theatre, incised title Playgoers, glazed green, ochre and blue impressed marks, incised GT monogram, 15cm. high ÂŁ2,500-3,000 Literature Peter Rose George Tinworth - Harriman Judd Collection, Vol.1, CDN Corporation page 128 plate 112 for a comparable group illustrated.

Provenance A private collection of George Tinworth Doulton Lambeth sculptures.

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368. Crossing the Channel a rare Doulton Lambeth stoneware mouse and frog group by George Tinworth, modelled as a frog steering the wheel, three land loving mice holding up bowls in anticipation, inscribed title Crossing The Channel, glazed green, ochre and blue, impressed mark and incised monogram, 12.5cm. high ÂŁ2,500-3,000 Provenance A private collection of George Tinworth Doulton Lambeth sculptures.

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371 369 370 369. A Royal Doulton stoneware bird paperweight/inkwell designed by Mark V Marshall, modelled as a stylised duck, covered in a bronze glaze impressed marks, 8cm. wide. £200-300 Literature Desmond Eyles & Louise Irvine, The Doulton Lambeth Wares, Richard Dennis Publications, page 258 for a comparable example illustrated.

370. A Royal Doulton stoneware comical bird paperweight the design attributed to Mark V Marshall, covered in a matt blue glaze, impressed £200-300 marks, 8cm. high 371. A Royal Doulton stoneware model of a rabbit, probably designed by Mark V Marshall, covered in a pale green glaze impressed Royal Doulton mark, 4.5cm. wide £150-200 372. A Royal Doulton stoneware vesta modelled as a pipe smoking gnome designed

by Harry Simeon, modelled seated by a barrel, covered in a pale olive green glaze, impressed factory mark, professional restoration to base rim, 11cm. high £200-300 372 373

Literature Desmond Eyles & Louise Irvine, The Doulton Lambeth Wares, Richard Dennis Publications, page 259 for a similar example illustrated.

373. A Doulton Lambeth stoneware Imp card trump scorer designed by Leslie Harradine, modelled seated on a stepped base behind a revolving wheel, glazed green impressed factory marks, 9.5cm. high £200-300 Literature Desmond Eyles & Louise Irvine, The Doulton Lambeth Wares, Richard Dennis Publications, page 215 for a variation on this figure.

374. A Doulton Lambeth stoneware model of two ducks, glazed in shades of blue and cream, impressed marks, professional restoration to head of one duck, 12cm. wide. £150-200

374

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375. A Doulton Lambeth model of two cuddling monkeys, covered in a cream glaze, impressed mark to base, minor restoration to feet, £180-200 7cm. wide.

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377

376 376. A Doulton Lambeth stoneware model of a peasant woman, modelled standing, wearing black checked dress and white apron, and another example glazed green impressed marks, 11cm. high (2) £200-300 Literature Desmond Eyles & Louise Irvine, The Doulton Lambeth Wares, Richard Dennis Publications, page 216 for a comparable example illustrated in an original Doulton catalogue from 1914.

377. A Royal Doulton model of a seated polar bear, modelled seated on a cube base, painted in colours, and a Royal Doulton porcelain box and cover surmounted with a kingfisher printed factory marks, cover repaired to box, 10cm. high (2) £200-300

378

378. Polar Bear walking a Royal Doulton figural spirit flask made for Girolama Luxardo distillers, painted in colours printed factory £150-200 marks, 24cm. wide.

379. A large Doulton Lambeth stoneware bowl by Agnette Hoy, footed form with rope-twist border, painted to the well with autumnal fruit and foliage flanked with butterflies and bees in colours with Bristol glaze impressed marks and incised signature, 34cm. wide. £400-600 Literature Desmond Eyles & Louise Irvine, The Doulton Lambeth Wares, Richard Dennis Publications, page 237.

380. Tiger Stalking HN.1082 Royal Doulton Flambe model of a tiger designed by Charles Noke, modelled walking, glazed flambe red with lavender blue stripes, 35cm. wide £200-300 381. ‘Cockneys in Brighton’ a modern Royal Doulton mouse figure group based on the original by George Tinworth, LW3, painted in colours, with certificate, in original presentation box, printed factory marks, limited edition of 87/150 16cm. wide £200-300

379

380

381

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BERNARD MOORE 382. A Bernard Moore porcelain model of a rabbit, modelled seated on its haunches, glazed mottled blue and lavender, with applied glass eyes, printed BM monogram, 8cm. high £150-200 383. A model of a seated monkey probably by Bernard Moore, modelled seated and covered in a white glaze unsigned, 10cm. high £120-180

382 383

Literature Aileen Dawson, Bernard Moore Master Potter 1850-1935, Richard Dennis, page 42 for an example in a flambe glaze illustrated.

384. A Bernard Moore porcelain model of a rabbit, rotund with slender ears, covered in a mottled mushroom and pink flambe glaze with applied glass eyes, printed BM monogram 7.5cm. high £120-180 Literature Aileen Dawson Bernard Moore Master Potter 1850-1935, Richard Dennis, page 42 colour plate VIII an example in of this figure covered in a red flambe glaze illustrated.

384 385

385. A Bernard Moore miniature porcelain rabbit menu holder, covered in a red flambe glaze, with applied glass eyes, BM monogram to inside, restoration to ears, 3cm. wide £120-180 386. A Bernard Moore porcelain model of a seated monkey, glazed in a rare purple and turquoise colour way, with applied glass eyes printed BM monogram 9cm. high £200-300 Literature Aileen Dawson Bernard Moore Master Potter 1850-1935, Richard Dennis, an example in of this figure covered in a red flambe illustrated on the cover.

387 386

387. A Bernard Moore porcelain model of a seated monkey, modelled seated holding a nut to his mouth, glazed mushroom with pale pink flambe spots and yellow, with applied glass eyes, printed BM monogram, 7.5cm. high £150-200 Literature Aileen Dawson Bernard Moore Master Potter 1850-1935, Richard Dennis, page 42 colour plate VIII an example in of this figure covered in a red flambe glaze illustrated.

388. A Bernard Moore flambe vase, ovoid with collar neck, painted with cloud motif in red flambe, and three other Bernard Moore flambe vases, printed Bernard Moore mark, 8cm. high, (4) £150-200

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388

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389

390 391

389. A Bernard Moore porcelain model of an owl, modelled perched on a tree bough, glazed turquoise blue, with applied glass eyes, BM monogram to base, 9.5cm. high £120-180 Literature Aileen Dawson Bernard Moore Master Potter 18501935, Richard Dennis, an example in of this figure covered in a red flambe illustrated on the cover.

390. A Bernard Moore porcelain model of an owl, modelled perched on a rock, glazed in a rare purple, orange and ochre glaze, with applied glass eyes, printed BM monogram, 13cm. high £150-200 Literature Aileen Dawson Bernard Moore Master Potter 18501935, Richard Dennis, page 42 colour plate VIII an example in of this figure covered in an identical glaze illustrated.

391. A Bernard Moore porcelain model of Gazeka, covered in a red flambe glaze, BM monogram to base 14cm. high £120-180 Literature Aileen Dawson Bernard Moore Master Potter 18501935, Richard Dennis, page 47 figure 25 an example illustrated.

392. A Bernard Moore Bat vase, shouldered cylindrical form, painted with bats flying before a starry sky, in yellow and red on a red flambe ground, and another Bernard Moore vase similar covered in a flambe glaze BM monogram, 25cm. high, (2) £250-350 Literature Aileen Dawson Bernard Moore Master Potter 18501935, Richard Dennis, page 60 fig.37 for a ginger jar and cover with comparable decoration.

392

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THE PILKINGTON’S LANCASTRIAN POTTERY COLLECTION OF MRS J. COLLIER 393. A Pilkington’s Lancastrian twin-handled bowl

by Gladys Rogers, painted with a simple Celtic knot border in bronze on a streaked green ground, impressed marks, painted artist cipher, 26cm. wide. £200-300 Provenance The Collection of Mrs J Collier.

393

394. A Pilkington’s Royal Lancastrian bowl by William S Mycock, dated 1929, painted with a band of scrolling foliage in gold and ruby lustre on a royal blue ground, impressed factory marks, painted artist cipher and date code, 17cm. diam. £200-300 Provenance The Collection of Mrs J Collier.

394 395. A Pilkington’s Lancastrian bowl by Annie Burton, painted to the top rim with a simple band of berried foliage inside and out, glazed ruby and golden lustre, and a Pilkington’s Lancastrian box and cover similar, impressed marks, painted artist cipher, damages, 9.5cm. diam. £200-300 Provenance The Collection of Mrs J Collier.

396. A Pilkington’s Royal Lancastrian wall charger by William S Mycock, dated 1936, incised and painted with a peacock, perched resting on a tree bough, painted in colours on a matt grey glaze, a vase and a bowl by Gladys Rogers and two other Pilkington’s items, impressed and incised marks, 35cm. diam. (5) £150-200

395

Provenance The Collection of Mrs J Collier.

397. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1912, shouldered baluster form, painted with a simple border to the shouldered and streaked green lustre on a red lustre ground, a Pilkington’s vase with applied tear lobes with streaked experimental glaze, a pair of flaring vase with strawberry pink glaze and four other Pilkington’s pieces impressed marks, painted artist cipher and date code, minor chips to orange vase, 19.5cm. high (Forsyth vase), (8) £150-250 Provenance The Collection of Mrs J Collier.

398. A Pilkington’s Royal Lancastrian box and cover, circular section, covered in a streaked and veined turquoise and lavender experimental glaze, a small Pilkington’s Royal Lancastrian vase with similar red and green glaze, a tall blue trumpet vase covered in a streaked blue glaze and fifteen other Pilkington’s items, impressed marks, damages, 10cm. high (box and cover), (18) £150-250 Provenance The Collection of Mrs J Collier.

396

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397

398

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399 399. A Pilkington’s Lancastrian vase by William S Mycock, dated 1912, ovoid with collar rim, painted with a hound chasing a deer, in bronze lustre on a vivid orange ground, the rim with stylised border in ruby lustre impressed factory mark, painted artist cipher and date code, 11.5cm. high £700-1,000 Provenance The Collection of Mrs J Collier.

400. A Pilkington’s Lancastrian bottle vase by Charles Cundall, dated 1912, ovoid with cylindrical neck, painted with a frieze of scrolling Tudor rose, in ruby and bronze lustre on an orange ground, the neck with vertical columns of foliage impressed marks, painted artist cipher and date code, 22.5cm. high £700-1,000 Provenance The Collection of Mrs J Collier.

401. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1915, waisted cylindrical form, painted with columns of fruiting grape vine, in bronze and ruby lustre on a vivid orange ground, impressed marks, painted artist cipher and date code, 21cm. high £800-1,200

400

Provenance The Collection of Mrs J Collier.

402. A Pilkington’s Royal Lancastrian vase and cover by Richard Joyce, model no.

3152, the shouldered, cylindrical vase modelled in low relief with scaly fish amongst waterweed, the cover with moulded fish finial, covered in a golden and ruby lustre glaze, impressed mark to base, painted artist cipher, 15.5cm. high £800-1,200 Literature Anthony J Cross, Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 34 plate XIX for a comparable, larger example by Joyce in the Manchester City Art Gallery collection.

Provenance The Collection of Mrs J Collier.

401

402

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PILKINGTON’S LANCASTRIAN POTTERY 403. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1917, ovoid with everted rim, painted with fish swimming amongst waterweed in golden lustre on a blue ground, impressed marks, painted artist cipher and date code, small re-stuck chip to top rim, 11.5cm. high £300-500

403

404

404. A Pilkington’s Royal Lancastrian vase

by William S Mycock, modelled by E.T. Radford, ovoid with collar rim, painted with a frieze of swans swimming on calm water, a sun rising in the distance, cypress trees in the foreground, in shades of ruby and golden lustre on a blue ground, impressed marks, painted artist cipher and incised E.T.R monogram, 17cm. high £700-1,000

405. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1909, shouldered form painted with heraldic shields of lion sejeant, divided by cypress trees and scrolling foliate borders in ruby and bronze lustre on a cream ground impressed marks, painted artist cipher and date mark (variant), 17cm. high £800-1,200 Provenance Private collection

406

405

406. A Pilkington’s Royal Lancastrian vase

by William S Mycock, dated 1922, shouldered cylindrical form, painted with flower stems in ruby and golden lustre on a blue ground, impressed marks, painted cipher and date mark, 16cm. high £700-1,000

407. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1912, ovoid with solifleur neck, painted with two bands of scrolling foliage flanking inscription Noli Me Tangere (do not touch me) in gold and orange lustre on a cream ground impressed marks, painted artist cipher and date mark, 19cm. high £500-1,000 Provenance Private collection

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407 two sides

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408 409

408. A Cobridge Stoneware high-fired baluster vase, slender form covered in a running blue and green crystalline glaze, a Cobridge Stoneware sang de boeuf glaze vase by SS and eleven other Cobridge experimental glaze vases impressed and painted marks, 29.5cm. high (13) £150-200

409. A Cobridge Stoneware high-fired vase, broad, shouldered form, covered with a sang de boeuf glaze with controlled mint green spots, another Cobridge Stoneware sang de boeuf vase and Cobridge Stoneware shouldered vase, impressed marks, 25cm. high (3) £120-180

410

411

410. A large Cobridge Stoneware highfired vase by Susan Smith, shouldered form with flaring neck, covered in a controlled, streaked sang de boeuf glaze over silver grey, impressed marks, signed Susan Smith, 45cm. high £120-180

411. A tall Cobridge Stoneware high-fired vase, the compressed body with tall tapering cylindrical neck and everted top rim, covered in a streaked blue glaze, and another Cobridge Stoneware high-fired vase by SS impressed marks, 36cm. high, (2) £120-180

412. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1906, slender form, covered in a purple glaze with turquoise and mint spots, impressed marks, 20cm. high £600-1,000

412

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MOORCROFT POTTERY

413. ‘Eighteenth Century’ a James Macintyre & Co miniature vase designed by William Moorcroft, waisted cylindrical form with three applied loop handles, painted in colours on a white ground, highlighted in gilt, printed factory mark, painted green monogram, paper label taped to side, 6.5cm. high £200-400 Provenance Moorcroft Pottery Exhibition MacMillan & Perrin 1978.

413

414. ‘Eighteenth Century’ a James Macintyre & Co miniature vase designed by William Moorcroft, painted in colours on a white ground, printed factory mark, painted green monogram, professional restoration to top rim, 7.5cm. high £150-200

414

415. ‘Eighteenth Century’ a James Macintyre & Co vase designed

by William Moorcroft, slender baluster form, painted with floral swags in green, blue and red on a white ground, highlighted in gilt, printed factory mark and painted green signature, restored base, 7.5cm. high £150-200

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415

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416. ‘Tulip’ a Florian Ware miniature vase designed by William Moorcroft, ovoid with everted top rim, painted in shades of blue on a pale blue ground, printed factory mark, painted green monogram 6.5cm. high £350-450 Provenance Moorcroft Pottery, Richard Dennis Gallery, 1973, catalogue number 422.

417. ‘Poppy’ a James Macintyre & Co salt and pepper cruet designed by William Moorcroft, painted in blue and green on a white ground, printed factory marks, restoration to cover, 9cm. high £150-200

416

418. ‘Christmas & New Year Greetings’ a James Macintyre miniature twin-handled vase, flaring conical form, painted with violets and forget me knots in blue and green on a white ground, printed factory mark, painted green signature, small chip to top rim, 6.5cm. high £300-500

417

418 both sides

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419

420

421

422

419. A James Macintyre & Co Gesso Faience tea set probably designed by Harry Barnard, comprising teapot and cover, milk-jug and sugar basin, incised and slip decorated with stylised foliage panels in blue, green and celadon on a white ground, highlighted in gilt printed Macintyre mark, repaired handle to milk, restored cover, 8cm. high, (3) £150-250 420. ‘Poppy’ A James Macintyre candlestick designed by William Moorcroft, tubeline decorated with Art Nouveau poppy stems in blue and green incised signature, glaze chip to top rim, 15.5cm. high £120-180 421. ‘Cornflower’ an unusual James Macintyre & Co circular box and cover designed by William Moorcroft, painted in shades of pink, purple and green on a celadon ground, printed factory mark, painted green signature, professional restoration to base, 14cm. diam. £300-500 422. ‘Poppy’ a Moorcroft Pottery bowl designed by William Moorcroft, for Liberty & Co, tubeline decorated with panels of poppy heads, in yellow blue and green on a celadon ground, printed Liberty mark, painted green signature, 21cm. diam. £300-500 423. ‘Peacock Feather’ a James Macintyre & Sons vase designed by William Moorcroft, twin-handled form, painted in shades of yellow, blue and green on a pale blue ground printed factory mark, painted green signature, 12.5cm. high £300-500

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424

424. ‘Persian’ a Moorcroft Pottery jardiniere designed by William Moorcroft, waisted form with pinched everted top rim, painted in shades of purple, pink, blue and green on a white ground, impressed marks, painted green signature, professional restoration 13cm. high £300-500

425

425. ‘Persian’ a Moorcroft Pottery jardiniere designed by William Moorcroft, painted in colours on a white ground, impressed marks, painted green £1,000-1,500 signature, 16.5cm. high

426. ‘Wisteria’ a Moorcroft Pottery vase designed

by William Moorcroft, ovoid with collar rim, painted in shades of pink, purple and green on a cream ground, impressed marks, painted green signature, professional restoration to top rim, 18cm. high £500-600

426

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427. ‘Wisteria’ a tall Moorcroft baluster vase designed by William Moorcroft, made for Liberty & Co, painted with trailing flowers in pink, purple and green on a cream ground, printed factory mark, painted green signature, professional restoration to base, 30cm. high £800-1,200

428. ‘Pansy’ a James Macintyre & Co twin-handled vase designed

by William Moorcroft, painted in colours on a white ground, printed factory mark, painted green signature, professional restoration to neck, £500-800 23cm. high

429. ‘Hazledene’ a Moorcroft Pottery vase designed by William Moorcroft, made for Liberty & Co, shouldered ovoid form with swollen neck, painted in shades of green and yellow on a streaked celadon green ground, printed factory mark, painted signature, restored top rim, 10cm. high £500-700 427

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428

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430

430. ‘Moonlit Blue’ a Moorcroft Pottery jug with pewter neck and lip designed by William Moorcroft, probably retailed by Liberty & Co, painted in shades of blue and green on a midnight blue ground, impressed marks, painted blue signature, restored handle, 8cm. high £150-250

431

431. ‘Moonlit Blue’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in shades of blue and green on a blue ground, impressed marks, painted blue signature 16cm. high £500-1,000

432. ‘Moonlit Blue’ a Moorcroft Pottery plate designed by William Moorcroft, painted in shades of blue and green on a speckled blue ground, impressed factory marks, painted blue signature, 22cm. diam. £400-600

432

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433. ‘Moonlit Blue’ a Moorcroft Pottery twin-handled vase designed by William Moorcroft, painted in shades of blue and green on a graduated blue ground, impressed factory mark, painted green signature, 21.5cm. high £1,000-2,000

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434

434. ‘Eventide’ a Moorcroft Pottery bowl designed by William Moorcroft, painted in shades of blue, green and sand, highlighted in flambe, impressed marks, painted blue signature, 25.5cm. diam. £500-1,000

435. ‘Eventide’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form with collar rim, painted in shades of green, sand and blue with a flambe red sky, impressed marks, painted blue signature, remains of paper label, 16cm. high £600-1,000

436. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, compressed with tall cylindrical neck and everted rim, painted in shades of red, yellow and blue on a green ground impressed marks, painted green signature, 31cm. high £800-1,200

435

437. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, made for Liberty & Co, low, compressed form, painted in shades of red, cream and purple on a streaked green ground, printed Liberty mark, painted green £400-600 signature,16cm. diam.

437

436

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438. ‘Revived Cornflower’ a tall James Macintyre vase designed

by William Moorcroft, dated 1912, slender, baluster form, painted in shades of pink, purple, and ochre on a green ground with chrysanthemum flowers, printed factory mark, painted green signature and date, professional restoration to outside of top rim, 30cm. high £400-600

439. ‘Revived Cornflower’ a James Macintyre & Co vase designed

by William Moorcroft, shouldered form, painted in shades of red, ochre and blue on a mottled green ground printed factory mark, painted green signature, minor repaired section to the top rim, 21.5cm. high £400-600

440. ‘Revived Cornflower’ a James Macintyre & Co vase designed

by William Moorcroft, shouldered form, painted in shades of red, purple, green and ochre on a green ground, printed factory mark, £1,000-1,500 painted green signature, 24cm. high

438

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439

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441 442 441. ‘Pomegranate’ Moorcroft Pottery vase, designed by William Moorcroft, shouldered form, painted in colours on a green ground, painted green signature, small glaze nick to the top rim, 10.5cm. high £150-250 442. ‘Pomegranate’ a Moorcroft Pottery coupe designed by William Moorcroft, painted in shades of pink, purple, ochre and red on a mottled green ground, impressed marks, painted green signature, £1,500-2,000 printed Liberty mark, 20cm. high 443. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, baluster form, painted in shades of red, purple, ochre and blue on a green ground, impressed factory marks, painted green signature, professional restoration to foot, 22cm. high £400-600 444. ‘Pomegranate’ a large Moorcroft Pottery pomander and cover designed by William Moorcroft, made for Liberty & Co, dated 1912, painted in shades of ochre, purple and red on a mottled green ground, printed mark, painted green signature, minor chips to teeth, 19cm. high £1,000-1,500 445. ‘Pomegranate’ a Moorcroft Pottery pomander and cover designed by William Moorcroft, made for Liberty & Co, painted in colours on a mottled green ground, printed factory mark, minor frits to the teeth, 9.5cm. high £500-1,000

443

445 444

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446. ‘Protea’ a rare Moorcroft Pottery twin-handled vase designed by William Moorcroft, painted with protea flowers to one side and freesia to the reverse, in shades of red, green and buff on a graduated sand to blue ground, impressed marks, painted blue signature, 20.5cm. high £3,000-5,000 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 100 plate no.2 for a comparable vase.

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447. ‘Flambe Claremont’ a Moorcroft Pottery twin-handled vase designed by William Moorcroft, painted in colours under a rich flambe glaze, impressed factory mark, painted signature, 19.5cm. high £1,500-2,500

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448

449 448. ‘Flambe Cornflower’ a Moorcroft Pottery vase designed by William Moorcroft, baluster form, painted in colours under a flambe glaze, impressed marks and painted blue signature, 10.5cm. high £500-800 449. ‘Spanish’ a Moorcroft Pottery vase designed by William Moorcroft, painted in colours on a mottled green ground, impressed marks, painted green signature, 15.5cm. high £500-1,000 450. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery vase, baluster form, painted in colours on a graduated sand to blue ground, impressed marks, painted blue signature, 16.5cm. high £800-1,200

450

451. ‘Late Florian’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with cylindrical neck and everted rim, painted in shades of blue, green and yellow on a green ground, impressed marks, painted green signature, 31cm. high £800-1,200 452. ‘Late Florian’ a Moorcroft Pottery vase designed by William Moorcroft, dated 1918, compressed form, painted in shades of yellow, blue and green on a graduated green to blue ground, impressed marks, painted green signature and date, 12cm. high £500-800

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451

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453. ‘Bougainvillea’ a Moorcroft Pottery vase, slender, shouldered form, painted in colours on a blue ground, impressed marks, painted blue signature, 25cm. high £150-200 454. ‘Flowers of the Desert (Poppy)’ a Moorcroft Pottery vase, dated 2004, painted in colours on a pale peach and cream ground, impressed and painted marks, 26.5cm. high £150-200 455. ‘Orange Lilies’ a Moorcroft Collector’s Club vase, 1998, shouldered form, painted in shades of yellow, orange and green on a graduated green and yellow ground, impressed and painted marks, 21.5cm. high £150-200 456. ‘Carousel’ a Moorcroft Pottery limited edition vase designed by Rachel Bishop, made for the Moorcroft Collector’s Club 1996, painted by Stella Dawson, compressed ovoid form, painted in colours on a deep blue ground, impressed and painted marks, with paper certificate no.182, 17cm. high (2) £150-200 457. ‘Sophie’ a large Moorcroft Pottery vase by Sian Leeper, dated 2002, painted with clematis flowers in white, purple and yellow on a blue ground, impressed marks, painted date and signature, 39cm. high £200-300

453

454

Provenance Purchased from Moorcroft Pottery directly Private collection.

458. ‘Blackberries and Strawberries’ a pair of modern Moorcroft Pottery vases, compressed ovoid form, painted in colours on a bottle green ground, impressed and painted marks, 11cm. high (2) £150-200 459. ‘Bleeding Heart’ a Moorcroft Pottery colour sample vase, painted by Mandy Dobson, made for the Moorcroft Collector’s Club, 1993, compressed form with swollen cylindrical neck, painted in colours impressed and painted £150-200 marks, 28.5cm. high 455

457

458

456

459

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DENNIS CHINA WORKS

460. Rhino after Durer a large Dennis China Works vase designed

by SallyTuffin, dated 2003, painted in shades of blue and purple on a graduated pale blue ground, impressed and painted marks, painted no.6, 36cm. high £300-500

461. Sunflower a large Dennis China Works vase designed by Sally Tuffin, dated 2004, shouldered form, painted in colours on a graduated blue ground impressed and painted marks, limited edition 11 of 25, 48cm. high £400-600

462. Dragonfly Jewelled a Dennis China Works charger designed

by Sally Tuffin, dated 2007, painted in colours on a graduated green to blue ground, impressed and painted marks, limited edition 12 of 25, 34cm. diam. £200-300 460

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463. Wisteria a pair of Dennis China Works candlesticks designed

by Sally Tuffin, dated 2006, painted in colours impressed and painted marks, numbered 13 and 17, 15cm. high £150-250

463 464. Polar Bear a Dennis China Works stepped vase designed by Sally Tuffin, dated 2006, stepped cylindrical form painted in colours, impressed and painted marks, numbered 2, 25cm. high £150-200

465. Penguins a Dennis China Works box and cover designed by Sally Tuffin, dated 2006, the cover with three modelled penguins, the base painted with small icebergs, in colours impressed and painted marks, 11cm. high, 15.5cm. diam. £300-400

464

465 detail

465

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466. Lustre Dragonflies on Wing a Dennis China Works XL Deco vase designed by Sally Tuffin, dated 2017, decorated by Vanessa Thompson, thrown by Rory McLeod, graduated blue to yellow ground with silver lustre impressed and painted marks, WW7, 40.5cm. high £800-1,200 Catalogue notes This vase is a unique design and shape combination made

by Dennis China Works for this auction.

467. Silver Willow a Dennis China Works Deco vase designed by Sally Tuffin, dated 2017, thrown by Rory McLeod, footed, flaring cylindrical form, incised with a weeping willow, glazed silver on a graduated grey ground, impressed marks, painted ST Des and WW.10 mark, 34.5cm. high £1,000-1,200 Catalogue notes This vase is a unique design and shape combination made

by Dennis China Works for this auction.

466 468. 90 Blue Tits a Dennis China Works L.G. baluster vase designed by Sally Tuffin, dated 2017, thrown by Rory McLeod, shouldered form, tubeline decorated with bands of blue tits perched on branches, painted in colours on a graduated blue and white ground, impressed factory marks, painted ST Des and WW9, 42.5cm. high £1,500-2,000 Catalogue notes This vase is a unique design and shape combination made

by Dennis China Works for this auction.

469. A Hum of Birds a Dennis China Works Spill vase designed by Sally Tuffin, dated 2017, thrown by Rory McLeod, flaring cylindrical form, tubeline decorated with a hummingbird repeat, lustre glaze on a graduated yellow to blue ground impressed marks, painted ST design WW.8, 31cm. high £600-800 Catalogue notes This vase is a unique design and shape combination made

by Dennis China Works for this auction.

467

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470

471 470. Concentric Circles a Dennis China Works four large tile panel designed by Buchan Dennis, dated 2017, thrown by Rory McLeod, painted with an optical design in yellow, red and green, framed, impressed and painted marks, WW11, 42cm. square (panel) £500-600 Catalogue notes This panel is a unique design and shape combination made by Dennis China Works for this auction.

471. Concentric Loops a Dennis China Works vase designed by Buchan Dennis, dated 2017, thrown by Rory McLeod, flaring cylindrical form, painted with graduated bands in red, green and yellow impressed and painted marks, WW12, 34cm. high £350-450 Catalogue notes This vase is a unique design and shape combination made by Dennis China Works for this auction.

472. Lustred Sphere a Dennis China Works trial spherical vase designed by Buchan Dennis, dated 2017, thrown by Rory McLeod, ovoid with circular aperture, incised with a band of stylised foliage, decorated with gilt, on a finely banded ground, impressed and painted marks, painted Buchan, Trial, WW13, 24cm. high £600-700 Catalogue notes This vase is a unique design and shape combination made by Dennis China Works for this auction.

472

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473. A large wall charger the design attributed to Frederick Alfred Rhead, printed and enamelled with a Japanese Geisha with two attendants, in a formal garden setting with flowering prunus, butterflies and three flying crazes, the rim with stylised panels of alternating dragon and flower motif, in colours, highlighted in gilt on a lavender ground, unsigned, 45cm. diam. £200-300 474. A tubelined tile of a galleon designed by Charlotte Rhead, probably T A Simpson & Co, painted in colours at full sail, in oak frame marks concealed by frame,, 15 x 4.5cm (tile) £150-250 475. A Foley Intarsio vase designed by Walter Slater, model 3522, ovoid with knopped neck and applied handles, printed with scenes from Much Ado About Nothing by William Shakespeare, in colours printed £250-350 factory marks, 22cm. high 473 476. A near pair of Hancock & Son Morrisware bowls designed by George Cartlidge, model no. C71-1, painted with bell flowers, in colours on purple and green ground, printed factory marks, facsimile signature to one, 26.5cm. diam. (3) £150-250 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, page 110 catalogue number 291.

474

Provenance The Collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge, by Tony Johnson.

477. An unusual Wemyss Pottery Jovial Sailor jug, modelled as a rotund bearded sailor, glazed in colours painted Wemyss in black, 28cm. high £300-500

476

475

478. A Plichta model of a cat by Joe Nekola, modelled seated with applied glass eyes,, painted with blue cornflower stems in colours printed factory mark, £300-500 Nekola Pinxt, 26cm. high 479. A Wemyss Pottery heart shaped dish, painted in the Plum pattern, in shades of purple, brown and green on a white ground, impressed Wemyss mark, 30.5cm. long £200-300

477

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478

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481 480

480. Jessamine Stella Bray a pottery portrait roundel rile by Sybil V. Williams, Dulwich 1935, modelled in low relief and glazed cream and blue, inscribed to border, paper labels to reverse, 25cm. diam. £300-500 Provenance Graves Son & Pilcher, Monday & Tuesday 25-26th April 1977 lot 400.

Private collection.

Catalogue notes Jessamine Bray and Sybil Williams worked together at the Dulwich Pottery in the 1920s and 1930s. They exhibited pottery statues at the Beaux Arts Gallery, Bruton Place in 1929, The Graves Gallery in 1933 and the Connell Galleries in 1935.

481. The Morning Ride a Charles Vyse pottery figure, dated 1925, modelled as a young faun riding a snail, glazed in colours painted monogram, date 1925 and Chelsea, professionally restored, 23cm. high £300-500 Literature Terence Cartlidge Charles & Nell Vyse Richard Dennis & Ed Pascoe, page 25 this model illustrated.

482

482. A rare Charles Vyse model of a Pekingese dog, modelled seated, covered in a tenmoku brown glaze Incised Charles Vyse Chelsea to base, 17cm. wide £300-500 Provenance The Harriman Judd Collection of British Art Pottery Sotheby’s New York Literature Terence Cartlidge Charles & Nell Vyse Richard Dennis & Ed Pascoe, page 50 this model illustrated.

483. May Queen an unrecorded Chelsea stoneware sculpture by Charles Vyse, modelled riding side saddle, wearing a crown and holding a floral rod, covered in a pale grey glaze, impressed C Vyse to side of base, 28.5cm. high £700-1,000 Literature Charles Vyse 1882-1971 Richard Dennis/Fine Art Society, 3-20th December 1974, page 40, catalogue number 53 for the standard version of this figure illustrated where she is modelled holding a bunch of flowers.

483

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484

485

484. A large collection of Isle of Wight pottery, variously decorated with geometric painted designs and experimental glazes, impressed and painted marks, (a lot) £200-400 485. A Carter Stabler & Adams Poole Pottery vase by Ann Hatchard, shouldered twin-handled form painted with a band of stylised flowers and foliage in purple, blue, yellow and green on a pale grey ground, and nine other Poole Pottery items, impressed and painted marks, 27cm. high (10) £120-180 486. A Midwinter Pottery Zambesi Fashion Shape coffee set for six, printed with black zebra stripe design, highlighted in coral red, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed factory marks, repaired handle of pot, 17.5cm. high (16) £50-100 Literature Steven Jenkins, Midwinter Pottery A Revolution in British Tableware, Richard Dennis, page 56 for a comparable design.

486 487. ‘Sunray’ a Clarice Cliff Bizarre octagonal tray, painted in colours inside an orange band, printed factory mark, minor paint loss and oxidisation, 29.5cm. diam. £150-250 488. A Wedgwood Dolphin plate designed by Laurence Whistler, printed with a classical dolphin to the well, the rim with a border of starfish and shell vignette, a Wedgwood Harvest Festival platter designed by Eric Ravilious, two Wedgwood plates designed by Richard Guyatt, a Foley plate designed by Graham Sutherland, a Wedgwood cup and saucer designed by Marcel Goupy, and nine other items, printed marks, 27cm. diam. (18) £150-200 Provenance Wedgwood Exhibition, 1982, Richard Dennis Gallery catalogue number 251 (Marcel Goupy) Literature Maureen Batkin Wedgwood Ceramics Richard Dennis Publications, page 173 plate 406 for an example of the Dolphin plate illustrated.

487

488

489. A Wedgwood Alphabet mug designed by Eric Ravilious, printed with alphabet and vignette in black over pink ground bands, printed factory marks, professional restoration to base rim, 8cm. high £120-180 490. The Coronation of Queen Elizabeth II a pair of Wedgwood commemorative mugs after a design by Eric Ravilious, 1953, printed in colours, printed factory £150-250 marks 10.5cm. high (2)

489

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491. A Wedgwood basalt plaque of Vladimir Lenin designed by Eric Owen, dated 1935, inside raised floral border, and a patinated metal bust of Lenin, impressed marks, 13cm. diam. (2) £120-180

490

491

492

492. A Wedgwood Pottery part service designed by Edward Bawden for the New Zealand Shipping Company, comprising; soup bowl, two dessert bowls, an entree plate and a dinner plate, printed to the well with simple foliate roundel in sepia on a white ground, a Wedgwood tazza printed with an anchor forming stylised face designed by Edward McKnight Kauffer for the Orient Line, an en suite cup and saucer and seven pieces of Royal Doulton tableware made for British Airways Concorde printed marks, dinner plate 25cm. diam. (15) £120-180

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493

493. Sketching Bird a Carlton Ware bowl, pattern no.

3890, enamelled in colours on a matt blue and salmon pink ground, highlighted in gilt, printed and painted marks, 23cm. diam. £50-100

494

494. A Wedgwood Fairyland lustre fruit bowl designed by Daisy Makeig-Jones, the exterior in the Woodland Bridge pattern, the interior in the Poplar Trees pattern, painted in colours on a black lustre ground, highlighted in gilt, printed and painted marks, 28cm. diam. £1,500-2,000

495. A Wedgwood Fairyland lustre K’ang Hsi bowl designed by Daisy Makeig-Jones, decorated to the exterior in the Woodland Bridge pattern, the interior in the Garden of Paradise pattern, in colours on a black lustre exterior, highlighted in gilt, printed and painted marks, 18cm. diam. £1,500-2,000 Literature Una des Fontaines Wedgwood Fairyland Lustre, Sotheby Parke Bernet, page 134 plate 72 for an example similar.

495

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STUDIO POTTERY

‡ 496. Bernard Leach (1887-1979) Tiger a lithograph on paper, signed lower right annotated lower left 51.5 x 43.5cm (image) £200-300

497. John Leach (born 1939) a Muchelney Pottery vase with loop handled, dated 2004, covered in a black burnished finish, a Muchelney Pottery cut sided vase a twin-handled vase and three other items impressed seal marks and date mark, 19.5cm. high (6) £120-180 496

498. David Leach OBE (1911-2005), attributed a Lowerdown Pottery stoneware vase, shouldered form with a solifleur neck, painted with prunus stem decoration in iron red and blue on a mottled oatmeal glaze, a Lowerdown Pottery teapot and cover, a Ray Finch ginger jar and cover and six other studio pottery items various impressed seal marks, 23cm. high (Lowerdown vase), (9) £250-350

497

Provenance Craftwork, Guildford 1974, Ray Finch ginger jar and cover.

499. Leach Pottery a stoneware mug, with applied scroll handle, covered in a tenmoku glaze, a Leach Pottery vase by Trevor Corser painted with a harbour scene and a small Fulham Pottery pot and cover in the manner of Edgar Kettle, impressed seal mark to base, 12cm. high, (4) £120-180

498

‡ 500. David Leach OBE (1911-2005) a Lowerdown stoneware Willow vase, cylindrical square section, resist decorated with a tenmoku willow tree under running dolomite glaze impressed seal marks, 18.5cm. high £120-180

499

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‡ 501. William ‘Bill’ Marshall (1923-2007) a St Ives pottery stoneware vase, ovoid with collar rim, covered with a textured oatmeal glaze and splashed glaze to shoulder, impressed seal marks, 24cm. high £150-200

‡ 502. Janet Leach (1918-1997) a St Ives stoneware vase, shouldered ovoid form with flaring neck, decorated with combed decoration, covered in an oatmeal glaze impressed seal marks, 17cm. high £120-180

501

502

‡ 503. Reginald Fairfax Wells (1877-1951) A Coldrum Pottery vase dated 1909, with applied strap handles, slip decorated with a central face motif, date and inscribed Flowers, the reverse with knot motif and Buckley Coldrum, (minor glaze chips, kiln faults, 26.5cm. high £500-800

‡ 504. William ‘Bill’ Marshall (1923-2007) a St Ives pottery vase, square section with solifleur neck, covered in tenmoku glaze with dark splashed glaze to the shoulder, a David Leach stoneware vase and two other vases, impressed seal marks, 10.5cm. high (4) £120-180

503 both sides

‡ 505. David Leach (1911-2005) a large Lowerdown Pottery stoneware flagon, covered to the foot with a running Dolomite and tenmoku glaze, impressed DL seal 42cm. high £120-150

504

505

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‡ 506. David Frith (born 1943) a tall stoneware vase, slab-built with waisted cylindrical neck and everted rim, resist decorated with berried foliage and hatch panels in tenmoku on a brushed blue glaze over celadon, unsigned, 45cm. high £120-180

507

507. Mike Dodd (born 1943) a shouldered stoneware vase, incised with trail columns and impressed dots, covered in a tenmoku glaze over ash, a small David Leach Lowerdown Pottery vase a Ruth Duckworth milk-jug and sugar basin and a small solifleur vase impressed seal mark, £120-180 24.5cm. high, (5) ‡ 508. Ray Finch (1914-2012) a Winchcombe Pottery charger, resist decorated with a simple brush design in ash over tenmoku, another Ray Finch charger and a deep bowl by Ray Finch impressed seal mark, 34cm. diam. (3) £150-200

506

509

509. Margaret O’Rorke (born 1938) a pottery vase, shouldered form with two pinched handles, incised spiral decoration, covered in a speckled matt green glaze, and two pebble pot and covers similar impressed seal mark, 25.5cm. high (3) £150-200 510. Seth Cardew (1934-2016) a Wenford Bridge water jug, incised with simple floral design and Water, a flower bowl

by Seth Cardew and a stoneware vase with cut decoration by Svend Beyer, glazed to the shoulder with a wood-ash glaze, impressed seal marks, 15cm. high (3) £120-180

508 part

511

511. Poh Chap Yeap (1927-2007) a porcelain bottle vase, swollen form, covered to the foot in a rich, dark tenmoku glaze, and a plate by Poh Chap Yeap covered in a deep green glaze with turquoise splashes, incised Yeap, fine hairline to plate, vase 14cm. high (2) £120-150 ‡ 512. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery oven dish and cover, painted abstract design in brown and blue on a grey tin-glaze, painted monogram, restored rim of dish, 32cm. diam. £300-350

510

Provenance Past, Present and Future, 1998 exhibition, Richard Dennis Gallery, catalogue number 7. ‡ 513. Edgar Campden an Aldermaston Pottery vase, ovoid with cylindrical neck and knopped collar, simple incised band to shoulder, painted in grey and brown tin-glazer with simple foliate design printed mark, painted monogram. 33cm. high £300-500

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512

513

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514 514. Warren MacKenzie (born 1924) a large Stillwater Studio stoneware charger, wiped white feldspar and painted iron oxide barbed wire motif on a speckled oatmeal ground unsigned, 45cm. diam. £400-600 Provenance Babcock Galleries, circa 2000 Private collection.

515

‡ 515. A Fulham Pottery plate by Quentin Bell, incised with a portrait in mushroom slip, the rim glazed blue and inscribed Alcmena, above blue bow, impressed and incised marks, incises Quentin Bell, 19cm. diam. £800-1,000

516. A Fulham Pottery mug possibly by Quentin Bell, cylindrical with applied handle, painted with foliate roundels in colours on a mushroom ground over cream, unsigned, small flat chip to top rim, 8.5cm. high £150-200 ‡ 517. A Fulham Pottery plate by Quentin Bell, paintyed with an abstract figure in red and amber on a multicoloured painted ground, impressed Fulham pottery mark and impressed Bell roundel, 24.5cm diam. £800-1,000

517

516

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518. A tall Upchurch Pottery vase, slender, shouldered form, covered in a turquoise glaze with blue runs, another squared vase and five other Upchurch green and blue vases incised marks, 38cm. high (7) £120-180

519. A tall Upchurch Pottery vase, slender, shouldered form, covered in a streaked purple and blue glaze, another squared vase and four other Upchurch Pottery vases incised and painted £120-180 marks, 34cm. high (6) 518 520. Bernard Rooke (born 1938) an ovoid stoneware gourd vase, glazed sage green and rust, another taller cylindrical vase, a three tubed pot and nine other vases impressed Rooke mark, 18.5cm. high (gourd vase), (12) £200-300

521. Bernard Rooke (born 1938) a tall stoneware vase, geometric form, glazed in shades of brown, rust and mushroom, a Bernard Rooke wall plaque, eight other vases and a lamp base, impressed Rooke mark to vase and plaque, chip to corner of wall plaque, 37cm. high (vase), (11) £200-300

522. A large Iden Pottery charger by Dennis Townsend, dated 1999, painted with a swimming stylised fish in green, white and mushroom, and a collection of Iden and Rye pottery painted marks, paper label, 41cm. wide (a lot) £120-180

519

520 part

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522 part

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523

‡ 523. Margi Hine (1927-1987) a pair of tin-glazed pottery doves, resist decorated in lime green over brown painted Margi Hine signature 21.5cm. wide £400-600

Literature Oliver Watson, British Studio Pottery V&A/Phaidon, page 194 catalogue number 277 for a comparable pair of doves dated to 1954.

524 ‡ 524. Margi Hine (1927-1987) a large pottery charger, painted to the well with a stylised bird, the rim with geometric border in green on a cream ground painted Margi Hine £200-400 signature 39cm. diam.

‡ 525. Margi Hine (1927-1987) a tin-glazed pottery dish, square, painted with a harlequin riding a horse, in colours painted Margi Hine signature 23.5cm. square £300-500

525

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PETER HAYES

‡ 526. Peter Hayes (born 1946) White Raku bottle, 1995 incised signature and date 36cm. high £150-200

‡ 527. Peter Hayes (born 1946) Bronze raku bottle form, 1990, incised signature and date 22cm. high £120-180

‡ 528. Peter Hayes (born 1946) White raku bowl form with copper disc, 1995, incised signature 14cm. high £120-180

526

‡ 529. Peter Hayes (born 1946) Red raku bow with copper disc, 1995, incised signature and date £200-300 35cm. high

527

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528

529

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530. Peter Hayes (born 1946) a small porcelain totem form on raku base, mounted on polished black slate base, unsigned 21cm. high £120-180 Provenance Peter Hayes

531. Peter Hayes (born 1946) Black Bow, a raku sculpture set with mother of pearl disc, on polished black slate base, signed Peter Hayes to base, 22cm. high £150-200 Provenance Peter Hayes

532. Peter Hayes (born 1946) Mounted blade, 2007, a white raku sculpture on verdi gris pottery base mounted on black slate base, incised Peter Hayes 07 to base, £300-500 43cm. wide 530

Provenance Peter Hayes

531

533. Peter Hayes (born 1946) Blade, a Rajasthan Gesamile stone polished sculpture on black raku base, set on polished black slate base, incised Peter Hayes 2016 to base, blade 44.5cm. high, 56cm. (total height) £500-800 Provenance Peter Hayes

532

533

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534 both sides

A PRIVATE COLLECTION OF MAUREEN MINCHIN POTTERY ‡ 534. Maureen Minchin (born 1954) Oystercatcher and Lapwing, a flattened, flaring vase, painted in colours and modelled with shell lugs, impressed seal mark to base, 20cm. high £250-350

Provenance Private collection

‡ 535. Maureen Minchin (born 1954) a sixteen tile panel, painted with animals, birds and fish in colours, framed 87 x 22cm (tiles) £400-600 Literature Decorative Arts from 1860 to the Present Bonhams 1st October 2014 lot 168 for a comparable sixteen tile panel.

‡ 536. Maureen Minchin (born 1954) Oystercatcher and Lapwing, a bellied jug, painted in colours on a cream ground impressed seal mark to base, 24cm. high £250-350

Provenance Private collection

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535

536 both sides

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537

538

‡ 537. Maureen Minchin (born 1954) Black Rhino, 2012, a charger, painted to the well with a rhino with bands of exotic animals and birds including, Carmine Bee Eater, White-faced Scopo Owl, Yellow Billed Stork, African Elephant, Western Black and White Colobus monkey and a Greater Kudu, painted in colours impressed seal mark, 44cm. diam. £500-1,000

Provenance Decorative Arts from 1860, Bonhams Knightsbridge, 16th October 2012 lot 282.

Private collection 539

‡ 538. Maureen Minchin (born 1954) Otter and Deer a charger with fluted rim, painted to the well with otter and lying stag, the rim with a border of British wild birds, in colours impressed seal mark, 43cm. diam. £500-1,000 ‡ 539. Maureen Minchin (born 1954) Otter, Puffins and Grey Heron a jug, painted in colours impressed seal mark, 23.5cm. high £250-300 ‡ 540. Maureen Minchin (born 1954) a large Black Rhino earthenware jar and cover, 2012, the ovoid vase applied to the shoulder with four exotic birds; Carmine Bee Eater, Lilac Breasted Roller and Woodland Kingfisher, the cover surmounted with a Black Rhino, painted with African birds and animals including giraffe, White Colombus Monkey and an African Elephant, in a landscape, impressed seal mark, 34cm. high £800-1,200

Provenance Decorative Arts from 1860, Bonhams 16th October 2012 lot 283.

Private collection.

Literature Decorative Arts from 1860, Bonhams, 1st October 2014, lot 169 for a comparable Anteater jar and cover dated 2014.

540

85

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‡ 541. Jonathan Chiswell Jones (born 1944) a small lustre pottery bowl, decorated with radiating dragonfly and leaf panels, in gold and ruby lustre on a midnight blue lustre ground, and another decorated with a cockerel, painted monogram , 21.5cm. diam.

(2) £120-180 ‡ 542. Jonathan Middlemiss (born 1949) a Boat Vessel series vase, produced circa 1999-2001 cut and reformed thrown ceramic with sanded surface, with Optical geometric decoration, in shades of grey, buff and sand, impressed seal mark, 27cm. high £150-200

541

Catalogue notes Several pieces from this series were exhibited at The Clay Studio, Philadelphia in 2001. Woolley and Wallis would like to thank Jonathan Middlemiss for his help in authenticating and cataloguing this vase.

543. Betty Blandino (1927-2010) a hand-coiled stoneware vase, ovoid with tapering neck, painted ochre panels on a sand ground, the interior glazed pale grey, unsigned, 16cm. high £50-100 ‡ 544. Amanda Popham (born 1954) On With The Dance, dated 2004 a pentagonal section shouldered vase, painted with a portrait of a dancing couple, in colours signed and dated to a banner on the shoulder, 24cm. high £120-180

542

86

543

544 both sides

545. John Maltby (born 1936) a stoneware bowl, decorated with cross motif in bronze and blue on a speckled mushroom ground, a Mary Rich pedestal bowl covered in a celadon glaze, a large turquoise vase by Usch Spettigue, and a jug painted Maltby signature, small chip to rim of Maltby bowl, 19cm. diam. (4) £120-180

545 part

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546

‡ 546. Kate Malone (born 1959) a stoneware gourd jug, with applied handle, covered in a streaked yellow, salmon pink and green glaze, incised Kate Malone to base, 19.5cm. high £150-200

Provenance Purchased directly from the artist circa 1990.

547

‡ 547. Chris Carter (born 1945) a stoneware vase, tapering form with swollen totem shoulder, covered in a pitted metallic glaze and a ewer impressed seal mark, 39.5cm. £120-180 high (2) ‡ 548. Chris Carter (born 1945) a tall swollen cylindrical vase with bronzed rim, covered to the rim in a pitted cream and mushroom glaze impressed seal mark, 54cm. high £200-300 ‡ 549. Dame Lucie Rie DBE (1902-1995) an unusual stoneware pouring vessel, oatmeal glaze with bronze rim, impressed seal mark, re-stuck chip to top rim, 15.5cm. wide £400-600

549

548

87

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JOHN WARD ‡ 550. John Ward (born 1938) a hand-built stoneware vase, with pulled rim, glazed with panels of black and white impressed seal mark, 7cm. high £800-1,200

Provenance Private collection

550

‡ 551. John Ward (born 1938) a hand-built stoneware bowl with everted rim, incised textured decoration, covered in a black glaze, impressed seal mark, 19.5cm. diam. £800-1,200

Provenance Private collection

‡ 552. John Ward (1938) a hand-built stoneware Tulip vase, swollen form, covered in a pitted off white glaze with pale turquoise and brown impressed seal mark, 24cm. high £800-1,200 ‡ 553. John Ward (1938) an unusual hand-built vase, tapering, elliptical section, with incised decoration to interior, glazed turquoise over brown, impressed seal mark to base, 28.5cm. wide. £800-1,200 Provenance Courcoux & Courcoux Gallery

551

88

552

553

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‡ 554. John Ward (born 1938) a hand-built stoneware vase, ovoid with tapering square section neck, mottled turquoise and brown glaze with pitting, impressed seal mark to base, 23cm. high £1,500-2,000

Provenance Private collection.

89

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555

‡ 555. Renzi & Reale Baroque Rain a unique surrealist vase and cover with applied decoration of creatures, crab shell and a child’s head to the cover, glazed white incised Renzi & Reale, 2005 to the rim, base printed made in Italy, 25.5cm. high (2) £1,200-1,800

‡ 556. Renzi & Reale Baroque Rain, a unique surrealist urn vase, the fluted body applied with two classical heads and an arm and two rats, glazed white incised Renzi e Reale 2004, Milano to the base rim, 46cm. high £1,500-2,000

90

556

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Design

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557. A Monart glass vase, shouldered ovoid form with flaring neck, opaque glass cased in clear and surface decorated with blue and green stripes, and another Monart glass vase mottled white and pink decorated with blue stripes, cased in clear paper label to green vase, 17.5cm. high, (2) £150-200 Literature Ian Turner, Alison Clarke and Frank Andrews, Ysart Glass,Volo, page 108-109 plate 112 for a vase with a comparable technique, illustrated.

558. A Monart glass vase, model GC-336, flaring form mottled green graduating to purple at the foot, and four other Monart glass vases, applied paper label, 14cm. high (5) £120-180

557

559. A Monart glass vase, ovoid with flaring neck, vivid red graduated to red with whorls to the shoulder, a smaller Monart vase and two bowls, unsigned, 18cm. high, (4) £120-180 560. A Whitefriars Tangerine glass vase designed by Geoffrey Baxter, the rectangular body cast in relief with bark texture, a Whitefriars Cinnamon glass Cello vase, and three other Whitefriars glass vases designed by Geoffrey Baxter unsigned, 16cm. high, (5) £150-250

558

561. A Whitefriars Willow glass Hoop vase designed by Geoffrey Baxter, unsigned, 29cm. high £150-200 562. A Whitefriars Kingfisher Blue glass Hoop vase designed by Geoffrey Baxter, unsigned, 29cm. high £150-200

559

563. A Whitefriars Tangerine glass Drunken Bricklayer vase designed by Geoffrey Baxter, and another Whitefriars Cinnamon Drunken Bricklayer vase, unsigned, 21.5cm. high (tallest), (2) £150-250 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 140 plate 160 for comparable examples illustrated.

560

92

561

562

563

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565

564. A German enamelled glass perfume bottle and stopper, possibly Haida, painted with simple panels of stylised bell flowers in colours with amber flashing, and an enamelled glass vase in the manner of Haida, enamelled with flower panels, unsigned, 15cm. high (scent bottle) (3) £150-250

566

565. A Murano glass dish, leaf shaped with pinched top rim, alternate yellow, green and white canes, cased in clear, and a glass vase unsigned, 19.5cm. wide, (2) £120-180

566. A Nuutajarvi glass bird designed by Oiva Toikka, surface decorated with a golden iridescent swirl, and two other cased glass birds designed by Oiva Toikka, etched marks, applied Nuutajarvi labels, 16cm. wide. (3) £120-180

567. A Murano glass head vase by Stefano Toso, in the style of Pablo Picasso, etched signature Stefano Toso Murano, 34cm. high £250-300

567

93

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LALIQUE GLASS 568. ‘Phalsbourg’ no. 5057 a Lalique clear glass decanter and stopper designed by Rene Lalique, a ‘Phalsbourg’ Lalique champagne glass, a ‘Hagueneau’ Lalique wine glass and ‘Epis’ a Lalique plate, etched R Lalique France to base, 24.5cm. high (5) £150-200 This design was introduced in 1924.

568

569. ‘Chinon’ no. 5235 six Lalique water glasses designed by Rene Lalique, etched and stencil marks R Lalique France, 12cm. high (6) £300-500 This design was introduced in 1930.

570. ‘Soudan’ no. 1016 a Lalique clear and frosted glass vase designed by Rene Lalique, etched R Lalique France, 18cm. high £300-400 This vase was introduced in 1928.

571. ‘Cactus’ no. 10-3019 twelve Lalique glass desert plates designed by Rene Lalique, stencil marks R Lalique, 22cm. diam.

(12) £800-1,200 This design was introduced in 1933.

569

94

570

571

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573

572 mark

EUROPEAN CERAMICS 572. A pottery charger in the manner of Longwy, enamelled to the well with a displaying peacock, in cartouche, the rim with stylised floral repeat, in enamelled bright colours, highlighted in gilt, printed fish mark to reverse 42cm. diam. £150-200

574

575

573. A Minton Pottery Iznik charger, painted with a spray of flowers to the well in shades of yellow, turquoise , aubergine and blue on a yellow/cream ground, the rim with a band of stylised peacock feather impressed marks, 43cm. diam. £400-600 574. A Zsolnay Pecs pottery vase, cylindrical form, modelled with geometric figure panels, covered in a green and golden lustre glaze printed factory marks, 8cm. high £120-180 575. A Theodore Deck vase, cast in relief with oriental dragons and two mask handles, covered in a turquoise blue glaze, with patinated metal band to rim, impressed mark, glaze frits to high points, 17cm. wide £120-180 576. An Art Nouveau N.S.A Brantjes & Co Purmerend vase, twin-handled form, painted with poppy flower stems, in colours on a green and cream ground, painted marks, hairline to top rim, 20cm. high £200-300 576

95

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577

578

579

577. An Art Nouveau Royal Dux pottery model of a woman, standing in classical robes and fanning herself, glazed in matt colours and gilt highlights, another modelled as a peasant fisherwoman holding a basket, a pair of Royal Dux Art Nouveau vases and a large Amphora vase cast in low relief with a shepherd scene impressed marks, 25cm. high (Art Nouveau maiden), (5) £120-180 578. An Italian pottery bust of the Madonna, in the manner of Lenci Pottery, painted in colours painted Italy and remains of paper label, minor glaze frits, 25.5cm. high £180-220 579. A Rosenthal porcelain vase designed by Jean Cocteau, swollen form, painted with two portraits of a man, in black, printed factory mark, painted facsimile signature and date 1952, 21cm. high £200-300 581 580

580. A large Herman A Kahler Keramik pottery vase by Jens Thirslund, Danish, pear shaped, thickly painted with stylised abstracted flower stems in blue, turquoise and brown on a cream ground, stamped Danmark and indistinct incised monogram, chips to base, old restoration to top rim, 43.5cm. high £120-180 581. An unusual Arabia pottery wall plate by Toini Muona, dated 1932, painted possibly with a self-portrait at the wheel, working on a low vase on the wheel, with two tall vases drying on a shelf behind and four low bowls glazed turquoise in the foreground, another female potter watching on, painted in colours painted Arabia and TM monogram, 25.5cm. diam. £150-250 582. A Katshutte Pottery model of a woman walking a dog, painted in colours printed factory mark, 28cm. high £120-180 583. A Katshutte Pottery model of a skier, modelled standing in brown trouser suit and green mittens, on oval base printed factory mark, skis missing, 28.5cm. high £120-180

582

583

584. Hyacinth Girl a Beswick Pottery wall plaque, model no.8187, oval, cast in low relief and painted in colours, an unusual Gray’s Pottery wall decoration modelled as two lovebirds, a pottery scottie dog wall mask and five Art Deco style wall masks each modelled as a lady, printed and painted marks, chip to back plate of Beswick plaque, 31cm. high (8) £150-200 Literature Sue Lunt British Art Deco Ceramics, National Museum of Liverpool, page 103 catalogue number 106 for a comparable Beswick wall plaque.

585. A group of eight Flying Duck wall decorations, glazed in colours impressed marks, repaired ankles to one small bird, 30cm. wide (largest) (8) £120-180

96

584

585

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ART NOUVEAU ROZENBURG EGG-SHELL PORCELAIN

586. An Art Nouveau Rozenburg egg-shell porcelain vase, painted by S Schellink, shouldered, ovoid form painted with butterflies perched of flowers and foliage, in colours on a white ground printed factory marks, painted marks and artist cipher, 8cm. high £800-1,200 586 both sides

587. An Art Nouveau Rozenburg egg-shell porcelain vase, painted by S Schellink, model no.217, ovoid with square section, painted with birds perched amongst flowers and foliage in colours, on a white ground, printed factory marks, painted marks and artist cipher, 11cm. high £500-800

587

588. An Art Nouveau Rozenburg egg-shell porcelain solifleur vase, painted by W.P Hartgring, model no.494, shouldered, square section, with swollen cylindrical neck, painted with an exotic bird perched on a flower stem, in colours on a white ground, painted factory marks, 9.5cm. high £500-1,000

98

588 both sides

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589

589. An Art Nouveau Rozenburg egg-shell porcelain plate, painted by W.P. Hartgring, pattern no.401, painted with a bird perched on a flower stem, in colours on a white ground, printed factory mark, painted factory marks, 17cm. diam. £500-800

590

Literature Dutch Art Nouveau and Art Deco Ceramics 1880-1940, The Boijmans Van Beuningen Museum Collection, page 97 for a comparable example illustrated, the painting attributed to H.G.A Huyvenaar.

590. An Art Nouveau Rozenburg egg-shell porcelain plate, painted by S Schellink, painted with a bird perched on an oak tree bough, painted in colours on a white ground, printed factory mark, painted marks, artist cipher, 16.5cm. diam. £500-800 591. An Art Nouveau Rozenburg egg-shell porcelain solifleur vase, painted by S Schellink, shouldered, square section, painted to one side with a bird perched on a flower stem, the other three sides with orange flowers, in colours on a white ground, printed factory mark, painted marks and artist cipher, 16cm. high £1,000-1,500 Literature Dutch Art Nouveau and Art Deco Ceramics 1880-1940, The Boijmans Van Beuningen Museum Collection, page 100 for a comparable example illustrated, the painting attributed to H.G.A Huyvenaar.

Provenance The collection of Rozenburg came from Peter Rudolf Wolter van Gessler Verschuir, born in Groningen in 1883.

He went on to become Governor of Yogyakarta, Java from 1929 to 1932 before returning to the Hague.

Thence by descent.

591 both sides

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592

WORKS OF ART

592. Elsie Henderson (1880-1967) Leopard Drinking, conte and coloured pencil on paper, framed, and another Leopard listening, mounted but unframed, and a conte on paper of a leopard by John Macallan Swan, framed two signed 32 x 21cm (Leopard Drinking), (3) £150-200 Provenance Sally Hunter Fine Art (Elsie Henderson) Abbott & Holder (John Macallan Swan) Professor Luke Herrmann 593

‡ 593. Elsie Henderson (1880-1967) Tigers, 1929 pencil on paper, framed signed lower left, Redfearn gallery label 30.5 x 20.5cm (image)

£120-180

Exhibited Redfearn Gallery, 13.9.1929

‡ 594. Elyse Ashe Lord (1900-1971) Sewing drypoint etching, hand coloured trial proof on paper, framed signed in pencil lower right, paper label to reverse, catalogue number 97 30 x 26cm. £100-150

100

594

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ORIGINAL ARTWORK

BY DODO BURGNER

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595

596

597

102

8598

599

‡ 595. Dorte Clara Dodo Burgner, (1907-1998) Woman in a Red coat and Black scarf, pencil and ink on paper, mounted annotated lower right 22 x 15cm. (image)

£120-180

‡ 596. Dorte Clara Dodo Burgner, (1907-1998) Breitenstraber und Seine Freundin, pencil and watercolour on paper, mounted monogrammed DW lower left (Dodo Wolff) 27 x 22.5cm.

£120-180

‡ 597. Dorte Clara Dodo Burgner, (1907-1998) Fire Woman a pen and ink on paper, mounted signed Dodo top right, titled to base, 31 x 19cm.

£120-180

‡ 598. Dorte Clara Dodo Burgner, (1907-1998) Woman with an Ostrich Feather Fan, watercolour on paper, signed in pencil lower right (losses) 49 x 36cm. (sheet)

£120-180

‡ 599. Dorte Clara Dodo Burgner, (1907-1998) Study of a Naked Woman, 1925 charcoal on paper, dated 17 X 25 62 x 47cm (sheet)

£120-180

‡ 600. Dorte Clara Dodo Burgner, (1907-1998) Woman in a Golden Dress and Woman with an Orange Shawl, two watercolour fashion studies on paper, mounted unsigned 29 x 17cm (Woman in a Golden Dress), (2) £120-180

600

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602

‡ 601.Dorte Clara Dodo Burgner, (1907-1998) Fashion Study, (woman in a sequined dress), 1925 gouache on paper, mounted dated 25 XI 25 52 x 30cm (image) ‡ 602.Dorte Clara Dodo Burgner, (1907-1998) Fashion study of Five Women pen and ink on board signed Dodo in ink lower right 51 x 37cm.

604

£250-350

603. Dorte Clara Dodo Burgner, (1907-1998) Woman in a floral dress an ink on card fashion design, unsigned, 51 x 36.5cm. (sheet)

£120-180

£400-500

604. Dorte Clara Dodo Burgner, (1907-1998) Girl in a Blue Dress and Woman with a Shawl pencil and inks, highlighted with silver unsigned 50 x 23cm. (image), (2)

£120-180

603

103

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LESLIE GOODAY PAINTINGS

605. Leslie Gooday O.B.E. (1921-2013) Target acrylic on board with collage, framed, and a still life of broken pots signed lower left 50 x 50cm. (image), (2) £120-180 605

606. Leslie Gooday O.B.E. (1921-2013) Mother and Child, an acrylic on board, framed and another acrylic on board monogram top left, 30 x 25cm. (2) £120-180 606

607. Leslie Gooday O.B.E. (1921-2013) Moon Bowl and Key acrylic on board, framed, and two other acrylic still life paintings signed lower right 49 x 26cm (image ), (3) £120-180

104

607

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608. Leslie Gooday O.B.E. (1921-2013) Hiram Abif an acrylic on board, framed, and three other acrylic paintings signed lower right 57 x 26.5cm. (4) £120-180 608 part

609. Leslie Gooday O.B.E. (1921-2013) Cyclamen and Table Flowers two acrylic on board paintings, framed, and another signed 31 x 28.5cm. (3) £120-180 609 part

610. Leslie Gooday O.B.E. (1921-2013) Judges 16: 4-31 acrylic on board, and two other acrylic paintings, Aztec 3 and Aztec 4 signed lower right 66 x 22.5cm. (3) £120-180 610

105

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611. The Studio Yearbook eleven volumes, comprising 1943-1948, 1949, 1951-52, 1953-54, 1954-55, 1955-56, 1958-59, 1960-61, 1962-63, 1963-64, 1964-65, (11) £200-400

611 612

612. The Studio twenty bound volumes, (1925-1937) comprising, volumes, 89, 90, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 111, 112, 113, 114, three volumes of the Journal of Decorative Art and a collection of catalogues, brochures and books on ceramics £150-250 and design, (a lot)

613. Clare Leighton (1898-1989) Ploughing, Sowing the Crop, Feeding the Cattle and Sheep in a pen four reproduction etchings on paper from the Farmers Year series, framed unsigned, 25.5 x 21.5cm (image), (4) £150-200

613

614

614. Ethel Larcombe (1879-1940) Woman with a Basket and Woman in a Blue Hat two prints published by E.W. Lavory ltd Bristol, framed printed details artist monogram in print top right, signed in pencil, 26.5 x 12.5cm (image), (2) £150-250

615. An original advertising artwork for Jantzen Swimwear by Fanceti, depicting a fashionable young couple relaxing, with applied Jantzen text panel, signed lower right 57.5 x 25cm (image) £120-180

616. Stella R Crofts Save The Spoonbills, an original poster design in gouache on paper, made for Redferns Rubber Soles, signed Stella R Crofts lower right 71 x 46.5cm (image) £100-150

615

617. The Deer Hunter a British Quad film poster, published by Lonsdale and Bartholomew, starring Robert De Niro, 101 x 76cm.£50-100

106

616

617

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A PRIVATE COLLECTION OF ROBERT ‘MOUSEMAN’ THOMPSON FURNITURE 107

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618

619 618 detail

618. A Robert Mouseman Thompson oak armchair, with dated crest for 1934, the curved arms with carved Yorkshire Rose panels and shield panel to the back splat, the back also with mask terminals, carved mouse signature to one leg, 79cm. high £200-400 619. A Robert Mouseman Thompson oak armchair, with carved legs, panel back and tan leather seat, carved mouse signature, 90cm. high £200-300 620 620. A Robert Mouseman Thompson oak nest of three occasional tables, graduated rectangular section, carved mice signature, 60.5 x 37.5cm (largest table top), (3) £200-400

621

621. A Robert Mouseman Thompson oak table lamp, tapering octagonal column with carved leaf motif and carved mouse signature, and a small Robert Mouseman Thompson oak bowl, with carved mouse motif, 25.5cm. high (2) £150-200 622. A Robert Mouseman Thompson Smoker’s chair, with leather slung back, lattice leather seat and padded cushion, carved mouse signature, 103cm. high. £700-1,000

622

108

623

623. A Robert Mouseman Thompson Smoker’s chair, with leather slung back, lattice leather seat and padded cushion, carved mouse signature, 103cm. high. £700-1,000

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624

624. A Robert Mouseman Thompson oak buffet sideboard, with adzed top, three central drawers flanked by cupboards, with patinated metal fittings, carved mouse signature, 136cm. wide, 48cm. deep, 95cm. high £2,000-3,000

625. A Robert Mouseman Thompson oak dining table and four chairs, the chairs with leather seats, the table with adzed top, carved mice signatures, 167 x 85cm table £1,500-2,500 top, 90cm. high (chairs), (5)

625

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FURNITURE

626. A Liberty & Co oak bureau and bookshelf, with patinated metal furniture, applied ivorine label to the drawer, 92cm. wide, 132cm high, 38cm. deep. £250-350

627. A Liberty & Co Stofa bureau, with applied enamel label to the drawer, 129cm high, 61cm. wide, 41cm deep. £250-350

626

Literature The Queen magazine August 25th 1894 this design illustrated in a Liberty advert, listed as available in white wood or ash.

628. An Arts and Crafts copper mounted fire screen and matched fire-dogs, the patinated metal frame supporting rectangular copper panel, stamped with Art Nouveau foliate design, unsigned, 75cm. high (3) £120-180

629. An Arts and Crafts patinated metal and copper fire screen, the scrolling frame supporting central roundel panel stamped with a peacock, unsigned, 82cm. high £120-180

630. An Arts and Crafts patinated metal and copper fire screen, the shield shaped copper panel stamped in relief with a heraldic lion, and a pair of fire dogs unsigned, 88cm. high (3) £120-180

627

628

110

629

630

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631 632

631. A Stanley Webb Davies oak magazine rack by Frank J Crossfield, dated 1929, rectangular section with flaring compartments, carved with simple geometric band, incised monogram and FC monogram and date to inside divider, 42.5cm. wide. £400-600

632. An oak double bookcase by Edward Barnsley, rectangular form each with three graduated shelves. with arch cut out to back, 125 x 81cm. £800-1,200 Provenance Edward Barnsley to Nic Antonini (Edward Barnsley’s grandson).

633. An Arts and Crafts oak hall settle probably by J S Henry, with hinged plank seat shoe cupboard, the back splats with pierced Art Nouveau flower stems and set with circular mirror, with applied patinated metal coat hooks and umbrella rails, unsigned, 155cm. wide, 43cm. deep, 183cm. high £1,000-2,000 Literature The Furnisher, March 1900 for an article on J S Henry illustrating a comparable Hall Stand by J S Henry listed as being designed by C.F.A Voysey.

633

111

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634. 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. £2,000-3,000 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.

635. A pair of Arts and Crafts brass fire dogs, on tripod base, with cast flower stem panel and terminal, unsigned 32.5cm. high (2) £120-180

636. A pair of WAS Benson cast brass fire dogs, each on tripod base with ball counter-eight, central tapering column with flaring and open scroll terminal, unsigned, 32.5cm. high (2) £500-600 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary & Pioneer of Modern Design, ACC books, page 97 plate 74 for a comparable example illustrated.

634

112

635

636

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

637

637. A Gordon Russell Workshops three piece bedroom suite, 1961, comprising double headboard with built in bedside cabinets, dressing table and three drawer chest of drawers, with chrome metal furniture, applied labels, (3) headboard 229cm. wide dressing table136cm. wide, 46cm deep. chest of drawers 99cm. wide, 71cm. high £100-200

638. A large Palm Tree table lamp in the manner of Maison Jansen, with bamboo stem and patinated brass leaves and square base, unsigned, 87cm. high £1,000-1,500

639. An Aleph M (Serie Lang) table designed by Philippe Starck, rectangular polished quartered mahogany on aluminium tapering legs, cast signature to legs, 210 x 89cm. £400-600 638

639

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‥ 640. Cragie Aitchison CBE RSA RA (1926-2009) Yellow Bird a limited edition wool wall hanging, in colours, signed and numbered to reverse, 6/25, label to back, 246 x 186cm.

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ÂŁ3,000-5,000

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

‡ 641. John Piper (1903-1992) Long Sutton, a limited edition wool wall hanging, in colours signed lower right, 210 x 168cm.

£2,000-3,000

Literature The screen print by Piper depicting the same view of Long Sutton church, was produced in 1985 - Orde Levinson L.374.

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METAL WARE 642. An Art Nouveau style patinated metal picture frame, with easel back, cast in low relief with foliate panels, stamped 965, 21cm. high £120-180 643. A Continental pewter and brass charger, circular, the brass panels applied with copper rivets, pierced decoration of stylised foliage stems, unsigned, 46cm. diam. £120-180 642 643

644. An Arts and Crafts copper wall mirror, rectangular hammered copper frame, stamped with inscription Christus Natus Est, unsigned, 34.5 x 31.5cm. £120-180 645. A Glasgow School copper and enamel wall mirror, in the style of Miss De Courcy Lewthwaite Dewar, shaped, rectangular form, stamped in low relief with poppy seedhead panels set with green enamels, with bevelled glass, unsigned, 46.5 x 39cm. £300-500 Literature Gerald & Celia Larner The Glasgow Style, Astragal Books, plate 180 for a picture frame with similar characteristics.

644

645

646. A Liberty & Co English Pewter four piece tea set designed by Archibald Knox, model no.0231, cast in low relief with Art Nouveau whiplash honesty stems, comprising teapot and hinged cover, milk-jug and sugar basin, hot-water jug and cover, on a matched hammered copper tray stamped marks, 19cm high (hot-water pot), (5) £150-250 647. An Art Nouveau W.M.F twin-handled pewter centrepiece, cast in low relief with Art Nouveau maidens amidst scrolling foliage, the handles pierced berried foliage, a polished pewter dish modelled as Leda and the Swan inside a clam shell, and a pair of WMF Art Nouveau spill vases with glass liners, stamped marks, centrepiece missing glass liner, 44cm. wide, (4) £300-400

646

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

648. A Richard Perry & Co brass ewer designed by Dr Christopher Dresser, the conical body on flaring foot, with vertical spout and looped handle, unsigned, 39cm. high £500-800 Literature Christopher Dresser People’s Designer, New Century/Harry Lyons 1999, back cover and catalogue number 176 (M-078B)for a comparable form with makers stamped mark.

649. A rare Benham & Froud brass kettle designed by Dr Christopher Dresser, the elongated hexagonal body with hinged cover and over-slung handle with scroll terminals, stamped Benham & Froud mark, missing wooden finial knop, 24cm. high £200-300 Literature Dresser, People’s Designer New Century Gallery, 2-19th June 1999, catalogue number M.072 for an example illustrated.

648

650. A large Guild of Handicrafts patinated copper and enamel cigar box by Fleetwood Charles Varley, dated July 1904, rectangular section with hinged cover, the hammered and patinated metalwork inset with a rectangular enamel panel of a mountainous landscape, inscribed to reverse of panel Designed and executed by F C Varley, G of H July 1904, enamel damaged with losses, 21.5 x 15.5cm. £300-500

649

650

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652

† 651. An Art Deco bronze and ivory sculpture of a young lady by Peleska, cast and carved, modelled standing holding the hem of her dress, on green veined marble base, signed in the cast to the base Peleska RM, 18.5cm. high £1,000-2,000

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652. Oscar Nemon (1906-1985) Sigmund Freud, a grey fibreglass maquette signed and titled to base in the casting Freud Statue Committee, Nemon £250-350 24cm. high 653. A Ronson novelty automated cigarette box and lighter, modelled as Squeak from Pip, Squeak and Wilfred, the automated penguin hinged to grab a cigarette from the cigarette box, with Ronson Newyorker lighter in base, stamped marks to base, 20.5cm. wide. £150-200 654. A Parker 75 fountain pen and ball pen set, a Parker silver 75 fountain pen similar, a Parker 75 rolled gold fountain pen, a Dunhill fountain pen, a Dupont fountain pen, another fountain pen and four propelling pencils, various marks, (11) £150-200 655. An Art Deco platinum mounted opal bar brooch, in Butt & Co Ltd fitted box, indistinct hallmarks, 5cm. long £120-180

653

655

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

656. A Gothic walnut and bronze jewellery casket, in the manner of A.W.N. Pugin, the domed hinged cover with articulated handle, pierced strapwork decoration, on four feet unsigned 25cm. wide. £700-900

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THE STUDIO POTTERY COLLECTION OF PROFESSOR LUKE HERRMANN Wednesday 13th December 2017

Dame Lucie Rie DBE A porcelain bowl with sgraffito decoration.

Estimate £20,000 - £30,000 A porcelain bowl with bronzed rim, glazed apple green.

Estimate £20,000 - £30,000

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

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FINE PORCELAIN & POTTERY Tuesday 20th February 2018 Entries are now being accepted for this sale

A Cantagalli Iznik-style large ewer and basin, c.1900, 44cm max.

Estimate: £800 - £1,200

ENQUIRIES Clare Durham | +44 (0)1722 424507 | cd@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

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.

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.

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.

PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us.

The colours printed in the catalogue are not necessarily true.

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.

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

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

Mailboxes

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

Pack & Send

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

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

BUYER’S PREMIUM ASIAN ART SALES The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

ALL OTHER SALES The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter.

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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.

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

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction.

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.

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

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

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

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

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

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

Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 FIREARMS Lots marked Ƒ in the catalogue 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.

Asian Art sales: The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

All other sales: The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol ( ) 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

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

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

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

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

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

4. THE PURCHASE PRICE Asian Art sales: The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

All other sales: The Buyer shall pay the hammer price together with a premium thereon of 22% plus VAT @20% (totalling 26.4% inclusive) on the first £500,000 and 14.4% inclusive of VAT @20% thereafter.

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.

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

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

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

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

Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000

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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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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 British Art Pottery | Design

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Thursday 14th December 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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Auction Calendar 20TH CENTURY DESIGN 13th December 2017 – The Studio Pottery Collection of Professor Luke Herrmann 14th December 2017 – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk PAINTINGS 29th November 2017 – Modern British & 20th Century Art 7th February 2018 – Modern British Art from the estate of the late Geoffrey Harley Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 10th January 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk SILVER 23rd & 24th January 2018 – Silver & Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 25th January 2018 – Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk WATCHES 25th January 2018 – Jewellery & Watches Adrian Hailwood +44 (0) 7775 788500 • ah@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 20th February 2018 – Fine Porcelain & Pottery Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 21st February 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 3rd May 2018 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 22nd & 23rd May 2018 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Jeremy Morgan +44 (0) 7812 601098 • jm@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk

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